Stepping is an essential part of HBCU and Black culture. The effortless blend of precision, talent and teamwork is a spectacular showcase of HBCU tradition. It’s not a proper HBCU Homecoming until step crews battle it out and showcase their art. To that end, we’re examining some of Hollywood’s best representations of stepping.

‘A Different World’

You know we’re starting with the classic comedy’s Season 2 episode “A Stepping Stone.” Gilbert Hall is competing during homecoming, but Freddie has two left feet and can’t pick up the routing, frustrating Whitley, who’s ready to kick her off the team. After an all night session, Freddie finally learns the steps, Gilbert dominates the competition and the mainstream was introduced to stepping.

‘School Daze’

Spike Lee’s exploration of Blackness on the campus of an HBCU features a particularly vicious step show where the insults fly faster than the footwork. Whet the veteran director gives us here is a look at the showmanship and stagecraft involved in some crews’ routines. There’s not one way to put on a step show..

What makes this such a classic episode is that it eases unfamiliar viewers into the basics of stepping. They’re doing a watered down version of what actual crews were probably doing at the time. Plus, the shade they’re throwing at their rivals shows how it’s about more than just the dancing. It’s also very ‘90s, which offers some fun nostalgia.

‘Stomp the Yard’

In the early 2000s there was an endless stream of dance battle movies. It’s no surprise that after mixing ballet and hip-hop in multiple films, Hollywood eventually tackled stepping in “Stomp the Yard.” While the story follows a predictable “new kid in town bumps heads with the best crew” format, the dance scenes are really well done. It also does a good job of showcasing how each crew uses its routines to showcase its unique personality. To the untrained eye, these routines may look the same, but they’re all very different and express some special about each team.

‘HOMECOMING: A film by Beyoncé’

For her now legendary headlining set at 2018 Coachella, Bey wanted to celebrate HBCU Homecoming. In a cultural moment that will never be duplicated, she brought it all to the stage, including a marching band, a fraternity line and stepping. It was the biggest star in the world showing off her unapologetic Blackness. Check out how hard she hits those steps, she’s all in and really wants to get it right.

Luckily for everyone, she filmed it all for a Netflix special, so we can revel in all this greatness over and over.

These are just a few examples of how Hollywood has represented stepping to the world. Obviously, if you want to see the real thing, the internet is full of routines from various fraternities, sororities and organizations.

U.S. Congresswoman Stacey Plaskett lambasted Republicans for blocking a measure by the Congressional Black Caucus to censure U.S. Rep. Clay Higgins, R-La., for his racist and now-deleted tweet disparaging Haitians.

“Like nothing to see here. Move on,” said Plaskett of her Republican colleagues in the U.S. House of Representatives.

Following backlash for his post, Higgins attempted to walk back his remarks, where he called Haitians “gangsters” and Haiti the country the “nastiest country in the Western Hemisphere.”

“You never want to intentionally hurt someone’s feelings, and that post was intended for Haitian gangs…,” Higgins said to reporters on Thursday. 

Plaskett, a Democrat representing the U.S. Virgin Islands, told theGrio in a recent sit-down interview, “This is all about race and color and fear.” She said she believes the recent attacks on Haitian immigrants are part of the far-right’s “great replacement theory” that for years has been pushed by Republicans, including 2024 presidential and vice presidential nominees Donald Trump and JD Vance.

Plaskett explained that the racist theory is built on the “notion that Jews and others are paying immigrants to come into this country to take over the country and to replace white people, Christians in this country.”

“It is easy to demonize a group of people who are not like yourself,” said Plaskett, co-chair of the Congressional Caribbean Caucus. “Particularly for us, as Black Americans, we need to understand that when they’re coming against Haitians, they’re coming against us and we’re next.”

As for the failed motion to censure Higgins, Plaskett argued that the outcome would have been different “if a Democrat had done something like this.”

