Official Look at the Nike Air Max 90 "Cannon"
TheNike Air Max 90offers a refreshing take on the silhouette in a 'Cannon' colorway arriving this summer. The shoe features a distinctive color palette that includes a breathable white gauze-style mesh base. This is complemented by a simple grey leather quarter, a eye-catching shiny silver Swoosh, and a textured sage green mudguard for depth. Khaki details subtly appear on the heel, eyestays, and window, and a premium leather tongue tag finishes the upper. Retaining the beloved design elements of the Air Max 90, this iteration will feature visible Max Air cushioning in the heel for comfort, along with a durable rubber waffle outsole for traction. The stitched overlays and TPU accents deliver that iconic 90s look. The Nike Air Max 90 'Cannon' in the coming months.
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Boston Globe
6 hours ago
- Boston Globe
George C. White, founder of Eugene O'Neill Theater Center, dies at 89
There, on a sprawling property that rolled down to Long Island Sound, they lived, ate and worked together, far from the pressure exerted by producers, critics, actors and everyone else who, for better or worse, shape the public presentation of a play. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up White, the child of an artistic, semi-patrician Connecticut family who founded the center when he was in his 20s, called himself its 'innkeeper.' He spent most of the year in New York, raising funds and running the admissions process, and migrated north in the summer to run the O'Neill's day-to-day operations. Advertisement 'There have been plays here over the years that I think are pretty awful,' he told The New York Times in 1982. 'But I stand behind the selection of the playwright every single time. We really are looking for the playwright who shows promise, more than the play that can be a hit.' Advertisement Though White was an accomplished director in his own right, he relied on Lloyd Richards, the longtime head of the Yale School of Drama, to act as the center's artistic director. Together they developed an unerring eye for new talent. Famously, they accepted an unsolicited script from Wilson, who was still unknown at the time; the work, 'Ma Rainey's Black Bottom,' was nominated for the Tony Award for best play in 1985 and established Wilson as one of the great American playwrights of the 20th century. Other noted plays and musicals (which got their own, similar conference in 1978) that originated at the O'Neill included Guare's 'The House of Blue Leaves' (1966), Wendy Wasserstein's 'Uncommon Women and Others' (1975) and Robert Lopez, Jeff Marx and Jeff Whitty's 'Avenue Q' (2003). White cultivated a reliable network of actors to perform staged readings of each play. They, too, were drawn from the ranks of the young and promising, and many were destined for fame: Michael Douglas, Charles S. Dutton, Meryl Streep and Al Pacino, among others, did time at the O'Neill early in their careers. 'He took his privilege and used it to share the goodies for a wide community,' Jeffrey Sweet, the author of 'The O'Neill: The Transformation of Modern American Theater' (2014), said in an interview. 'And he did it with just enormous heart and enthusiasm.' George Cooke White was born on Aug. 16, 1935, in New London, not far from Waterford, where he grew up. He came from a long line of noted landscape painters, including Henry C. White, his grandfather; Nelson C. White, his father; and Nelson H. White, his brother. Advertisement His mother, Aida (Rovetti) White, came from a working-class family and was a seamstress before she met his father. She later served on the O'Neill's board. George studied drama at Yale University. After graduating in 1957, he spent two years in the Army, stationed in Germany, where he met Elvis Presley, who was already a singing sensation but wanted to do more acting. He asked White for advice, and they spent an afternoon running through a monologue. After his discharge, White studied at the Shakespeare Institute in Stratford-upon-Avon, England, and then returned to Yale to get a Master of Fine Arts in drama. He graduated in 1961 and moved to New York, where he worked for television producer and talk-show host David Susskind. White married Betsy Darling in 1958. Along with their children, she survives him, as do his brother and 10 grandchildren. One afternoon, White, an avid sailor, was tacking past the Hammond Mansion, an empty seaside home that was slated to be used for firefighting practice by the town of Waterford. He was already thinking of starting his own theater in honor of O'Neill, and he asked the town if he could lease the estate. Happy to help a local boy, the town gave it to him for $1 a year. The Eugene O'Neill Theater Center opened there not long after. White initially wanted to