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Int'l Business Times
04-08-2025
- Entertainment
- Int'l Business Times
Building a Stage for Every Child: AUM Dance Creations Celebrates 15 Years of Magic in Motions
In 2011, Rina Shah had a vision: to take Bollywood dance out of basements and banquet halls and onto the world's biggest stages. Today, that vision is alive and thriving in the form of AUM Dance Creations. It is a New Jersey-based dance academy that blends cultural tradition, artistic discipline, and community empowerment into one powerful rhythm. As AUM Dance Creation celebrates its 15th anniversary this fall, its story is not just one of artistic success; it's a deeply personal journey of grit, expansion, and purpose-driven leadership. Shah, who serves as founder, director, and head instructor, started the academy out of necessity, passion, and the belief that Indian children in the U.S. deserve a space to connect with their heritage while dreaming big. "I opened the school to bring Bollywood to mainstream America," says Shah. "When I was growing up in New Jersey, we danced at weddings and family events. But there was no spotlight and certainly no pathways to perform professionally." Today, that has changed. Thanks to Shah's tireless efforts, her dancers have performed at Macy's Thanksgiving Day Parade , the NBA Brooklyn Nets halftime show, Good Morning America , and many other platforms once unimaginable for Indian-American performers. AUM Dance Creations The early days of AUM were anything but glamorous. Shah, a lifelong dancer who co-founded an Indian dance team during university in Boston, returned to New Jersey and found herself teaching seven days a week, often in multiple cities, just to keep the lights on. "There was no staff. No marketing team. Just me, driving from town to town, trying to stay creative, pay the bills, and give these kids something I never had," she recalls. Today, AUM operates across Bridgewater, Hillsborough, Parsippany, Clifton, Paramus, Moorestown, Monroe, Princeton, Chatham, Westfield, and other New Jersey communities as well as New York City, with active plans to expand into neighboring states and eventually, across the country. Despite this growth, AUM's soul remains the same. "We've built a family, not just a dance studio," Shah says. "Our students grow up together. They form lifelong friendships. They go off to college and sometimes even room together because of the community they found at AUM." What sets AUM apart is its fusion of classical and contemporary Indian dance styles. Students train in Kathak, Bharatanatyam, and modern Bollywood styles, including semi-classical, hip hop, contemporary, and filmi, creating dancers who are both versatile and rooted in tradition. But for Shah, dance is more than steps and sequences. "This is how Indian kids in America stay connected to their culture. It's how they learn about their roots, their customs, and their community, without ever stepping on a plane." This sense of cultural stewardship has gained mainstream recognition. In 2022, American Girl selected Shah as an advisor. She aided in choreographing routines, designing costumes, and even led a performance on Good Morning America for the Girl of the Year doll's debut. "That project showed how far we've come," she says with pride. AUM is more than just a dance school; it's a launching pad. Students ages 4 plus begin in recreational classes and, if they audition successfully, move into competitive dance teams. These teams compete in some of the major national and international competitions, including the prestigious Dance Pe Chance (DPC), where AUM consistently is placed among the top. Looking ahead, AUM dancers will perform at many shows in the U.S. and are preparing for international competitions in Europe and Las Vegas in 2026. And every opportunity, Shah emphasizes, is earned. "Some schools bring in outside professionals for big shows. I don't. I want my students to have those moments. We train them to be ready, not replace them when the spotlight hits." As she marks 15 years of AUM Dance Creations, Shah is filled with pride, but not complacency. "This anniversary is a celebration, yes. But it's also a reminder that we're just getting started." With plans for national expansion, awaiting a new generation of dancers, and growing interest in Indian dance from both South Asian and non-South Asian families, AUM is dancing into a future brighter than ever. "To build this academy from scratch, and now seeing it inspire hundreds of kids every week, is the most fulfilling thing I could ever ask for." And as for what keeps her going? "I've always loved kids and dancing. AUM lets me bring both together while honoring our culture. That's my why . That's my heartbeat," Shah shares.
