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USA Today
13 minutes ago
- USA Today
Ex-Titans OL Taylor Lewan recalls regretful moment vs. Steelers' James Harrison
When players retire from the NFL, they often talk about other players or matchups that left an imprint on their careers, or when together in a group they talk about specific players who challenged them, or had an intimidating reputation. One player that often comes up in conversations is Pittsburgh Steelers edge James Harrison. Harrison was not only intimidating, but his performances could be scary. The undrafted rookie's rise to become one of the most dominant players in league history is well-documented, and those who faced him in his prime will never forget their battles. That includes former Tennessee Titans offensive tackle Taylor Lewan, who got to meet the freight train early in his career and talked about the experience on the Bussin' with the Boys podcast. 'I played him my rookie year on Monday Night Football.' Lewan said on the podcast Bussin' with the Boys. 'Before the game started, all the offensive line were like, 'Hey, we know you like to chatter a little bit. Don't talk to this guy. Don't say a word to him. Just leave him alone. Hopefully he stays asleep during the game.' But it's like Monday Night Football. I'm hyped up. I'm juiced up. 'I'm ready to make a name for myself. So, three plays into the game, something happens. I'm like, 'I'm here all day,' whatever dumbass comment I make. 'I'm here all fucking day.' And he doesn't say a word to me.' Even though Lewan was facing an older Harrison, what transpired that night left a lasting impression on the young offensive tackle. Harrison did not let the trash-talking just disappear into the night. 'Then, like he kind of lines up in a four (technique), and I'm like, 'I'm about to cut off this dude so fast.' And I go to cut him off, I go to put an arm up. He drops down to the ground and just grabs my ankle and starts gator rolling. Starts gator rolling me. And right then and there, I thought, 'Okay, yeah, it might be over for me.' It might be over for this conversation the rest of the game." That game during Week 11 of the 2014 season struck a chord with Lewan, who went on to have a successful career with the Titans, earning three Pro Bowl selections before retiring in 2022.
New York Times
28 minutes ago
- New York Times
Joey Chestnut Returns and Regains Title at Hot Dog Contest
Joey Chestnut, the perennial champion of the Nathan's Famous Hot Dog Eating Contest, made headlines last year when a falling-out with the event's organizers led to his being barred from competing, shocking fans nationwide. But on this sweltering Fourth of July, outside the Nathan's flagship restaurant at the corner of Surf and Stillwell Avenues in Coney Island, Mr. Chestnut returned to the men's division of the competition with a vengeance, and spectators were riveted as Mr. Chestnut devoured 70.5 hot dogs in 10 minutes. Though he didn't beat his personal best of 76, Mr. Chestnut easily outmatched last year's champion, Patrick Bertoletti, who consumed only 46.5 hot dogs. Mr. Chestnut pumped his fist in the air in triumph. When asked how he felt about returning to the throne he had held for 16 years, Mr. Chestnut said, 'I love being here.' He assured the crowd, 'I'll be back next year.' Temperatures reached the high 80s as the sun beat down on the midday competition, making conditions less than ideal for record-breaking. It was also a rough day for Miki Sudo, the reigning champion of the women's eating contest, who has 11 victories under her belt. She won handily with 33 hot dogs but fell short of her record of 51. Ms. Sudo conceded that she had not been feeling her best and attributed her performance to the buns' being 'more doughy than usual.' Want all of The Times? Subscribe.
Forbes
28 minutes ago
- Forbes
Film 'Wait Until Tomorrow' Opens The Ledger On America's Racial Debt This Fourth Of July.
