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Miami Herald
15 hours ago
- Sport
- Miami Herald
HBCU HC Building Legacy as He Nears 100 Career Wins
"There were moments I didn't know if I'd ever coach again," said Virginia State Head Coach Henry Frazier III. "Now I'm sitting at 98 wins-and I want that hundred." One hundred wins will cement his legacy as an HBCU coaching icon. For Frazier, the climb to 100 wins is about more than the number. It's about redemption, proving HBCU coaches belong in any conversation, and honoring the path he's walked-from Bowie to Prairie View, from the sidelines to the classroom. "That's something I want, you know, from a personal standpoint," he added. "It's something I've worked toward my whole career." "I am proud, man, proud. I couldn't be more happy for Lamar," Frazier said, referring to Lamar Manigo, the former Bowie State quarterback who played under him and eventually joined his staff. "It's not just a branch. I recruited him out of high school." That branch is part of a vast coaching tree. "We did a survey a few years ago… over 83 or 84 guys that I've coached are coaching now," he said. "I love to see boys go to men. That's my 'why.'" Henry Frazier III calls it guided discovery. "I want you to have that aha moment. And when it happens, you're gonna know. I'm gonna know. And I'm gonna say job well done." Frazier's reach spans every level of education. "I mentor middle school boys… I write children's books… and I recruit high school guys to college," he said. "From kindergarten to a college graduate, I have an impact on young people." He chairs the fatherhood and mentoring program for Omega Psi Phi Fraternity, working with youth at Ernest Everett Just Middle School. "That's been so rewarding," he said. "I'm an educator. I got my degree in education." Off the field, Frazier finds time to recharge. "I chase the white ball on the golf course. Some days I binge-watch Netflix. That's how I stay strong." After last season's 7–4 finish, Frazier knows expectations are high. "We play the top five teams… Fayetteville, Smith, Winston, Union, and Bowie," he said. "We have no room for error." He owns last year's late-season dip. "We lost four football games by 13 points. That's on me. Just bad coaching after the bye week. I won't make that mistake again." With five quarterbacks competing to replace Mello, Frazier has his eye on one name. "If we get the right guy in there, which I think we have in R.J. Matthews… we're gonna be a tough out." And if older players don't step up? "You'll see a bunch of freshmen playing," he warned. "Because the goal is to win a championship." "We're good football coaches," Frazier said with conviction about his HBCU counterparts. "A lot of the white schools look at us and think that we can't coach ball. We're gonna just keep proving them wrong." Then, after a pause, he added: "I'm not chasing a number-I'm chasing impact. If a hundred wins gets me one more young man who believes in himself, then I've done my job." The post HBCU HC Building Legacy as He Nears 100 Career Wins appeared first on HBCU Gameday. Copyright HBCU Gameday 2012-2025
Scotsman
14-07-2025
- Sport
- Scotsman
Scotland World Cup hopes and Euro ambitions on agenda for Hibs striker Bowie
Close season interrupted - but first Scotland cap worth the extra graft Sign up to our Hibs football newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... A disrupted summer was definitely a price worth paying for the honour that interrupted Kieron Bowie's holiday plans. If anything, the experience has simply made him more eager to take on extra work – for Hibs AND Scotland, all going well. Awarded his first senior international cap by Steve Clarke during the June international window, the former Fulham prospect coming off the bench for the final dozen minutes or so of a one-sided away win over lowly Liechtenstein, Bowie is definitely eager to prove that his pedigree with Scot Gemmill's Under-21s can be translated into World Cup goals for the 'big' team. Have inherited the No. 9 jersey at club level for the start of his second season in green-and-white, the physically imposing centre forward harbours realistic ambitions to play the same role for his country one day. Advertisement Hide Ad Advertisement Hide Ad Looking forward to European opportunities after helping David Gray's team to a third-place finish in the Scottish Premiership, despite requiring surgery on a hamstring injury that hampered his ability to contribute, Bowie should be leading the line for Hibs when they take on FC Midtjylland in their Europa League second qualifying round tie later this month. He's eager to get started, despite a distinct lack of time off. 'It's mad because us lads that were away (on international duty), we've only been in for just over a week, and then we've got Midtjylland in less than two weeks' time so it's a very quick turnaround,' he said, adding: 'But we feel in a good place and just need to get back to our fittest and get playing well. 'I think in terms of time off I had around three weeks, maybe four weeks-ish, so it's not long. It's obviously alright, but it's not long at all. 'I had two weeks off after the Rangers game and then we were away for eight or nine days. Then I had another week-and-a-half, two weeks off after that, which is good from the club to let us have that extra break when the other lads are in a week earlier than us. Advertisement Hide Ad Advertisement Hide Ad 'It's good to have that time off, but you can't really switch off when you've got two toddlers at home. I should have just came and hid in here! 