Latest news with #Davis'
USA Today
12-07-2025
- Sport
- USA Today
NFL uniform rankings: How do the Titans stack up?
The NFL has strict policies on uniforms and each team must adhere to the guidelines or face repercussions. This year, the league updated some of those policies, allowing teams to wear alternate uniforms four times this season instead of three, and they changed the rule on mixing classic uniforms with alternate helmets. In addition, they announced that the AFC East and NFC West will wear new "Rivalries" jerseys in 2025, a collaboration between Nike and the NFL. The uniforms are said to be similar to the NBA's "City Edition" and the MLB's "City Connect" jerseys. Teams will be added in increments each year until 2028, so that every NFL team has a "Rivalries" jersey. The Tennessee Titans announced changes to their uniforms in 2025, making "Titans blue" the primary color on their home jerseys instead of navy. The Titans haven't made a ton of changes to their look over the last 25 years, but the players and fans seem to appreciate this update. Outside of Nashville, though, where do the Titans' jerseys stack up against the rest of the league? USA Today's Nate Davis analyzed and ranked each team's uniform, and the Titans dropped from their previous ranking. Previous ranking: 23Current ranking: 29While teams like the Panthers are something of a mess, the Titans seem to at least understand less is more – though even that's problematic to a degree. They wore seven combinations in 2024, most notably the glorious Houston Oilers throwbacks, but had several more permutations at their disposal. However the Oilers unis won't come out of the closet this season – yes, the Titans left Texas in 1997 and took their branding with them – and 'Titans Blue' will become the primary home color (instead of navy). The whole thing is probably moot given a major redesign seems to be coming in 2026. Considering that last month the Titans' uniforms were voted among the worst in the league, it's not overly surprising that they fell in Davis' rankings. While the players and fans seem to love this year's uniform, it sounds like a full redesign is right around the corner, so next year this ranking might be very different. The good news for the Titans is that it doesn't really matter what the uniforms look like. What matters is how they perform each Sunday for 17 weeks in the fall. Winning, fans might be more excited about what they are wearing, but losing? Fans don't care at that point. Losses suck, and they feel bad, and no one likes to lose, even if they look good. So, despite the lower ranking in what they will be wearing this fall, the Titans care more about their ranking on the field.
Miami Herald
11-07-2025
- Miami Herald
Gervonta Davis arrested again in Miami. His Father's Day turned violent, cops say
Lightweight boxing champ Gervonta 'Tank' Davis was arrested early Friday over an incident that occurred on Father's Day, as first reported by sports radio talk show host Andy Slater on X. Davis, 30, was taken into custody in Miami Beach early Friday on battery and domestic violence charges. According to a police report obtained by the Miami Herald, Davis went to his ex girlfriend's Doral home at about 5 p.m. June 15 to pick up their two children for Father's Day. During the exchange, a verbal altercation occurred which escalated into a physical confrontation. 'The victim reported that the defendant instructed her to remove the children from his vehicle, stating he no longer intended to take them,' the report reads. 'While she was positioned at the rear passenger door and leaning forward to retrieve her daughter from the back seat, the defendant, positioned in the driver's seat, struck her in the back of the head.' Davis then allegedly proceeded to slap the ex on the right side of her face, resulting in 'a minor laceration to the inner area of her lip.' The 'distressed and crying' victim sent a text to her mother, who came outside and filmed part of the incident on her cellphone. The video showed Davis throwing a small box at the victim, says the affidavit. Davis left the scene and the victim went to Baptist Health Hospital to receive medical attention, where she was first interviewed by cops. A probable cause message was entered into the FCIC (Florida Crime Information Center) and NCIC (National Crime Information Center) database requesting Davis' detainment should law enforcement come into contact with him. A little after midnight on Friday, they did. The fighter was taken into custody on the 900 block of Lincoln Lane north by Miami Beach cops and transported to the Doral Police Department. When presented with a Miranda Warning form, the Baltimore native refused to sign it, police say. The father of three remains at the Turner Guilford Knight Correctional Center; bond had not been set as of noon Friday. The WBA lightweight titleholder is still scheduled to fight Lamont Roach in a rematch Aug. 16 in Las Vegas. The boxer's arrest is the latest in a string of at least two brushes with the law in the last five years. In February 2020, Davis turned himself in to Coral Gables police on a simple battery charge after video of him at the EeeZeeStevie All-Star Celebrity Basketball Game at UM's Watsco Center showed him shoving an ex-girlfriend. The charges were eventually dropped. Around two years later, in December 2022, cops responded to Davis' Parkland home after he allegedly hit an unidentified woman 'on the right side of her head with a closed hand slap.' Florida prosecutors later also dropped those charges because the victim didn't want to press charges.
