#and this was said after WE WERE ASKED IF HE WAS A CHAPPELL STAN. so don’t ask if the only answer you’ll accept is yes. lol | Explore Tumblr posts and blogs

words-by-slay-blog · 4 years ago

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Faker Than Snow on Tha Bluff

2014 was perhaps the best year of J Cole’s career.

Like now, that summer was a summer of unrest. Protests erupted not only in Ferguson, but in various cities across the country, in response to the police murder of an unarmed black man. The #BlackLivesMatter movement had reached national consciousness. They demanded justice against Darren Wilson, the murderer, and an end to police brutality.

While most celebrities remained silent, J Cole was eager to show his support. He showed his face at the Ferguson protests, in a show of solidarity. After that, he dropped one of his most memorable singles, “Be Free”. It wasn’t a usual J Cole song. Not only was he singing on it, but it was much more raw: a sad cry of frustration in response to the familiar spectre of Black death. It was melancholic; it was serious; it shed light on how many were feeling. He even performed the track on Late Night with David Letterman. A few months later, he dropped Forest Hills Drive, his magnum opus, and cemented his status as the quintessential “conscious” rapper. Many hip hop heads looked to Cole as a leader, a role model, an example for what rappers should strive to be. He became a voice for our generation.

Six years later, history would repeat itself. Again, the police killed another unarmed black man. In fact, other police murders came to light around the same time: Breonna Taylor, Tony McDade, to name a few. Protests sprang up all over the country.

But this time, it was different. As days rolled by, the list of names grew and grew. The protests swelled more and more, reaching critical mass. Their demands were more far-reaching: defund the police and an end to white supremacy. Antagonized by police forces, these protests often turned to violent clashes. Despite this, more and more people showed out. What began in the city of Minneapolis became a global movement, of black people fed up with a world that doesn’t value their lives (and allies standing with them). It’s a moment that is both exciting and nerve-wracking. We haven’t seen this much momentum since the Civil Rights era. With this newfound leverage comes pressure: we don’t know when we’ll have a moment like this again.

Now, organizations and institutions rushed to make shallow demonstrations of support, if only to save face. Celebrities of all sorts tweeted messages of solidarity, some genuine, others to avoid public backlash. Statues are being taken down and streets renamed. But that only does so much.

Like last time, J Cole put out a song, presumably about current events. But it differed from “Be Free”. Rather than a reflection on #blm, it reads like a confession: he has much more to learn; he isn’t the woke leader people make him out to be; he wants to do more but doesn’t know how. And in doing so, he asks the black woman in the song, in the most “respectful” way he could, to sweeten her tone and get him up to speed.

And as you can expect, the public received his new song… differently this time. “Snow on the Bluff” itself became an enormous distraction, turning a long-deleted tweet into a social media firestorm.

I will say this straight up: this wasn’t it, chief.

And as a fan of J Cole, I’ll honestly say I’m disappointed. This is how he broke his silence? The issue is less so with the message, or how respectful he’s being, but more so with how he’s using his platform. Now is not the time to check a black woman’s tone. Black people of all genders are ticked off right now, if you couldn’t tell.

But bro… what did he do wrong? Didn’t he already make a song about this? Hasn’t he talked about these issues his entire career? He was being respectful: we don’t need another “Be Free”.

Maybe another “Be Free” isn’t what’s needed now. There’s been so many bars about police brutality and black plight: would another “Fuck the Police” really change anything?

But it’s impossible to ignore how big a platform J Cole has. He’s the man who went triple platinum with no features. He has an army of stans who hang onto his every word. As a voice for a generation, duty calls.

No one is asking him to become the spokesperson of the struggle. As Dave Chappelle said, “the streets are talking.” Activists on the ground, and educators who have done the reading are who we should listen to right now. The sheer size of Cole’s celebrity could drown out the voices of those on the ground. The communities in question can speak for themselves better than any platinum rapper can.

However, is that an excuse to stay silent? Or to be careless about how you use your platform?