New York Post
01-08-2025
- New York Post
I led the NYPD task force Zohran Mamdani hates — here's what he gets so wrong
A decade ago, in 2015, then-Police Commissioner William Bratton entrusted me to develop the New York City Police Department's Strategic Response Group. The commissioner was deeply concerned about the department's ability to respond to a mass-casualty terror attack like the ones that had recently devastated Mumbai and Paris. In both cities, coordinated teams of terrorists targeted multiple high-profile locations using explosives and AR-style rifles, resulting in significant loss of life. Advertisement We created the SRG as a specialized unit of 700 uniformed officers, operating 24/7 across all five boroughs. The unit was built around three core missions, which remain its purpose today. Advertisement First of all, SRG provides counterterrorism support, backing up our elite Emergency Service Unit during terrorist incidents. We implemented a key innovation: a specially trained and equipped Rescue Task Force that operates in partnership with FDNY/EMS. This joint unit — the first of its kind in the nation — establishes secure corridors to evacuate and treat injured civilians during active threats. Notably, this group leaped into action during Monday's fatal attack on a Midtown office building, safely escorting rescuers caring for victims and securing the lobby, rooftop and perimeter. Advertisement SRG also responds to major incidents and emergencies citywide, augmenting precinct resources. The unit is deployed to active major crimes on a daily basis, including robberies, burglaries, assaults and shootings. Its officers conduct searches for missing children and elderly individuals, and are equipped to manage civil-disorder incidents with the tools and training to conduct orderly mass arrests. Finally, SRG officers are strategically assigned to areas experiencing spikes in street crime, and play a vital role in securing major city events — including New Year's Eve in Times Square, the Fourth of July fireworks and the Thanksgiving Day Parade — by providing essential crowd-control and public-safety functions. Advertisement Keep up with today's most important news Stay up on the very latest with Evening Update. Thanks for signing up! Enter your email address Please provide a valid email address. By clicking above you agree to the Terms of Use and Privacy Policy. Never miss a story. Check out more newsletters To form SRG, we consolidated nine existing units into a single, unified command capable of responding within minutes to any precinct in the city. This reorganization both streamlined our emergency response and significantly reduced administrative costs. Importantly, SRG has adopted clear policies to safeguard First Amendment rights whenever its officers are deployed at demonstrations — and its tactics have led to a significant reduction in lawsuits, saving the city millions of dollars. The unit is committed to protecting free speech and the right to peaceful assembly, and has been since its inception. Monday's attack at 345 Park Avenue in Manhattan demonstrated SRG's readiness and effectiveness. The first SRG units arrived on scene at 6:34 pm — just six minutes after the initial 911 call. Officers entered the building properly armed, equipped and trained to confront the threat and provide aid as needed. Advertisement The NYPD's Strategic Response Group remains a cornerstone of our city's safety and resilience — which is why it's so disheartening to hear Zohran Mamdani, a leading candidate for mayor, pledge to eliminate the unit altogether. If that should come to pass, the question is — who? Who will render lifesaving aid and evacuate students at a Columbine-, Ulvade- or Parkland-type school shooting? Advertisement Who will search for an elderly Alzheimer's patient who walks out of his Brooklyn home on a freezing winter night, or a 5-year-old child missing from Central Park on a sunny weekend afternoon? Who will respond to flooding in the Rockaways and evacuate stranded residents? Who will conduct grid searches for wanted perpetrators after robberies and shootings? Who will bring calm when civil unrest leads to mass looting of businesses and threats of assault against residents? Advertisement To lead this city forward and ensure public safety, these are the questions we need to ask ourselves — as well as those who wish to become our mayor. Chief Stephen J. Hughes (Ret.) was the founder and first commanding officer of the NYPD's Strategic Response Group.
Miami Herald
06-07-2025
- Entertainment
- Miami Herald
HBCU future: Will Millennials and Gen-Z step up financially?