Hindustan Times
02-07-2025
- Sport
- Hindustan Times
Davis' sacrifice fly in 8th gives Pirates 1-0 win over Cardinals as winning streak reaches 5 games
Jul 02, 2025 07:22 AM IST PITTSBURGH — Catcher Henry Davis drove in the game's only run with a sacrifice fly in the eighth inning and preserved the lead with a tag at the plate in the ninth, giving Pittsburgh a 1-0 win over St. Louis Cardinals 1-0 on Tuesday night as Pirates ace Paul Skenes' winless streak reached six starts. Davis' sacrifice fly in 8th gives Pirates 1-0 win over Cardinals as winning streak reaches 5 games Pittsburgh's Ke'Bryan Hayes led off the bottom of the eighth with a single off Phil Maton . Pinch-hitter Adam Frazier doubled to right and Hayes scored on Davis' fly ball to center. St. Louis had runners on second and third with one out in the ninth when Victor Scott hit a slow chopper that first baseman Spencer Horwitz fielded and threw to Davis, who tagged Jose Fermin at the plate. Skenes pitched five scoreless innings and allowed five hits and one walk and struck out five while throwing 88 pitches. Skenes, who is 4-7 with a 2.03 ERA, has not won since May 28 at Arizona and is winless in six starts against the Cardinals. The loss spoiled a strong outing by Cardinals starter Andre Pallante, who pitched seven innings of one-hit ball. He struck out three and walked two, and his only hit allowed was a single by Andrew McCutchen in the fourth. Issac Mattson pitched one inning for the win, and David Bednar picked up his 12th save in as many chances this season as Pittsburgh won its fifth straight. Cardinals first baseman Willson Contreras sustained a left-hand contusion in the fourth inning on a tag play at home plate and left the game. Third baseman Nolan Arenado missed the game because of a jammed right index finger. Jose Fermin being tagged out at home on Scott's chopper to Horwitz and Bednar striking out Brendan Donovan to end the game. The Pirates had scored 37 runs in their previous four games. Cardinals RHP Sonny Gray faces Mitch Keller on Wednesday as the Pirates go for the series sweep. MLB: /hub/MLB This article was generated from an automated news agency feed without modifications to text. Stay updated with the latest sports news, including latest headlines and updates from the Olympics 2024, where Indian athletes will compete for glory in Paris. Catch all the action from tennis Grand Slam tournaments, follow your favourite football teams and players with the latest match results, and get the latest on international hockey tournaments and series.
Miami Herald
17-06-2025
- General
- Miami Herald
Lottery player wonders if he ‘wrote a number down wrong.' Turns out, he won big
When a man watching a Virginia Lottery drawing one night saw his numbers come up, he wondered if he'd made a mistake. But he really won the jackpot. Dwight Davis matched all five numbers in the Cash 5 with EZ Match drawing on June 2 and won the top prize of $255,000, the Virginia Lottery announced June 16. The Norfolk man often watches the drawings live, but this time, the numbers that came up looked familiar. 'I said, 'Wait a minute,'' he told lottery officials. ''Either I wrote a number down wrong, or I got this.'' Davis' Cash 5 ticket, which he bought at a local Food Lion grocery store, beat the 1-in-1,221,759 odds of matching five numbers ranging from one to 45, according to the Virginia Lottery. Norfolk is part of the Hampton Roads area on the southern coast of Virginia.