The fact of the matter is this debate he sparked became more divisive than the tweet in question. Even if his intentions were pure, he unintentionally sicced his army of fans onto a fellow rapper who has been doing the work. (click here for more: https://www.nonamebooks.com/books)

Imagine what good he could do if he had just used his platform differently. Imagine if, instead of throwing up his hands and saying that he didn’t have the answers, he uplifted the voices of those who might.

It’s obvious that Cole cares deeply about these issues. He might do more behind the scene than we realize. But the question is, how can he do more with the voice and platform he has?

Yes, your commitment to the struggle shouldn’t be measured by how many tweets you post. But with great power comes great responsibility. This was a misuse of that power.

Maybe it was wrong to expect or hope for more from Jermaine. Maybe we are witnessing the limit of the traditional “conscious” rapper. But it’s a question all of us are wrestling with right now: how can we do more? It’s one Cole himself ponders at the end:

��But damn, why I feel faker than Snow on Tha Bluff?

Well maybe ‘cause deep down I know I ain’t doing enough”

#j cole #snow on tha bluff #noname #protest #blacklivesmatter #hiphop #social media #conscioushiphop

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sserpicko · 6 years ago

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Oscar: How Each 2018 Best Picture Nominee Got Here

There can only be one winner, but each of the Best Picture nominees overcame creative, financial and logistical hurdles to get this close to the finish line. Here are their war stories.

Black Panther

Fifty years ago, the phrase ‘Black Panther’ carried more political baggage than it does today, immediately summoning up images of a militant African-American revolutionary, named after by the controversial civil rights party founded by Huey Newton and Bobby Seale in Oakland, California, in 1966. Created by Stan Lee in a bid to deliver the world’s first non-stereotype black superhero, the comic book of the same name materialized around the same time. Unusually, The Black Panther wasn’t an alter ego—it was the formal title for T’Challa, King of Wakanda—but Lee described the overlapping of names as “a strange coincidence”, adding that “maybe if I had it to do over again, I’d have given him another name”. The sensitive politics of the next two decades might explain why the character lay dormant as a movie property until 1992, when Wesley Snipes began work on the concept, eventually securing support from Columbia in 1994.

Directors John Singleton and Mario Van Peebles showed interest, but the project stalled, only to be resurrected by Marvel Studios in 2005, when then-CEO Avi Arad announced it as one of ten new films on the company’s slate. This time development moved forward at a faster pace: a script was commissioned in 2011, and by 2013, elements of the story began to appear in the Marvel Cinematic Universe, with the character, played by Chadwick Boseman, debuting in 2016’s Captain America: Civil War. Ava DuVernay was briefly attached, then F. Gary Gray, and finally Creed director Ryan Coogler agreed to take the helm. Marvel President Kevin Feige acknowledges that it was a slow but sure process, and defends the timescale. “The only way we ever wanted to do this project was the right way,” he says, “and that meant finding a filmmaker who had something personal to say, who had a vision and could take this character into another arena, and showcase the power of representation on a canvas of this size.” —Damon Wise

BlacKkKlansman

When Jordan Peele pitched Spike Lee on the story that would become BlacKkKlansman, and lead to the iconic filmmaker’s first Oscar nomination for directing, Lee was sure he was making it up. “It was one of the greatest pitches ever,” Lee recalls. “Black man infiltrates Ku Klux Klan. That’s high concept. I said, ‘I’ve seen this a million times, it’s the Dave Chappelle skit.’ He went, ‘Nah, nah, this is real.’”

And real it is, even though Lee’s film bends the truth here and there to offer an engine to a story that seizes on the rhetorical parallels with the violence in Charlottesville last year, takes a sideways glance at the legacy of DW Griffith and Gone with the Wind, and revels in its 1970s setting to play on the tropes of Blaxploitation movies. Ron Stallworth, a black police officer in Colorado Springs, really did infiltrate the local chapter of the Ku Klux Klan. And really did interact with one-time Grand Wizard David Duke.

Lee turned to an old collaborator to play Stallworth. John David Washington was six years old when he was given a line in Lee’s Malcolm X. Reunited for BlacKkKlansman, Lee kept Washington away from the real Stallworth until the table read, determined that he find his own version of the character in prep. “It was my thinking that he would meet Ron and want to walk like him, talk like him,” Lee says. “It wasn’t like Malcolm X. No one knew who Ron Stallworth was, and that gives you freedom.”