The July 5 episode of The Carlos Brown Show brought together veteran voices in HBCU sports to tackle a critical question: How do we sustain-and grow-support for Historically Black Colleges and Universities in the years to come? Host Carlos Brown was joined by Charles Edmond ("The Voice of Alcorn State"), former Jackson State and North Carolina A&T athletic director Wheeler Brown, and longtime Alabama A&M basketball coach Vann Pettaway. Their candid discussion centered on generational giving habits, institutional transparency, and the urgency of connecting with younger audiences. Charles Edmond opened the conversation by identifying a shift in HBCU fan behavior, especially when it comes to financial contributions. "People want bang for their buck," he said. "The older folks who have deep pockets are going to give to Southern, to Alcorn, to Jackson regardless… but I think you're seeing people a little bit younger that are a little bit more diligent with their money. They want to see something for the return." Edmond cited recent success stories like raising over half a million dollars for a band appearance in the Macy's Thanksgiving Day Parade as evidence that HBCU support is still strong-but increasingly conditional. "If you're putting your money in a black hole, you tend not to do that," he warned. "People want to see a winning product." Wheeler Brown admitted that previous generations may have dropped the ball when it came to preparing the next wave of HBCU supporters. "Somehow we have failed… in terms of ingraining it in them prior to them getting up and getting out," he said. "We might lead by example… but when do we actually sit down and have that in-depth conversation about how important giving back is?" Pettaway, speaking from his experience as a coach and mentor, stressed the importance of starting early. "You start reaching them now, and they become the ones at 50 that are still giving back," he said. "But if you gotta wait until you're 50, that's a 30-year gap in there where we're not getting money." He emphasized the need to educate current students on the value of reinvesting in the institutions that shaped them: "They have to learn to invest back into the institution that gave you your start." The panel also touched on the importance of unconditional giving-supporting HBCUs not just when a friend or relative is on the team, but as a consistent commitment. Transparency, they agreed, remains essential for trust, but so does removing stipulations on support. As HBCUs navigate a rapidly changing landscape-marked by NIL, streaming, and declining in-person attendance-the show raised a crucial question: What does HBCU support look like for the next decade and beyond? Will the traditions that built these institutions endure, or must alumni and fans adapt to meet younger generations where they are? One thing is clear: the future of HBCU support depends on how well institutions, alumni, and advocates can engage the next wave of students and alumni-not just as scholars and athletes, but as lifelong supporters. The post HBCU future: Will Millennials and Gen-Z step up financially? appeared first on HBCU Gameday. Copyright HBCU Gameday 2012-2025
New York Times
20-06-2025
- Entertainment
- New York Times
Anne Burrell's Death Is Under Investigation as a Possible Drug Overdose
The New York City Police Department is investigating the death of Anne Burrell, the popular Food Network star who was found dead in her Brooklyn home on Tuesday morning, as a possible drug overdose, according to an internal document viewed by The New York Times. The document said Ms. Burrell, who was 55, had been 'discovered in the shower unconscious and unresponsive surrounded by approximately (100) assorted pills.' Emergency medical workers who responded to a 911 call pronounced her dead at the scene. A spokeswoman for the city medical examiner's office said Friday that an autopsy had been completed, but that any findings on the cause and manner of Ms. Burrell's death were still pending. Ms. Burrell was an accomplished Italian chef who began her television career as a sous-chef to the celebrity chef Mario Batali on the Food Network show 'Iron Chef America.' She was best known for hosting 'Worst Cooks in America,' which has run for 28 seasons. With her plume of platinum-blond hair, signature mismatched socks and a way of teaching that included a big helping of unvarnished truth, she became a mainstay for the network, appearing as a guest or judge on several other shows and even once riding on the network's float in the Macy's Thanksgiving Day Parade. In January, fans were surprised to see that Ms. Burrell was not hosting the new season of 'Worst Cooks.' Neither she or the network have explained the change. An indication of a possible conflict came in a Jan. 10 Instagram post when someone asked her why she wasn't on the show and Ms. Burrell answered, 'Honestly I don't know.' Want all of The Times? Subscribe.