stage full productions at the site, drawing on the connections he had built under Susskind's tutelage. But even with his prodigious people skills, the task proved daunting, and in the interim he held his first summer conference for young playwrights. The conference was a hit, and he soon abandoned his original plans, focusing instead on cultivating new talent. He also began hosting similar conferences on theater criticism and musicals -- Lin-Manuel Miranda workshopped 'In the Heights' at the O'Neill before taking it to New York. Advertisement White retired in 2000 but remained involved with the O'Neill, and with theater generally. He was particularly active with other organizations that took the O'Neill as their model. Robert Redford, for instance, used it as a template for his Sundance Institute, focused on young filmmakers, and White agreed to serve on the Sundance board. He also served in the U.S. Coast Guard Auxiliary as a flotilla commander; in 2014, the Coast Guard gave him its distinguished public service award. Like many theater programs around the country, the O'Neill has struggled in recent years. This year, the federal government clawed back some of its funding, and the O'Neill has had to slash its budget and employment rolls in response. But Sweet said that White's legacy had put the O'Neill in a better place than other endangered programs. 'It's going to be belt-tightening for a while,' he said. 'But I think there's such a huge community of people who view the O'Neill as one of their homes, and a lot of them are famous and rich. A lot of them owe a lot to it.' This article originally appeared in
Boston Globe
12 hours ago
- Boston Globe
Providence's Bonded Vault robbery, 50 years later
I asked Tim to reflect on everything he's learned, and update us on whether we'll ever see a proper version of this story told on the big screen. Q: You're airing a special report at 5 p.m. and 6 p.m. on the 50th anniversary of the heist. What should viewers expect to see? Advertisement White: I've tracked down a lot of material over two decades of reporting on the heist, including a wild video of the lead gunman's alleged funeral. A while ago, someone leaked me another video of him discussing the caper – he was in witness protection at the time, so it was kept under wraps for years. Tonight's reports use WPRI archive video to retell how the heist went down, showcase its impact on Get Rhode Island News Alerts Sign up to get breaking news and interesting stories from Rhode Island in your inbox each weekday. Enter Email Sign Up Q: This story has had a decades-long shelf life, and you coauthored the definitive book on it. But I still wonder if readers today understand quite how seismic it was in the 1970s. Is this even the kind of heist that could happen today? Advertisement White: This heist shouldn't have happened then, to be honest – the gang of thieves that stormed 101 Cranston St. in Providence wasn't exactly the crew from 'Ocean's 11.' And what made it even more remarkable was that Bonded Vault was probably the safest place to hide ill-gotten gains in 1975, because it was controlled by the mob itself. But as we detailed in the book, the gang had the approval of the boss himself, the late Raymond L.S. Patriarca, though he always denied involvement. The case wound up leading to the longest and most expensive trial in state history, and had all sorts of other ripple effects. Q: Your father was obviously a legendary reporter, and you have a great story about how your family helped you land the scoop of a lifetime when you tracked down one of the leaders of the robbery. Tell us about that. White: My coauthors and I were struggling to figure out what happened to the lead gunman, Robert Dussault. The feds whisked him away after he testified for the government. In 2008, three years after Dad died, my mom brought me a box of stuff from her basement which included an empty envelope. The return address was from Colorado with a name I didn't recognize: Robert Dempsey. But I remembered Dad telling me Dussault was relocated and given a job at Coors Brewing. I figured out the return address was a prison, and records showed the inmate was dead. I used those documents to request Dempsey's FBI file, and nearly two years later I got a box in the mail with hundreds of pages. The top sheet: 'Robert Dussault a.k.a. Robert Dempsey.' It completed the story. If mom hadn't dropped off that box, I'm not sure we'd be doing this Q&A. Advertisement Q: You wrote the book about this, and there was also a third-rate White: Bestselling author and screenwriter Don Winslow is still very interested in the project, and as far as Wayne, Randy and I are concerned, he has the best vision for it. Keep your fingers crossed for us. Q: I have to finish with the obligatory organized crime question. We know the Mafia