'I feel like at the end of the season I was just getting into the gear that I'm in and I feel like now I just need to do as much as I can and just play the best I can play.' Eagerly anticipating an increased workload in the campaign ahead, Bowie pointed out: 'I've played in England before obviously, and that's Tuesday, Saturday, Tuesday, Saturday. It's relentless down there, so I've been used to it previously, but then obviously with my injury and stuff, it's sort of taking a toll on my body. But I'm hoping just to try and get back to fit as I can and be able to adapt to being able to play Thursday, Sunday. 'I mean, obviously I want to do as much as I can in the league. But then also now to play in Europe is a big thing for us as a club and hopefully I can do well in that as well. Advertisement Hide Ad Advertisement Hide Ad 'I need to do as much as I can now, because during the season you don't get the opportunity to do as much running as you can do now. You just got to do as much as you can to put yourself in stead for the season. 'I'm definitely a lot closer to my best now, especially with a pre-season. I've helped myself a lot during off-season, and hopefully I can look to more goals this season.' International 'honour' sparks desire for more caps More goals would be grand, of course. Not just from a Hibs perspective. With Scotland heading into a World Cup qualification campaign, Clarke is in a position that will have been familiar to many a predecessor – namely, crying out for an international-class centre forward. Bowie, who says he'll get the jersey from his Scotland debut framed, insisted: 'I mean, to play for Scotland, it's just an honour. And then hopefully in the future I can get more call-ups, and we'll see what happens. Advertisement Hide Ad Advertisement Hide Ad 'No, unfortunately my family didn't travel out to see me. They just watched it on the TV. It's a long way to go, just to go to Liechtenstein and then not even sure if I'm going to play! 'I just sort of take it on my stride. I don't really overthink things too much, I just sort of take it day by day and see what happens.'
Daily Record
14-07-2025
- Sport
- Daily Record
The reason Kieron Bowie is relishing relentless summer as Hibs star gears up for Europa League push
The season starts next week for David Gray's men with the first leg against Midtjylland Kieron Bowie has barely had any time off after earning a dream Scotland debut this summer. But the striker admits taking a break was the last thing he wanted after being hit by a frustrating injury lay-off in his debut campaign at Hibs. The 22-year-old was left playing catch-up for much of the season after suffering a recurrence of a hamstring injury in September just weeks after recovering from his previous problem. That kept him out for four months and Bowie only managed five league starts as Hibs finished third. But that was still enough to earn a first cap against Liechtenstein as part of June's friendly double header. And with next Thursday's Europa League first leg at Midtjylland just around the corner, the former Fulham and Raith man is relishing his relentless fixture schedule. Bowie said: 'It's mad because for the lads that were away on international duty we've only been in for just over a week and then we've got Midtjylland in under two weeks' time. 'It's a very quick turnaround but we feel in a good place and just need to get back to our fittest and get playing well. 'I think I had around three weeks off so it's not long. I've played in England before obviously, and that's Tuesday-Saturday, Tuesday-Saturday. 'It's relentless down there so I've been used to it previously but then obviously with my injury and stuff it's sort of taken a toll on my body. 'I had two weeks off after the Rangers game and then we were away for eight or nine days and then I had another week-and-a-half off, two weeks off after that. 'It was good from the club to let us have that extra break when the other lads were in a week earlier than us. 'It's good to have that time off but you can't really switch off when you've got two toddlers at home. To be honest I didn't really want that time off anyway. 'I feel like at the end of the season I was just getting into the gear I'm in and I feel like now I just need to do as much as I can and just play the best I can play. 'I'm hoping just to try to get back to fit as I can and be able to adapt to being able to play lots of games.' The former U21 international certainly wasn't going to moan after earning promotion to the full senior set-up. He added: 'To play for Scotland it's just an honour and then hopefully in the future I can get more call-ups and we'll see what happens. 'My family unfortunately did not get over, they just watched it on the TV. It's a long way to go, just to go to Liechtenstein and then not even sure if I'm going to play.' Bowie and his Hibs team-mates will get the chance to build on their fitness in today's closed door clash at Bournemouth. And the marksman is relishing the start of the competitive action in Denmark. He added: 'I want to do as much as I can in the league but then also now to play in Europe is a big thing for us as a club and hopefully I can do well in that as well. 'No matter who we got in the draw, it was always going to be a tough opponent. 'We have to do as much as we can to prepare and get ourselves ready for that game. 'In terms of my fitness I'm definitely a lot closer to being at peak now, especially with a pre- season. Hopefully I can look to more goals this season.'