Lee casts aside criticism of the film’s forthright allusions to current politics. “These are dangerous times. The film had to end the way it did,” he says, with footage of the Charlottesville rally and a tribute to Heather Hayer, who was murdered there.

And it took the commitment of all of his collaborators, including nominee Adam Driver and the iconic Harry Belafonte—a key player in the Civil Rights Movement—to fully realize it. “This film, the teamwork was amazing. We were like the Golden State Warriors, or the New York Knicks. We didn’t have to sit around saying, ‘Oh this is such an important film and we have to…’ It wasn’t even discussed. Everybody knew what we had to do.” —Joe Utichi

Bohemian Rhapsody

Bohemian Rhapsody is the miracle Oscar nominee this year. Typically when a production is mired with on-set problems, its doom is inevitable, but in the year-plus wake of director Bryan Singer’s firing, Bohemian Rhapsody has had immense luck, with the producers determined to buck sour Singer headlines, after he clashed with Oscar nominated star Rami Malek. Graham King shepherded Bohemian Rhapsody for eight years, and nothing was going to stop it now.

Sacha Baron Cohen expressed interest in the project early on, but dismissed it when King opted against a warts-and-all biopic.

Then King’s partner had a sense that Emmy-winning Mr. Robot star Rami Malek could do the trick, and indeed he did, with a dedication that went to masochistic measures.

“I told Graham King if he gave me this role, I’d bleed for it, and he showed me a picture of blood on the piano keys after the final day of our Live Aid shoot,” Malek says.

Editor John Ottman gets proper credit here with his first Oscar nomination, working with the producers to hammer an impressive first cut, before Dexter Fletcher stepped in for Singer to finish a handful of scenes. While a director always gets credit for a final cut, Bohemian Rhapsody is an example this season that there’s no ‘I’ in team.

The press has repeatedly asked the production team for their thoughts on Singer in the wake of the film’s success, especially on Golden Globes night when it won for Best Motion Picture, Drama and Best Actor.

King waved off the question, but Malek answered, “There was only one thing we needed to do: celebrate Freddie Mercury. He is a marvel. Nothing was going to compromise us. We’re giving him the love, celebration and adulation he deserves.” —Anthony D’Alessandro

The Favourite

It took two decades for Deborah Davis’s script for The Favourite to make it to screen. A searing three-hander based on the true history of the British Queen Anne and the two women who fought for her affections, Sarah Churchill and Abigail Masham, it was a tough sell even for a market in Britain that specializes in costume drama. A film in which three women rule the roost over their male counterparts, fall in love—and graphic lust—with one another and scheme their way to dominance? Whatever to make of that?

But Davis knew she had something groundbreaking, and producers Ceci Dempsey, Lee Magiday and Ed Guiney weren’t prepared to let the project go without a fight. In an inspired move, they showed the script to Yorgos Lanthimos, whose twisted and unique earlier features, including Dogtooth, The Lobster and The Killing of a Sacred Deer seemed like an odd fit for a story based in true history. And yet, working on the script with Australian writer Tony McNamara, Lanthimos found a lens on the story through his own fascination with the more awkward aspects of human interaction.

“I was intrigued in trying to create these three very complicated and complex characters for women, and work with three great actresses,” Lanthimos says. “It was in my mind thinking you never see that: three female strong leads.”

For Olivia Colman, Rachel Weisz and Emma Stone, the three actresses cast in these roles, all of whom picked up Oscar nominations, it was just as enticing a prospect. Lanthimos started them off with an unconventional rehearsal period, challenging them to play trust exercises, tie themselves up in knots and say one another’s lines.