isn't remotely as powerful as it was in the 1970s. But do underground safes or banks like the one in this story still exist for mobsters to hide their ill-gotten gains? White: If there's anything like Bonded Vault that exists today, I'm not aware of it. In this era, tangible loot is more likely to be smuggled to a foreign country with looser rules. And contemporary organized crime cases show 'underground safes' are more often computer network servers that store scammed funds. Call me old school, but it's just not as interesting as a secret room tucked away inside a Providence fur storage warehouse. This story first appeared in Rhode Map, our free newsletter about Rhode Island that also contains information about local events, links to interesting stories, and more. If you'd like to receive it via email Monday through Friday, . Advertisement Dan McGowan can be reached at
Black America Web
12 hours ago
- Black America Web
Michael Jai White Brings 1970s Cool to Modern Cinema in 'Trouble Man'
Source: Courtesy of Samuel Goldwyn Films / Courtesy of Samuel Goldwyn Films Actor, martial artist, and director Michael Jai White is channeling the spirit of blaxploitation classics with his latest film, Trouble Man . In a recent interview, White revealed how he's updating the 1972 Robert Hooks original for today's audiences. 'It's a movie that's about somebody who was, you know, this badass that was about his community and his people,' he said. 'That's what I want to do in this movie.' White credits co-star Method Man as essential to the project's vision. 'I wouldn't have done the movie if it wasn't for him,' White explained. Drawing inspiration from legendary partnerships, he positioned himself as Jim Brown while casting Method Man as his Fred Williamson counterpart. 'If I was Jim Brown in this, I needed my Fred Williamson. And that was Meth,' he shared. Their on-screen chemistry promises to capture the magic of classic buddy films. The cast also features LaLa Anthony, who impressed White so much during filming that he claimed every take was usable. 'As the director of the movie, I don't have one take of her that wasn't good. I could have used any take,' he said. Mike Epps and Orlando Jones round out the ensemble in this contemporary take on community-focused storytelling. We care about your data. See our privacy policy. Unlike a period piece, Trouble Man transplants classic themes into modern settings. White's character maintains throwback styling while addressing contemporary issues. The film echoes beloved comedies like Uptown Saturday Night and Piece of the Action – movies that entertained while uplifting audiences. 'It's like movies that we haven't seen in a long time,' White noted, emphasizing the film's feel-good nature with meaningful messages woven throughout. 'I'm trying to bring a modern-day twist on an old school type of film,' he added. 'That's the alchemy that I'm trying to bring with myself and Method Man.' White's martial arts expertise extends beyond screen fighting. He's trained with champion boxers like Tommy Hearns and undefeated fighters, approaching combat sports with genuine passion. 'I just enjoy learning and training and applying what I know,' he said. 'For years, I trained with the best fighters I knew, and I would go and I'd get the best fights out of them because I'd go to where they trained.' This authenticity translates into his filmmaking, where he maintains creative control and refuses to compromise his integrity for financial gain. 'If it's not in line with who I am as a person, my integrity and everything else, it doesn't matter the dollar amount,' White emphasized. As director and editor, White won most creative battles with studio executives, employing clever tactics like including 'mascot fight scenes' – deliberately questionable content that gives executives something to cut while preserving his true vision. 'You put a mascot fight scene that you don't want in the movie so the executives can say, I don't know about this mascot fight scene. And you go, you know what? Yeah, I'll take it out. Thank you,' he laughed. During the interview, White also teased an exciting future project: the return of the popular film series Why Did I Get Married? He confirmed that creator Tyler Perry recently announced Why Did I Get Married Again and shared that he had read the script the night before the interview. 'I think you just might [see Marcus return],' he teased, clearly excited about the prospect. While details remain under wraps, White hinted that fans may indeed see the return of his beloved character, Marcus. His enthusiasm suggests that the next chapter in the Why Did I Get Married? series is on the horizon, much to the delight of longtime followers. SEE ALSO Michael Jai White Brings 1970s Cool to Modern Cinema in 'Trouble Man' was originally published on