“They want to censure Democrats just for where they were born. Just for their religious beliefs,” she argued, in reference to the censure of U.S. Rep. Ilhan Omar, D-Minn.

Watch the entire interview above.

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Editor’s note: The following article is an op-ed, and the views expressed are the author’s own. Read more opinions on theGrio.

There was a time when it was clear that the best recording artist in the world was Stevie Wonder. I’m talking about the early to mid-1970s, precisely 1972 to 1976 when Wonder unleashed a string of unforgettable albums. First “Music of My Mind” (1972), then “Talking Book,” (1972), “Innervisions,” (1973), “Fulfillingness’ First Finale” (1974) and the double album masterpiece “Songs in the Key of Life” (1976). Has any artist released five albums that great in a space of five years? No. A run of albums like that deserves the highest level of commemoration, which is a fancy way of saying we got to give Stevie his flowers. We just got audible flowers for Stevie in the form of an amazing podcast — the best podcast I have heard this year — “The Wonder of Stevie” on Audible. It’s a smart, fun deep dive into Stevie’s greatest period.

“The Wonder of Stevie” is a seven-part discussion of Wonder’s iconic run of albums. The host is Wesley Morris from the New York Times, whose love for Stevie seems boundless. The executive producer is Questlove, who’s an amazing student of Stevie’s catalog. We hear Morris interview people who played with Stevie like Ray Parker, Jr., and people who love him like Janelle Monae. He also speaks with two of Stevie’s biggest fans — Barack and Michelle Obama. Stevie is such a huge part of their lives that they discussed his music on their first date. They say it was one of the markers of whether or not they would be compatible. Now the first lady says things like “When you talk to Stevie …”  But seriously, if you went on a date with someone who said they didn’t love Stevie, you should run.

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Each episode of “The Wonder of Stevie” is a deep dive into one of the albums in Wonder’s ’70s run. We hear about Stevie’s inspirations, where he was in his life, how it was made and what the album means on a deeper level. Sometimes we hear Morris just lay back and luxuriate in the beauty of Stevie’s music. This is an amazing dive into the zenith of an unforgettable cultural figure. We learn about his music, his first wife, his plan to quit the music business and his move to Africa — this will give you a look into Stevie’s life and his musical mind.

The show reminds me of the way we often sit and talk and commune and argue about music. Sometimes Morris is swooning along with Stevie’s genius, but sometimes he’s arguing with his guest. Sometimes he’s arguing with us. In the final episode of the series, Morris attempts to make the argument that the 1979 album “Stevie Wonder’s Journey Through the Secret Life of Plants” should be included in what’s considered Wonder’s legendary streak. This is cockamamie nonsense but it’s fun to hear Morris run around trying to make a case. Yes, Plants includes “Send One Your Love,” a towering piece of beauty, which is among Stevie’s most beautiful songs. But beyond that, “Plants” is a largely instrumental, kind of weird album that doesn’t connect the way Wonder’s prior albums did. I can barely listen to it. Even the former president concedes that while he loves Stevie, he doesn’t care for that album. Still, it’s fun listening to Morris try to make a case for it.

The Wonder of Stevie is a work of beauty about works of beauty. It’s a joy to listen to and a fitting tribute to our beloved Stevie. Don’t miss it.

Toure is a host and writer at TheGrio. He hosts the TheGrio TV show “Masters of the Game,” and he created the award-winning podcast “Being Black: The ’80s” and its upcoming sequel “Being Black: The ’70s.” He is also the creator of “Star Stories” and the author of eight books, including “Nothing Compares 2 U an oral history of Prince.” He also hosts a podcast called “Toure Show.” He is also a husband and a father of two.

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The Harris-Walz campaign, in an exclusive provided to Watch The Yard, is announcing the launch of a nationwide HBCU Homecoming Tour aimed at engaging Black voters in key battleground states. The tour, which was announced today, will coincide with the annual homecoming celebrations at historically Black colleges and universities, deploying surrogates such as Black elected officials, national leaders, and prominent HBCU alumni to events in North Carolina, Georgia, Florida, Virginia, and Pennsylvania. According to the campaign, the tour will feature appearances by hip-hop figures and cultural influencers and will seeks to meet voters where they are and build momentum ahead of the upcoming election.