“It’s strange and not strange,” Stone notes. “By the end, I think one of the most effective aspects of it was that we all felt very, very close to each other. We all touched each other, embarrassed ourselves in front of one another, and became more reliant on one another.” —Joe Utichi

Green Book

Nick Vallelonga had been carrying the story for Green Book in his head ever since he was five years old, and yet it was not until his 50s that he was able to see his dream become a reality. The plot came directly from a period of his father’s life, when, in the early ’60s, Tony “Lip” Vallelonga was hired by an African-American classical pianist named Don Shirley to be his driver and bodyguard during a potentially dangerous concert tour of the racially segregated southern states. “Even as a child, it struck me as something you’d see in a movie,” says Vallelonga. There was only only one problem: even though both subjects gave him their blessing, they also made Vallelonga give his word that the film would not be made in their lifetimes. After Tony and Don passed in 2013, within just three months of the other, Vallelonga began to map out this extraordinary road trip.

To help shape the script, Vallelonga turned to writer/actor Brian Currie. Then, two years later, during a chance encounter, Currie outlined the project to Peter Farrelly, and the idea stuck. “Home run!” exclaimed Farrelly. Together, all three began shaping the production, which passed through Focus Features and Participant Media before landing at Universal, with Viggo Mortensen and Mahershala Ali as the leads. The result was Farrelly’s first non-comedy outside of the long-running partnership with his brother Bobby. “People had asked me over the years, ‘Do you think you’ll ever do a drama?’” Farrelly says. “And my answer was, ‘Sure, when it happens,’ because I never really planned. I probably should have, by the way, because I look at Rob Reiner’s career, and he was so smart. He did Spinal Tap, and then he did The Sure Thing, and then he goes off to do Stand by Me and A Few Good Men. He showed he could do everything. But we were just doing what came into our universe next, and we never really planned it. I didn’t plan this, but finally this dropped into my lap—I heard the story, and I thought, I gotta make this.” —Damon Wise

Roma

Alfonso Cuarón’s ode to his childhood in Mexico City, and in particular the domestic worker who helped made him, Roma was non-negotiable. “I had to do the film,” he says. “I told Carlos, my brother, ‘I don’t know if anybody is going to care about or like this movie. I have to do it because it’s something I need to do.’”

The notion started to form more than a decade ago, as Cuarón finished up 2006’s Children of Men. But there had been threads drawn from his youth in other projects—in his heralded Y Tu Mamá También, a voiceover for Diego Luna’s character tells a backstory that isn’t far off from Cuarón’s own—and he felt driven by a desire to tap more directly into that past.

Cuarón teamed up with Participant Media, who greenlit the $15 million the filmmaker needed; a tall order for a film that he knew he had to shoot primarily in Spanish, and in black-and-white. But so slavish was his desire to draw all this from his own very specific memories that Participant CEO David Linde would become one of the first and last people to ever see a script during production. He had intended to tap Emmanuel Lubezki to shoot the film, but ‘Chivo’ was unavailable when the dates finally set, and so Cuarón served as his own DP. He instructed his heads of department directly to get the details exactly as he saw them, rather than have them riff on the script. He gave his actors only what they needed for the scenes they shot, and then, only moments before they shot them. In the film’s lead, Cuarón found Yalitza Aparicio after an exhaustive search of Mexico. She was training to be a teacher when she heard about the audition. She is now an Oscar nominee.

Still, it was only after the process was completed that Cuarón understood the real challenge of Roma. With no stars, his black-and-white, Spanish-language opus was not built for the current realities of global theatrical distribution. Netflix came on board in April, when the film was looking set to debut at Cannes, and the controversy surrounding the streamer’s stance on theatrical put paid to a slot at the festival. It later debuted at Venice. But Cuarón is determined Netflix was the right home. “Our viewing habits are changing,” he says. “The challenge is now, how we can adapt ourselves, but present something that you believe is amazing and great cinema? It’s not so much about, ‘Let’s impose this kind of cinema on audiences.’ It’s also the conversation with them about how they want to watch.” —Joe Utichi

A Star Is Born

It’s hard to overstate the difficulty of shooting on stage in the middle of a music festival. Yet the cast and crew of A Star Is Born pulled off exactly that, with only a four-minute window for director and star Bradley Cooper to perform.

Serendipitously, it worked out thanks to the star of the film’s 1976 version. Kris Kristofferson happened to be playing Glastonbury on the planned shoot day, and offered a window of time in his own set.