Yahoo
11-06-2025
- Entertainment
- Yahoo
‘Look, This Show's Good. It's Essentially Moral.'
The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. In 1992, The Simpsons was one of the most beloved sitcoms on television. Critics adored it; the ratings were climbing higher and higher; the show had entered what fans would eventually come to regard as its funniest period, roughly Seasons 3 through 8. But the animated series still scared some adults. There had never been a boy on network TV as openly irreverent as Bart Simpson, who said 'hell' and 'damn' and talked back to his teacher. Mere months after the show debuted, in December 1989, schools across the United States started banning a T-shirt declaring, 'Bart Simpson 'Underachiever': And Proud of It, Man!' James Dobson, the founder of the evangelical organization Focus on the Family, weighed in on that particular piece of merch, writing that it made the 'pervasive problem of underachievement' even worse. As quaint as Bart's antics might seem now, he and The Simpsons as a whole represented youth in revolt. The moral panic was misplaced, but not unusual—part of a long national tradition of culture wars waged under the pretense of politics. But what critics of the prime-time cartoon either fundamentally misunderstood (or conveniently overlooked) was its core truths. Bart loved his parents. He went to church with them. The Simpsons sometimes struggled to make ends meet, and they didn't always get along, but they stuck together. They were a typical middle-American family—and, despite Bart's rude language, not the symbol of societal rot that culture-war targets are often imagined to be. There are numerous early-season examples of the family's underlying integrity. Marge's bowling instructor, Jacques, woos her, but she resists and dramatically reconciles with Homer, whom she'd been arguing with. Homer decides to steal cable, but eventually stops when Lisa, the show's voice of reason, convinces him it's wrong. Lisa exposes a corrupt congressman at the expense of personal glory. Homer gives up religion only to realize that his faith is important to him. Sure, there's a scene in the series premiere in which Bart gets a real tattoo—but the story ends sweetly, with the family adopting a greyhound track reject named Santa's Little Helper. 'Look, this show's good,' the Simpsons writer Jeff Martin once told me. 'It's essentially moral. It's for everybody.' In its early days, The Simpsons was everywhere: on TV, on merch, on magazine covers (back when that still moved the needle), in the Macy's Thanksgiving Day Parade. The show's ubiquity is likely what put it on the radar of George H. W. Bush's administration. In May 1990, a news story mentioned that the White House's drug czar, William Bennett, had noticed a Bart Simpson poster at a rehabilitation center. 'That's not going to help you any,' Bennett reportedly said to the residents. (He later claimed that he was kidding.) In a People interview later that year, first lady Barbara Bush called The Simpsons 'the dumbest thing I've ever seen.' In the first case, the show's producers responded with a snarky statement: 'If our drug czar thinks he can sit down and talk with a cartoon character, he must be on something.' In the second, they decided to take a kill-'em-with-kindness approach, sending the first lady a letter written in the voice of Marge, who politely defended her family. 'Ma'am, if we're the dumbest thing you ever saw,' Marge wrote, 'Washington must be a good deal different than what they teach me at the current events group at the church.' Barbara Bush sent an apologetic reply: 'Clearly,' she wrote, 'you are setting a good example for the rest of the country.' At that point, the Bush-Bart beef was dead. Then, early in his reelection campaign, the president brought it back to life. On January 27, 1992, he spoke at the National Religious Broadcasters convention. His speech wasn't terribly memorable, except for one section. 'The next value I speak of must be forever cast in stone,' Bush said. 'I speak of decency, the moral courage to say what is right and condemn what is wrong. And we need a nation closer to The Waltons than The Simpsons—an America that rejects the incivility, the tide of incivility, and the tide of intolerance.' The Waltons was a Great Depression–set drama about a good-natured blue-collar Virginia family that aired on CBS for most of the 1970s. The smash-hit show was a temporary antidote to the tumult of the time, and Bush's speechwriter Curt Smith was a big fan. He thought that The Waltons embodied a kind of propriety that appealed to Middle America. To him, The Simpsons did not. When I interviewed him in 2022, Smith told me he felt that the sarcastic animated series looked down on the heartland. 