The tour kicks off this weekend at Winston-Salem State University in North Carolina. As part of the festivities for WSSU’s 132nd Founders Day, the campaign will host a tailgate during the WSSU vs. Bowie State University football game.

The tentative tour schedule includes:

• Winston-Salem State University, Weekend of September 28th
• Lincoln University, Weekend of October 12th
• Virginia State University, Weekend of October 12th
• Howard University, Weekend of October 19th
• North Carolina Agricultural and Technical State University, Weekend of October 19th
• Clark Atlanta University, Weekend of October 19th
• Morehouse and Spelman College, Weekend of October 26th

The Harris-Walz campaign’s HBCU Homecoming Tour is part of a broader strategy to engage Black voters in key battleground states ahead of the November elections. Last week, the campaign marked National Voter Registration Day by hosting canvassing events across 60 HBCU campuses in states such as Virginia, North Carolina, Georgia, Pennsylvania, and Michigan.

Vice President Harris recently spoke at a National Association of Black Journalists panel, where she discussed her administration’s $17 billion in federal investments for HBCUs and urged Black voters to participate in the upcoming election. Governor Walz, addressing students at the Atlanta University Consortium, similarly emphasized the importance of voter access, drawing attention to efforts in some states to restrict it.

Since the beginning of the new decade, countless stars on a myriad of different Real Housewives franchises have decided to leave the show.

Those include women like “Real Housewives of Atlanta” stars Nene Leakes, Cynthia Bailey, Sheree Whitfield, Kandi Burruss, Kenya Moore Marlo Hampton and Eva Marcille. It also includes women like Candiace Dillard-Bassett, Robyn Dixon, Monique Samuels of the “Real Housewives of Potomac.” And we can’t forget the departures of Eboni K. Williams, Annemarie Wiley, of “Real Housewives of New York” and “Real Housewives of Beverly Hills” fame, respectively. (And those are just the Black women.)

In the years following, numerous franchises have also seen record low viewership, like the ever-popular “RHOA” that Deadline reported suffered a ratings decline and slip in views earlier this year. The popular New York franchise, which was the second iteration to come on TV back in 2007, has also seen a steady decline in ratings and viewership over the years.

With all this going on, it begs the question of whether the golden age of the “Real Housewives” are truly over? As it’s been well reported, the impetus for the show derived from ABC’s popular fictional dramedy, “Desperate Housewives” that aired from 2004 to 2012. The show was meant to be an inside look at the lavish lives the wives of ball players, famous celebs, musicians and more led. But over the years, the glitz and glam began playing second fiddle to the cattiness and in-fighting that ended up drawing in viewers who became third-party witness to the mess of more affluent women. And what’s worse, is that half the drama over the years seemed to come across as either grossly manufactured or so nonsensical and minute that it served no purpose other than a filler plot point to get through the duration of the season.

And while the drama in the collective series’ has given mainstream culture more than its fair share of escapism, innumerable memes/gifs, and pop culture references and quotes (“who gon’ check me, boo?” is going to live in my head rent-free forever)—what’s become abundantly clear through both numerical data and word-of-mouth chatter on social media is that the franchise just isn’t hitting the same anymore. Whether that’s due to its parent company Bravo not being as good with picking the right women for the show or the direction each iteration wound up taking, what’s become evident is that the shows are not reaching the same peaks of relevancy and popularity as they once were and fans are starting to sound off about it.

“I want Bravo to remember why the real housewives became the pop culture phenomenon it is. They also have to abandon the mission of blending social awareness with detached from reality wealthy women. It’s not consistent and betrays the whole purpose of the show. Let the girls be authentically stupid, unhinged, delusional and wrapped up in their own world. It’s what pulled us all in! Relatability is gnawing away at the brand,” said one user on X/Twitter.