Spectator
13-07-2025
- Entertainment
- Spectator
How Live Aid ruined pop music
Today is the fortieth anniversary of Live Aid, the epic televised pop concert – or 'global jukebox' – designed to raise funds to alleviate the devastating Ethiopian famine. The proceedings were divided between Wembley and the Kennedy stadium in Philadelphia. It was billed, even at the time, as an epochal day, an event that would change the world and change pop music. And I think it was – but maybe not in the way everybody thought. So, we exported Marxism to Ethiopia and it starved to death – and now we had the temerity to add Spandau Ballet, Phil Collins and Nik Kershaw on top I was 17, and though I couldn't articulate why, I felt that there was something wrong about the whole affair. 'Crowds, properly worked up by skillful demagogues, are ready to believe anything,' H.L. Mencken wrote in 1918, and I felt in my bones that Bob Geldof, however well-intentioned, was rousing a rabble and flattening their thoughts. Modern mass-produced western pop music, for me, just doesn't belong outdoors. It is a wonderful thing – but it is unnatural, synthetic, and contrived. It is best enjoyed alone at home or in small interior venues. Enormous rallies exalt it beyond its range, or rather they alter it into a mass Bacchic rite. I could feel a strange cultural gear shifting, even though I couldn't put it into words. For me, Live Aid felt like the end of something, or a transformation of something beyond its natural limits. A study of Spotify data in 2018 reported that our musical taste is locked in when we are young teens – 14 for men, 13 for women. It follows that the first changes in music that happen after that age are going to be particularly jarring for us. To an ordinary disinterested observer, the differences between the charts of 1982 and 1985 will seem very minor. But to me, at that crucial age, it was very apparent that something had dropped off, and Live Aid put the tin hat on that. The pop scene of 82 was playful, varied and – however flat footed – innovative. Soft Cell, ABC, Yazoo, The Associates, The Teardrop Explodes, Shalamar, Dexy's; they were all very different. Live Aid was a massive top-down corporate flattening-out of all that. It was the return of superannuated rock gods and the establishment of a gaggle of newer, much dumber concerns – Madonna, U2 and Paul Young. Pop was never exactly Mensa, no, but the brains it did have evaporated that day, and they never really came back. My little new wave bubble was well and truly burst. It had run off the fumes of Bowie's 1977 albums Low and Heroes, and in a strange way this came full circle with Bowie's set at Live Aid. The song 'Heroes' was reborn that day – the edge and the angst of it sawn away as it became a self-glorifying stadium rock anthem. There were other oddities and infelicities in the line-up. The inclusion of Adam Ant, who hadn't had a sniff of a hit for years, just seemed peculiar in 1985. Bryan Ferry, with a back catalogue of huge singalong smashes, decided instead to plug noodling non-single tracks from his latest album. And there were frequent crass juxtapositions, the most 'powerful' being the playing of the twee, maudlin synth whinge 'Drive' by The Cars over footage of dying Ethiopian children. Pop music, a marvellous bauble, was simply not equipped for these emotions or situations. The other thing which gave me the abdabs was the idea that pop stars were now moral exemplars. From that day on we were supposed to revere these people. Cue the pompous windbaggery of Sting, Bono, etc. jetting around the planet combining their grotty little ditties with geo-politics and trite zero-sum economics platitudes – 'they have nothing because we have everything'. Because the troubles of the world were somehow all our fault. In a way, they were. The Ethiopian famine certainly was, but not in the way Live Aid blithely assumed. It was the direct result of the deadliest of western exports, Marxism. The Derg regime of Ethiopia, the Red Terror, the forced farm collectivisation and land 'reforms'. The Marxist government of the dictator Mengistu is estimated to be responsible for the deaths of two million Ethiopians in the famine. But don't worry. Mengistu is living in luxury in exile in Harare, today. So, we exported Marxism to Ethiopia and it starved to death – and now we had the temerity to add Spandau Ballet, Phil Collins and Nik Kershaw on top. Worse, we had idiot westerners like the Style Council advocating for the same ideology, from the safe distance of Woking, enjoying all the freedoms and plenty of western capitalism, and knowing full well that their puerile political bluff would never be called. So I won't be joining in the Live Aid anniversary celebrations today. It makes me feel quite queasy, even 40 years on.