“Bradley jumps on stage,” producer Lynette Howell Taylor recalls, “and says, ‘Hi, I’m Bradley Cooper. I’m here to perform a song from A Star Is Born, but you won’t be able to hear it. Please just look like you’re excited.’” With his vocal feed cut, only the front few rows could hear some of what Cooper sang. “We didn’t want the music to leak out.”

“There were many minutes along the way where we were running and gunning,” adds producer Bill Gerber, “But that one in particular wasn’t just a logistical threat, it was also incredible for Bradley to go from playing in controlled situations to all of a sudden literally singing live in front of 80,000 people.”

Gerber had been on the project since its early days, when, before timing got in the way, Clint Eastwood had been set to direct, with Beyoncé in the Lady Gaga role. Casting Gaga was initially a stretch for Warner Bros., Gerber says. “Even though Bradley and I were really blown away by the chemistry, the studio still wasn’t 100% sure. But to their credit, they said, ‘Do a test, spend what you have to spend, and let’s see.’”

During that test, Gerber saw the magic happen. “Bradley picked her up, and they walked out the doors of her house onto her lawn, which overlooks the Pacific Ocean. They looked at each other and it was undeniably brilliant. I thought, well, there’s our Gone with the Wind moment.” And the rest, of course, is history. —Antonia Blyth

Vice

Adam McKay probably wouldn’t have made Vice, his irreverent biopic of former Vice President Dick Cheney, if he hadn’t fallen ill for a couple of weeks at the end of 2015. The director had recently finished up The Big Short, an arch look at the financial crisis of 2008, and followed it immediately with a worldwide publicity tour, then a punishing awards season schedule. The net result was that McKay got sick, and while he was shivering with a particularly evil flu, he looked up at his bookshelves. “People give you books through the years,” McKay told the ACLU, “and you just shove them up there and don’t really think about them. And there was one about Dick Cheney, and it kind of struck me, like, ‘Wow, the book of history is about to close on that guy.’ I mean, you don’t really hear his name mentioned that much anymore, and you don’t hear [George] W. Bush’s name really mentioned, but, holy cow, those were a rough eight years.”

McKay started reading the book and found he couldn’t put it down. “I was amazed by what a large, epic American tale Cheney’s life story is—how far back it reaches, how many monumental moments in history he was around for. He had this Zelig-like presence in the ’70s through the ’80s. And then of course, I was amazed by how brilliant he was at manipulating the system.” The final impetus to tell Cheney’s story came in 2016. “Somewhere along that line,” recalled McKay, “Donald Trump got elected, and all of a sudden we started hearing people say, ‘Hey, I kinda miss George W. Bush. He wasn’t that bad, him and Cheney.’ And I really felt like I had to make the movie. I was like, ‘This is crazy that people are saying this.’ And that was it. We were off to the races.” —Damon Wise

Source: deadline

by Joe Utichi and Damon Wise and Anthony D’Alessandro and Antonia Blyth

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recentnews18-blog · 6 years ago

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New Post has been published on https://shovelnews.com/hey-stupid-yeah-you-across-the-dutch-kiwi-scribe-lays-in-boot/

Hey stupid! Yeah, you across the dutch – Kiwi scribe lays in boot

Rattue goes on to list the latest salary cap scandal in the NRL – the 90th by his count, with no sign of abating.

Fair call? Chris Rattue sledged Michael Cheika, the cricket team and Nick Kyrgios among others.

Photo: Rugby.com.au, AAP, EPA

He looks at our erstwhile passions of summer: “The nation which produced legendary and respected tennis icons such as Rod Laver, Yvonne Goolagong and Margaret Court now comes up with knuckleheads like Nick Kyrgios and Bernard ‘the Tanker’ Tomic.”

Enough, already?

No, Chris had barely cleared his throat.

“As for cricket, there has never been a sadder more pathetic episode in sport than the sandpaper scandal in South Africa, the nadir for a team which had spun out of control on anger and arrogance.”

Perhaps, he might be kinder to the Wallabies?