Poster of the film wait until tomorrow by Osato Dixon For many people living in the US, the Fourth of July is a day when it is traditional to barbecue and celebrate with friends and family. Today marks the signing of the document that laid the foundation of the very principles our great nation has governed by for 249 years, the Declaration of Independence. This document promised liberty and the pursuit of happiness as an inalienable right for all of those living within its domain. However, throughout history, these promises for Black Americans have been an uphill battle. For many in the Black American community, this holiday is complex, yet we celebrate with the same national pride as any American would. It brings a difficult question: What happens when a constitutional promise is an asset for some and a compounding debt for others? Filmmaker Osatos Dixon's new documentary Wait Until Tomorrow, which premiered at the 2025 American Black Film Festival, has proven to be more than just a story. But a forensic audit of the debt owed to the Black community. Dixon, a former creative executive at McKinsey & Company, is uniquely suited to explore this concept. With his camera, he is symbolically acting as an analyst, calculating the generational cost of economic inequality in our country. A country that has always dangled the promise of equality and mobility to Black Americans, just "not right now." Film subject from wait until tomorrow The Principal Of The Loan The principal, as it relates to debt, is the initial amount of money or asset lent before any interest; it is the core amount needing to be repaid. The Principle owed to Black Americans was established when the Declaration of Independence was signed. The moment the ink dried on those signatures the contract of liberty for some and bondage for others was put into motion. Wait Until Tomorrow directly taps into the frustration of Black Americans looking for upward mobility in a nation fundamentally designed to keep them bandaged. The name of the title itself is a modern nod to Luther King Jr's Letter From Birmingham Jail. The title also draws a parallel to the impatience Fredrick Douglass felt in 1852 when he gave his powerful speech " What to the Slave is the Fourth of July?" For Osato, the inspiration for the film was also from a place of visual intrigue. " I was definitely inspired by the Black and white photos of the Civil Rights movement like Dr. King sitting in his jail cell and renowned photographer Eli Reed." Said Dixon. The striking Black and white imagery coupled with the intimate setting inside people's homes was intentional and gave audiences access to stories that are deeply personal yet very much American. Historical impatience of the Black American community is the driving force behind the film. This impatience signifies that the waiting for economic equality for Black Americans doesn't stop the interest; it inflates the total amount due to the community as a whole. For Dixon, the film aims to tell "hard truths and long histories, and the necessary work ahead." B roll shot from film wait until tomorrow Calculation of the Compounding Interest Dixon's film travels from cities like Atlanta to Detroit, Houston, and D.C. to document the cost of America's broken promises. Throughout the filming process his own definition of the word "opportunity" has shifted. " a living word," Dixon explains. "It's a bridge to something better either in the immediate or long term." "This film documents the stability of the bridge for different Black Americans." The Black American experience is diverse as it is complex, Wait Until Tomorrow artistically highlights this while pushing back on any monolithic views of the Black community. For instance, the film highlights Antonio in Detroit who is a fifth-generation Black business owner whose great-great-great-grandfather escaped slavery to start the business Antonio still runs today. Then there is Armand, a lawyer who was once on food stamps while in grad school after finding out he and his wife were expecting a child. Lastly, Pauline, detailed how reflecting on her mother and grandmother picking cotton drove her to create better opportunities for her sons. Each one of these stores is entered into the metaphorical ledger as itemized debt. Dixon gracefully captures the dignity of his subjects while bringing forth the uncomfortable truth of the forfeiture of generational wealth and systematic penalties on housing and education. " I felt a responsibility to contribute to the conversation of photographing Black America in this way" he notes. Director Osato Dixon, Producer Kelley Robins Hicks, Producer Jamund Washington, Co-writer Kara ... More Murphy The Cinematic Audit Wait Until Tomorrow is so effective due to Dixon's methodology and intentional research. A major contribution to the film was a McKinsey report on the economic state of Black America, but he insists it is not a data-driven film. ' 'The data Ihelped me sharpen the story, but the soul of the film has always been human.' The experiences documented in the film only reinforce the polarizing data represented in the report. As a Fulbright Fellow in Zimbabwe, Dixon served as the cinematographer on the Academy Award-winning documentary Music by Prudence, directed by Roger Ross Williams. Through that experience a key lesson was taught 'Be unafraid and indefatigable…in your determination to capture moments.' The Filmmaker learned the willingness to listen with intent to understand the nuances of the stories being told. All of those lessons were brought to the ethos of this film, which took Dixon and his team three years to complete. Osato's decision to film in black-and-white was a strategic one made to focus the viewers' minds on the story and not solely on the visuals, focus the viewers' mind on the story and not solely on the visual. "Contrast is a big thing within black and white photography," Dixon says. "You don't get much more of a contrast than that. And so your eyes start to see the contrast as you're hearing about the contrast of experiences in America.' Industry expert, Shelly Stewart Settling the Account After any audit action is suggested and should be taken. When asked what question he wants audiences to leave with after seeing the film Osato replied "I wouldn't say that there's a single question, but there are questions," he clarifies. "There will be different questions for different people." Although his answer may not be clear on the surface his actions give the true answer. His goal is to force people to do what he has done for three years: listen. An expert Dixon brought into the film, Shelley Stewart of McKinsey, suggests that the racial gaps in mobility, education, and wealth, that people choose to believe our clothes are in fact still wide open. "My hope is that the film was able to provide an experience for the audience members to listen and understand," Dixon says. As we celebrate this Fourth of July, Dixon's film Wait Until Tomorrow demands that we audit our own ledger and focus on our debts. True patriotism is not defined by flag, colors or fireworks but in the work that is necessary to settle an account that is in default. This film argues that the cost of waiting for equity in this country for black Americans has compounded for far too long and it's time for America to pay her debts. This is not about whether America can afford to do so, but whether we can afford not to.