Los Angeles Times
16-06-2025
- Entertainment
- Los Angeles Times
‘Noah Davis' at the UCLA Hammer Museum reveals the brilliant early work of a life cut tragically short
The modest but pungent survey of paintings by Noah Davis at the UCLA Hammer Museum is a welcome event. It goes a long way toward demythologizing the Seattle-born, L.A.-based artist, who was heartbreakingly struck down by a rare liposarcoma cancer in 2015, when he was barely 32. The show affirms his gift for what it was: Davis was a painter's painter, a deeply thoughtful and idiosyncratic Black voice heard by other artists and aficionados, even as his work was in invigorating development. Talented artists often come into a steadily mature expression in their 30s, the moment when Davis' accelerating growth was brutally interrupted. The show's three dozen paintings are understandably uneven, but when Davis was good, he was very good indeed. That intriguing capacity resonates in the first picture, '40 Acres and a Unicorn,' which hangs alone in the show's entry to mark the start of his career. Davis was 24 and had studied at Cooper Union in New York and the artist-run Mountain School of Arts in L.A.'s Chinatown. The 2007 painting is not large — 2½ feet tall and slightly narrower — but it casts a spell. In Western art, a man on a horse is a classic format representing a hero, but here Davis sits a young Black man astride a mythic unicorn — notably white — its buttery beige horn shining amid the painting's otherwise neutral palette. It's easy to see the youth as signifying the artist, and the replacement for an art-historical horse likewise standing in for a mule. That animal was famously promised to thousands of formerly enslaved people near the end of the Civil War, along with 40 acres of Confederate land on which they had worked, uncompensated and abused, making the white planter class rich. The 1865 pledge to redistribute confiscated lands as restitution to African Americans for their enslavement didn't last a year before being annulled — reparations as rare, unique and desirable as a unicorn, offered by an untrustworthy white ruling class. (Had the 1865 redistribution happened, imagine where we might be today, as racist cruelties initiated by the federal government are running rampant.) Davis, placing his at least symbolic self on the unicorn's back, plainly asserts his social and cultural confidence. Art is imagination made real, and as a Black American artist, he's going to ride it forward. Perhaps the canvas' most beautiful feature is the rich skin of black acrylic paint within which he and his steed, both rendered in soft veils of thin gouache, are embedded. The luminous black abstraction dominating the surface was visibly painted after the figures, which feel like they are being held in its embrace. Thirty-nine paintings on canvas and 21 on paper are installed chronologically, the works on paper selected from 70 made during Davis' lengthy hospitalization. The layering of topicality, color sensitivity, art-historical ancestors and figuration and abstraction in '40 Acres and a Unicorn' recurs throughout the brief eight-year period being surveyed. (The traveling show was organized by London's Barbican Art Gallery with Das Minsk, an exhibition hall in Potsdam, Germany.) The most abstract painting is on a wall by itself in the next room, and it demonstrates Davis' unusual exploratory strategies. Titled 'Nobody,' a four-sided geometric shape is rendered in flat purple house paint on linen, 5 feet square. The layered difference in materials — an image built from practical, domestic paint on a refined and artistic support — is notable. The irregular shape, however two-dimensional, seems to hover and tilt in dynamic space. It suggests a 2008 riff on the long, rich legacy of Kazimir Malevich's radical, revolutionary geometric abstractions from 1915. The reference to the Russian avant-garde recalls that Malevich's art was dubbed Suprematism, which bumped aside the academic hierarchy of aesthetic rules in favor of 'the supremacy of pure artistic feeling,' most famously represented as a painted black square. Here, it twists into an inevitable jab at an ostensibly liberal Modern art world, still in fact dominated by unexamined white supremacy. 'Nobody' weaves together art and social history in surprising ways. It's one of three geometric abstractions Davis made, their shapes based on the map contour of a battleground state in the revolutionary election year that brought Barack Obama to the presidency. Colorado, a state whose shape is a simple rectangle, flipped from George W. Bush in 2004, while the secondary color of Davis' choice of purple paint was created by combining two primary pigments — red and blue. The color purple also carries its own recognizable, resonant reference, embedded in popular consciousness for Alice Walker's often-banned Pulitzer Prize-winning novel and Steven Spielberg's hit movie of the book, a record holder of dubious distinction, tied for the most Oscar nominations (11) without a single win. Davis' torqued purple rectangle looks to be in mid-flip. That Davis exhibited but ultimately painted over the other two works in his geometric series might suggest some dissatisfaction with their admittedly obscure nature. ('Nobody' almost requires footnotes.) He returned to painting the figure — 'somebody' — but often