Fault: Bernard Tomic is an enigma.

Photo: AP

“As for rugby . . . sophisticated, clever, that’s how the best of Australian rugby used to be. There were elegant leaders like John Eales and Rod Macqueen, and never-to-be-forgotten players such as David ‘Campo’ Campese, Mark Ella, Stephen Larkham and many more . . . What have we got now? Whinging Michael Cheika and a team which doesn’t know what it is about.”

He finishes: “Hey, if the once great Australian sports nation is determined to be a sporting laughing stock, it’s a free world.”

Too harsh? Too unbalanced? Too brutal?

Nuh.

Too shay.

But hey, at least we’re light years ahead of those Kiwis in politics, and are not infected by the same stupidity there.

Oh, wait!

Hopping to it

Good around the house: John Hopoate.

Photo: Fox Sports

As you will see in the quotes section, we have it on the sincere authority of Will Hopoate that his father John has another side: “If people saw him at home, they’d see mum is the real boss, she’s got him under the whip, vacuuming and doing the dishes.”

As one who’s had my fair share of goes at Hopoate Snr over the years, I am glad to hear it. In similar spirit, as one who has criticised Josh Dugan many times, and those who only go to children’s hospitals as the cameras roll, a reader sent me a story this week that showed another side.

It concerned his eleven year-old grandson Gabe Smith, who was diagnosed with a brain tumour and admitted to the Randwick Children’s Hospital, where Dugan came across him . . . and held on, going to see him many times thereafter, through all his many treatments and even into palliative care at Manly’s Bear Cottage, where he would stay for four hours at a time.

For yes, young Gabe tragically didn’t make it, and died in July. Dugan and his girlfriend attended the funeral at the Avoca Beach Surf Club and stayed for the wake.

So, there you go. Just as I struggle to put the public Hopoate I know of with the private figure described by his son, I can’t quite fathom that the Dugan described above is the troubled, swaggering bruiser we know – but accept that it is.

Still, if it turns out that Greg Norman has a humble side, that Shane Warne actually delights in Dosteovsky, and Nick Kyrgios is releasing a motivational lecture , I’ll give up!

Fat chance

Très drôle, as we say in the classics. The 53-year-old pro golfer from Michigan, Scott Parel, see, was asked at the end of the second round of the PGA senior tournament what he thought of his chances of winning.

“I think I have two chances – slim and none. And I think I just saw Slim heading out of town.”

It might be straining the metaphor a little, but Slim came back and tucked into the buffet something fierce, because he soon became Huge, and Parel shot 63 on the final round to win the whole thing.

Lunch date

As mentioned, this year’s Cauliflower Club lunch is at the Hyatt Regency on Sussex St on October 12, with special guests Wally Lewis, Michael O’Connor and Ricky Stuart on deck, and you can book at www.cauliflowerclub.org.au.

This week though, our Chair, John Fordham, secured a very interesting auction prize: a big lunch with all of Bob Dwyer, Alan Jones and Rod Macqueen.

Father’s Day

Reluctantly, I must accept that there is some chance that, for Father’s Day, some of you won’t be buying or getting my own latest book, Monash’s Masterpiece, the 93 Minutes That Changed the World. In that case (sniff), allow me to recommend Greg Growden’s The Wallabies At War, which looks at the stunning service of many Wallabies from the Boer War onwards, or Michael Visontay’s Beyond the Stereotype: A Celebration Of Jews In Australian Sport.

Both are, as you’d expect from two long-time Herald scribes, exceptionally well-written and chokka with good yarns.

In Growden’s book, my favourite is about the great Stan Bisset – a man I was proud to call a friend – who was decorated for his bravery on the Kokoda Track where, during the Battle of Isurava, his brother Butch was riddled with machine gun bullets. Stan carried Butch to a clearing, where he held his hand through the night, singing him songs from the old days, till he died just before dawn. Vale, great men.

Steve who?

Take a hike: All Blacks coach Steve Hansen.

Photo: AAP

Meantime?