When one user on X/Twitter commented that they didn’t think the franchise would be around much longer, another added: “Not only that. Housewives aren’t as wealthy as they were before (due to numerous factors) one of the girls from RHOP had the same SHEIN dress as me. It’s losing its wow factor.”

Added another: “Bravo has lost the plot. Housewives started out as real groups of friends and or acquaintances who at a minimum had a like for each other. It is now putting women into groups who have no connection or don’t even like each other, and making them interract for a paycheck.”

Whatever the remedy is for the problem, Bravo had better figure it out soon. I, and other viewers miss the days of good, ole shady clapbacks, looks at luxurious homes, and the feeling of truly getting sucked into a world that looked so much different than our own and admiring these women who had made a name for themselves outside of their notable partners. If the golden era for the “Housewives” are truly over, then it at least needs to go out with a bang before we drop our collective peaches and champagne glasses.

40

J. Cole has once again proven his lyrical mastery with his verse on “A Plate of Collard Greens,” a standout track of 2024. This verse is filled with intricate wordplay, cultural references, and social commentary, making it one of the most talked-about verses of the year. Here’s a breakdown of why J. Cole’s verse is a strong contender for “Verse of the Year.”

Slick Wordplay Right from the Start

The verse starts with clever wordplay on “turn to kick,” which sounds phonetically similar to “tourniquet,” a device used to stop bleeding. This line is a metaphor for how Cole handles pressure, preventing the “leak” (or stress) in the rap game. He follows this up with a homophone of “vain” and “vein,” transitioning into a deeper exploration of the lengths he goes to be recognized as the greatest rapper alive.

This section sets the tone, establishing Cole’s connection between physical and emotional pressure as he works his way to the top.

The Legacy of Violence and the Crack Epidemic

J. Cole masterfully brings in the legacy of the 1980s crack epidemic, highlighting how it devastated his community. His line, “Exchanging raw for cream,” refers to the exchange of crack cocaine (raw) for money (cream). He weaves a narrative about the dangers of hustling, using phrases like “tricked ‘em and went left,” possibly alluding to deceiving buyers with fake drugs and the violence that follows—similar to how Jayson Tatum fakes out defenders with his left-handed pull-up shots.

Cole also subtly references Ronald Reagan, using the phrase “Rated R regimes,” a nod to the administration that exacerbated the epidemic. This blend of historical references and wordplay enhances the depth of the verse.

The Collection Plate Double Entendre

A standout moment comes when Cole describes dodging debt collectors as a kid, using a double entendre with “collections.” He learned to ignore the calls from debt collectors (letting collections pass) but also ties this into passing collection plates in church, symbolizing a time when he couldn’t afford to give money for offerings.

In this metaphor, J. Cole juxtaposes material debt with spiritual debt, adding a layer of introspection that reflects his struggles growing up.

Channeling Thought through Clever Distraction Commentary

Cole continues the theme of financial struggle by describing how the unpaid bills led to the cable being shut off. Without television, he was forced to “channel” his thoughts—a clever way of saying that, without distractions, he found clarity and a space to think critically.

This insight speaks to a larger commentary about society’s reliance on media distractions, and how absence from it allowed him to sharpen his mind.

The Michael Jackson Scheme

One of the most impressive parts of the verse is the Michael Jackson-themed section, where Cole references several iconic MJ moments:

• The reference to Halloween links to Michael Jackson’s “Thriller.”






• The nod to “Scream,” another famous MJ song.






• “Dangerous,” a direct mention of Jackson’s album.






• The line “Spin your block” connects to MJ’s signature spin move.






• “No moves, minimal” recalls Michael’s famous moment when he stood still on stage and fans went wild.






• The “Smooth Criminal” reference ties to both the song and MJ’s gravity-defying lean move in the music video.