embedded it in visually sumptuous abstract fields. The hedge behind 'Mary Jane,' a young girl in a striped pinafore, visually a cousin to the little girl engulfed in billowing locomotive steam clouds in Édouard Manet's 'The Railway,' is a gorgeously writhing arena of spectral green, gray and black forms. So is the forest of 'The Missing Link 6,' where a hunter with a rifle sits quietly at the base of a massive tree trunk, virtually secreted in the landscape, like something rustling in the dense foliage in a Gustave Courbet forest. The missing-link title declares Davis' intention to join an evolutionary chain of artists, the hidden hunter adding an element of surprise. Art history is threaded throughout Davis' work. (He spent productive research time working as an employee at Art Catalogues, the late Dagny Corcoran's celebrated bookstore, when it was at MOCA's Pacific Design Center location.) The tension between established and new art, which seeks to simultaneously acknowledge greatness in the past while overturning its rank deficiencies, is often palpable. Nowhere is the pressure felt more emphatically than in the knockout '1975 (8),' where joyful exuberance enters the picture, as folks cavort in a swimming pool. The subject — bathers — is as foundational to Modern art as it gets, conjuring Paul Cézanne. Meanwhile, the swimming pool is quintessentially identified with Los Angeles. (Another fine pool painting, 'The Missing Link 4,' has a Modernist Detroit building as backdrop, painted as a grid of color rectangles reminiscent of a David Hockney, an Ed Ruscha or a Mark Bradford.) Bathers are an artistic signal for life crawling onto shore out of the primordial ooze or basking in a pastoral, prelapsarian paradise. For America, the swimming pool is also an archetypal segregationist site of historical cruelty and exclusion. Davis seized the contradiction. Draining public swimming pools to avoid integration in the wake of civil rights advances happened in countless places. It showed the self-lacerating depth to which irrational hate can descend, as policy advocate Heather McGhee wrote in her exceptional book, 'The Sum of Us: What Racism Costs Everyone and How We Can Prosper Together.' People were willing to harm everyone in a community by dismantling a popular public amenity rather than accept full equality. In '1975 (8),' the title's date is within just a few years of the Supreme Court's appalling ruling in Palmer vs. Thompson, which gave official blessing to the callous practice McGhee chronicled. The 2013 painting's composition is based on a photograph taken by Davis' mother four decades earlier. A bright blue horizontal band in an urban landscape is dotted with calmly bobbing heads. A leaping male diver seen from behind dominates the lower foreground, angled toward the water. The soles of his bare feet greet our eyes, lining us up behind him as next to plunge in. Davis suspends the aerial diver in space, a repoussoir figure designed to visually lead us into the scene. Like the unicorn rider, he assumes the artist's metaphorical profile. A moment of anticipatory transition is frozen, made perpetual. Waiting our turn, we're left to contemplate the soles of his feet — a familiar symbol of path-following humility, whether in Andrea Mantegna's Italian Renaissance painting of a 'Dead Christ' or countless Asian sculptures of Buddha. The marvelous painting was made at a pivotal moment. A year before, Davis and his wife, sculptor Karon Davis, joined four storefronts on Washington Boulevard in Arlington Heights to create the Underground Museum. Their aim was to create a self-described family-run cultural space in a Black and Latino neighborhood. (Money came from an inheritance from his recently deceased father, with whom Davis was close.) A year later, the ambitious startup expanded when the project took on the internationally acclaimed Museum of Contemporary Art as an organizing partner. One room in the show includes mock-ups of classic sculptures — imitations — by Marcel Duchamp, Dan Flavin, Robert Smithson and Jeff Koons, which Davis made for an exhibition to reference the classic 1959 Douglas Sirk movie about racial identity, 'Imitation of Life.' The appropriations ricochet off the feminist imitations of Andy Warhol and Frank Stella paintings that Elaine Sturtevant began to make in the 1960s. Not all of Davis' paintings succeed, which is to be expected of his youthful and experimental focus. An ambitious group that references raucous daytime TV talk programs from the likes of Maury Povich and Jerry Springer, for example, tries to wrestle with their trashy exploitation of identity issues as entertainment — DNA paternity tests and all. But a glimpse of 'Maury' with a crisp Mondrian painting hanging in the background just falls flat. The juxtaposition of popular art's messy vulgarity with the pristine aspirations of high art is surprisingly uninvolving. Still, most of the exhibition rewards close attention. It handily does what a museum retrospective should do, securing the artist's reputation. At any rate it's just a sliver of some 400 paintings, sculptures and drawings the artist reportedly made. Whatever else might turn up in the future, the current selection at the Hammer represents the brilliant early start of Davis' abbreviated career. Forget the mythology; the show's reality is better.