Daily Mirror
12-07-2025
- Entertainment
- Daily Mirror
'David Bowie was my best friend - he gave me a priceless gift''
Geoff MacCormack, 78, who knew the iconic Space Oddity singer like no other, talks through some of 90,000 items relating to David Bowie's life and work which will go on display at the V&A museum in September He was the man who fell to Earth - and inspired generations of future shape-shifting music stars, from Madonna to Lady Gaga. But David Bowie 's other-worldly creativity, and ability to constantly reinvent his image, style and music, left just as indelible an imprint on the world of fashion, art and culture, too. It's the reason why the singer, who died in 2016 aged 69, is being honoured with a permanent gallery at London's V&A (Victoria and Albert Museum), which opens in September. The new David Bowie Centre, at the museum's V&A East Storehouse location, will house over 90,000 items relating to Bowie's life and works, including his costumes, sketches, paintings, writings and set lists. We got a sneak peak at some of the exhibits, offering fans fascinating insights into the mind of rock's enduring enigma. They include Bowie's paint palette covered in the last colours he used, the asymmetric knitted catsuit he wore as Ziggy Stardust and the lyrics he cut up and mixed up to write his 1977 song 'Blackout' Bowie's lifelong friend Geoff MacCormack says the new permanent gallery shows just how much of a legacy the Space Oddity star left. In an exclusive interview, Geoff, who was also Bowie's backing singer and percussionist, says: 'David became a fashion icon. His whole show was about what he was wearing and his different personas. He was very clever at constantly changing himself.' And he said that during the years he spent touring the world with Bowie gave him something that allowed him to emulate his success - bravery. He says: "David made people braver. He encouraged people to do their thing without fear, including me. He instilled his bravery into others, and today we see what a incredible legacy he left.' But Geoff, who went to Burnt Ash Primary School in Bromley, Kent, with Bowie says it wasn't immediately obvious that he would leave such an impression on the world. He recalls: 'Our friendship was based on the appreciation of music and humour. We used to listen to Radio Luxembourg together, but he'd also get a lot of the latest records because his dad worked for the Dr Barnardo's charity organising fundraising shows. 'David's dad bought him a little record player, and he was the only kid I knew who had one. I remember listening to rock'n'roll, and seeing his eyes open wide. We were born just after the war, we still had ration books and there were bomb sites all over the place, so it was a pretty grey world until that music hit us. 'He was fascinated by the stuff coming over from America, Elvis Presley, Little Richard, Screaming' Jay Hawkins, it was just like alien music, slightly disturbing but in a cool way. We were at the birth of rock'n'roll and it felt like a whole new world.' 'He was definitely different. He was into reading some really quirky stuff, especially American magazines. I remember one time him telling me a story he was reading, about two wrestlers who had fought to the death, really gory stuff with eyes being gouged out and stuff. 'I remember the more wide-eyed I was the more he got into performing this recital for me. We were only about eight or nine.' At that stage, Geoff says, his friend's quirkiness didn't extend to his dress sense. 'David went to a different school to me. I was a Mod, so I was more into fashion, but David was more of a studious type,' he says. 'I think it was once he started doing well and had a personal tailor, Freddie Burretti, that he started experimenting with his clothes. Freddie lived in the basement of 89 Oakley St, where David also rented a flat, and he used to just walk down and try on his new creations. 