'You had two cultures at war in this country. And I say that sadly,' he said. 'The Waltons with red America and The Simpsons with blue America.' [Read: The life in The Simpsons is no longer attainable] To play up that divide, Smith added the Waltons/Simpsons comparison into Bush's address. According to Smith, his boss approved. As soon as the president said the line, it became a sound bite, which satisfied Smith. 'I felt deeply that the line was germane,' he told me. 'I thought it was true. And it would help us politically.' He turned out to be wrong about that last part. Bush's broadside pushed the creators of The Simpsons to fire back by tacking on a scene to the opening of that week's episode, a rerun. The family is gathered around the TV, which is playing footage of the president's insult. As soon as it's over, Bart perks up and says, 'Hey, we're just like the Waltons. We're praying for an end to the Depression, too.' The mainstream media also pointed out the irony of the president waxing poetic about an old TV show that took place during a terrible economy. 'Yes, ma and pa,' the syndicated columnist Ellen Goodman wrote on January 31, 1992, 'George-boy is leading us back through the haze of nostalgia to those wonderful yesteryears of the 1930s.' It was an example of how out of touch the sexagenarian incumbent was in the eyes of many voters—at least compared with his opponent, a saxophone-playing Baby Boomer. As Bush's campaign progressed, he doubled down, bringing back the Waltons/Simpsons line for his arrival speech at the Republican National Convention. In the end, Bill Clinton won fairly easily in '92—with the help of the independent Ross Perot, who yanked some votes away from Bush—taking chunks of Middle America with him. It would be a stretch to say that Bush's decision to poke at The Simpsons cost him a second term. But it did demonstrate how silly politicians can look when they try to use pop culture to score easy points with their base. People in the heartland watched the show, too—partly because the Simpsons had the same issues as millions of Americans. The second-season premiere of the show, for example, focuses on Bart's academic troubles. The anxiety he and his parents have over whether he might have to repeat the fourth grade feels real. ''Bart Gets an F' is not only funny, it's touching,' the Washington Post critic Tom Shales wrote in his review. 'You really find yourself rooting for this bratty little drawing.' When it came to family life, The Simpsons certainly felt realistic. There are episodes centering on Lisa's feeling unseen and unappreciated by her parents and turning to a substitute teacher for guidance, the stress caused by the cost of Homer's looming triple-bypass surgery, Marge's breaking down when the pressure of motherhood becomes too much to bear. But every week, they all manage to work through their problems and regroup. That basic blueprint helped The Simpsons become an institution. The show was at its core wholesome, even if the president at the time didn't acknowledge as much. [Read: The last WASP president] It wasn't the first time, and wouldn't be the last time, a politician who claimed that a pop-culture icon was threatening American values left out key information about his target. Just last month, after Bruce Springsteen criticized him onstage in England, President Donald Trump responded by going after the musician on social media. 'I see that Highly Overrated Bruce Springsteen goes to a Foreign Country to speak badly about President of the United States,' he posted on Truth Social. 'Never liked him, never liked his music, or his Radical Left Politics and, importantly, he's not a talented guy.' Springsteen has never made his music just for the 'radical' or the 'left'; he's piled up millions of fans by speaking directly about the everyday anxieties of small-town life. His music has reflected America, in other words. And even in the face of threats made by the president, the rock star hasn't backed down. He included his remarks against Trump as an intro on his new live EP, Land of Hope & Dreams—the kind of burn that The Simpsons might have come up with. Back then, it wasn't just defiance that made the counterattack so effective—the show understood itself better than the president did. *Illustration Sources: Jacobs Stock Photography Ltd / Getty; Everett Collection. Article originally published at The Atlantic