This scheme shows Cole’s genius for embedding pop culture references into his verse, giving listeners both nostalgia and lyrical depth.

The Drug References and Wordplay

J. Cole quickly pivots to talk about the use of lean, a drug often abused in certain circles. The line “the whole gang doin’ insane amount of lean” is both a reference to the drug and a continuation of the Michael Jackson “lean” dance move.

He follows this up with a wordplay on the phrase “No doc for pain they harboring.” It’s a double entendre, meaning there are no doctors to treat their pain, but also a clever homophone for “dock” in a “harbor,” playing on the idea of emotional burdens being anchored in their lives.

Soul Food and Salvation

In the final section, J. Cole ties everything together by discussing the spiritual battles people face, living sinful lives catered by Satan. He offers an alternative with his “plate of collard greens,” symbolizing the soulful nourishment he provides through his music. Collard greens, a classic staple of soul food, become a metaphor for spiritual healing.

J. Cole ends on a note of empowerment, positioning himself as someone who offers sustenance in a world filled with temptation.

The Next “Verse of the Year” Contender?

Back in 2022, J. Cole confidently asked, “How many ‘Verses Of The Year’ this year is Cole gonna write?” It seems fitting that his next collaboration with Daylyt has delivered yet another contender for that title.

J. Cole’s verse on “A Plate of Collard Greens” masterfully blends introspective reflection, clever wordplay, and cultural critique—making it not just one of the best verses of 2024, but a reflection of why he continues to be a dominant force in hip-hop.

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U.S. Rep. Barbara Lee, D-Calif., introduced a resolution this week in the U.S. House of Representatives in an attempt to educate Republicans on the true meaning of “woke” and its connection to Black culture.

The resolution seeks to “affirm” the ‘‘woke’’ term and its “historical connection to Black history, Black liberation movements and social justice.”

“Woke is deeply connected and rooted to Black history and our fight for social, racial, and economic justice,” Lee said in an exclusive statement to theGrio. “Let’s be clear: MAGA extremists aren’t misunderstanding this word, they are intentionally weaponizing it against us. There is a 400-year history of language being used to divide and conquer our people.”

The longtime California congresswoman, who in the 1970s volunteered for the Black Panther Party in Oakland, told theGrio she introduced the resolution so that the congressional record could “characterize the real meaning of this word that is continuously being misused and misrepresented by extremists to tear us down, rather than lift us up as it was intended to do.”

For years, the term “woke” has been a target of Republican lawmakers in their attempts to criticize and dismantle laws and programs related to racial justice or diversity, equity and inclusion. 

In Florida, Gov. Ron DeSantis signed a bill called the “Stop WOKE Act,” which prohibited businesses and schools from teaching concepts related to race or racism. DeSantis and other Republican leaders argued that a “woke ideology” was indoctrinating children and discriminatory to white people. Some conservatives have gone as far as taking legal action against racial equity programs in business and education.

Lee’s resolution calls out Republicans and the media for misusing the term “woke” as a “trendy new slang, eroding its cultural connection and separating the term from its historical grounding in social justice.” It also specifically calls out DeSantis’ “Stop WOKE Act” for “targeting the teaching of United States history and Black educators.”

The resolution is endorsed by the NAACP and mirrors the civil rights organization’s resolution affirming the term “woke.” 

As does the NAACP resolution adopted in 2023, Lee’s congressional resolution notes that “woke” has existed in Black culture since at least the early 1900s. In 1940, Black mine workers used the term while advocating against discriminatory pay. The term was also used by famed scholar and Pan-African activist Marcus Garvey, who notably said, ‘‘Wake up Ethiopia! Wake up Africa!” in his attempt to unite people of African descent.

“Educating the public and ushering in a truth movement in this country is essential to reparative justice for our communities,” Lee said about the importance of her resolution. “Staying woke means staying vigilant against injustice everywhere and not allowing MAGA extremists to perpetuate it.”

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