'The same way David pushed boundaries and challenged conventions in music, he did with his costumes, performances, stage sets, everything.' Geoff, whose book, David Bowie: Rock 'n' Roll with Me, charts their friendship through candid photographs, recognises many of the items that will be displayed at the V&A. He contributed backing vocals to a number of Bowie's albums and spent three years touring the world with him. During their time together in America, when Bowie was filming The Man Who Fell to Earth, the star took up painting. One of the works on show at the V&A will be a self-portrait of the singer. Geoff says: 'We lived in a ranch in Santa Fe, and that's the first time I saw him paint. The style was very similar to the self-portrait. But he didn't always like what he did. David was very confident about his music, but not particularly so about his paintings. But he still kept them, whether or not he liked them.' Another fascinating item at the V&A is an example of Bowie's 'cut up' technique in his songwriting, inspired by his contemporary William Burroughs. He took existing text, cut it into pieces and rearranged them to create new lyrics and meaning. Geoff recalls: 'The first time I saw him do it was for Diamond Dogs, at the Olympic Studios in Barnes, London. William Burroughs actually turned up in the studio while he was doing it. 'It was incredible to see. He was able to give what he was writing about a slight swerve. A cut up sentence becomes more interesting, taking you somewhere else, by chance, rather than by choice.' Geoff was also with Bowie when he departed from his glam rock style and recorded the soul album Young Americans - with backing vocals from Ava Cherry and the then-unknown singer Luther Vandross. He remembers: 'We were in the middle of the Diamond Dogs tour in 1974, and I was one of the Diamond Dogs, who'd mime and dance. It was a brilliant show, with a huge set built to look like a city, and loads of moving parts including a moving bridge. 'We both loved soul music, and David decided to do a soul album. But he wasn't very patient. If he was into something he'd get on with it, even at the expense of ditching an amazing and very expensive theatrical show. So that's what he did.' Bowie abandoned Diamond Dogs, took the month of August 1974 off to record the new album, then re-branded the tour 'The Soul Tour'. Geoff's fondest memory of his time with Bowie is an adventure of a lifetime when he joined him on a world tour, following the release of Ziggy Stardust. Because of Bowie's phobia of flying, that meant sailing from the US to Japan and taking the Trans-Siberian Express train across China and Russia back to the UK. He recalls: 'It was great for me, I was travelling with him and hanging out with him on their long journeys. 'At the time, his management wanted him to look like a star, before he was a star, so he would do stuff on a grand scale. So we'd stay in grand hotels, go first class on the ships, he was living beyond his means but it was an incredible time.' After finishing his US tour, Bowie and his entourage needed to reach Japan for the next leg. Geoff says: 'The only way was to get a boat from LA. We stopped off at San Fransisco and went out with Bet Midler. Then onto Vancouver and Hawaii. 'When we got to Japan, we hung out with Kansai Yamamoto, the designer who David had found years before and was already using his clothes. He had some new costumes for him, which he wore on the Japanese tour, and then the British tour later that year.' One of the designs was the famous one-legged, zig-zagged jumpsuit which visitors will be able to see at the new exhibition. Geoff says their spell in Japan, and the long train journey back, inspired Bowie's future creations. He says: 'Everything we saw and listened to crept into his music at some stage. 'Japan in 1973 was a very alien society, really weird. Coming from there, getting a boat to Siberia, another completely alien experience, then the Trans Siberian through Siberia, China, Russia. 'Then East Germany, which was really unfriendly because the guards boarded the train and they were kicking in doors. What we saw on those trips definitely gave him ideas.' Geoff was also on stage with Bowie when he dramatically announced Ziggy Stardust's 'retirement' at London's Hammersmith Odeon in July 1973. Bowie went on to achieve his first US No1 with Fame, then won new fans in the 80s with hits like Let's Dance and Under Pressure, with Queen. Geoff, now 78, went on to set up his own hugly successful advertising production company, which he says was also inspired by David Bowie. He says: 'I'd never done it before, but David was always saying just do stuff. He threw me in the deep end. I wouldn't have done it if it were not for him. Like with so many other people, he made me braver."