Meantime, reader Michael Milgate reports that when about to head off on a hike along New Zealand’s spectacular Milford Track with his daughter last year, they were encouraged to have dinner the night before with other hikers. As dinner is being served, his daughter finds herself in the company of a group of charming strangers, one of whom is notably robust, resplendent in a black tracksuit, introduced as “Steve” but addressed by his companions as “Coach”.

“And what do you coach?”

“Rugby,” he replies.

“Oh, and is it a local team?”

“Have you heard of the All Blacks?”

Oh . . . pass the bread?

Short and sweet

The way forward for the Wallabies? Fitzphile Robert King has the answer! “In the same way T20 has rocked the cricket world,” he writes, “let’s push for a shorter version of the Bledisloe Cup. We will play the first 35 mins only, two-man lineouts and no scrums. I understand Lord Bledisloe died in 1958 so he can’t object.” That works!

What They Said

Lovely writing from Matthew Johns on the early days of Johnathan Thurston: “He first came to the Bulldogs in the mid-2000s and he looked like a rabbit trying to find a hole in a barbwire fence. He was a ducker and a darter . . .”

When ESPN commentator Brad Gilbert asked Nick Kygrios after the first round if all his carry-on was to get himself going, Kyrgios replied: “Not really. It keeps me relaxed.”

Tennis umpire Mo Lahyani to Nick Kyrgios during a break in the second round of the US Open, asks him to carry on with more purpose:

“I want to help you. I want to help you. I’ve seen your matches: you’re great for tennis. Nick, I know this is not you.” Kyrgios won nineteen of the next 25 games to win the match. There was hell to pay.

Helpng hand: Mo Lahyani and Nick Krygios. Illustration: John Shakespeare

Will Hopoate on his dad: “For most of my life I’ve seen the John Hopoate off the field, and that’s the man I respect and love as a father. The bloke you see on the field and off the field are two different blokes. If people saw him at home, they’d see mum is the real boss, she’s got him under the whip, vacuuming and doing the dishes.”

Venus Williams laughs at the prospect of playing her sister, Serena, in the American Open: “The last time we played, in Australia, it was two against one. At least this time it’s fair.” On that occasion, at the 2017 Australian Open, Serena was pregnant.

Barry Hall: “I got no income, and there’s no real light at the end of the tunnel of when that will change or when that will be. So it’s a big cock-up.”

Collingwood President Eddie McGuire on another Pies player testing positive: “The last person to find out anything to do with drugs is the club itself. It’s an AFL issue. They have control of everything that goes, as far as the testing is concerned. In fact, as the president of the club I’m not even allowed to ask about these situations.”

Carlton coach Brendon Bolton on the upside of having won two games for twenty losses this season: “In some time we’ll look back and say this time paid us back.” Sure you will, Coach.

Wayne Bennett following the Roosters game: “I could make a headline easily, but I won’t tonight. I’ll leave you with this guys, you’re all journalists here, you see what I see, why don’t you write the stories?”

Eels coach Brad Arthur on the wooden spoon, after his side lost 44-6 to the Cowboys last Friday: “At the end of the day, I’m in charge. Someone has got to claim responsibility, that’s me. I feel a sense that I’ve let people down. It’s just embarrassing. I have to face up to it, I can’t run and hide from it.” Coach? Look to the blokes laughing and joking within seconds of being on the wrong end of a 40-point drubbing – and wipe them. Start with Jarryd Hayne, who was doing precisely that.

Gus Gould: “Sunday afternoon at Jubilee Oval. One of the great pleasures of life.” Andrew Johns: “Gus, you’ve gotta get out more.”

Team of the Week

Fond farewell: Thurston waves goodbye to the Cowboys home crowd last week.

Photo: AAP

Johnathan Thurston Plays the final match of his extraordinary 17-year career tonight, against the Gold Coast Titans.

Richmond and Hawthorn How very odd. Between them they have won 24 Premiership flags and yet next Thursday, for the first time, they contest a finals match.

Argentina Pumas Snapped an 11-match losing streak in the Rugby Championship by beating South Africa.

Sunshine Coast Lightning Gone back to back to claim their second Super Netball title. So I suppose it does strike twice!

The second annual Chappell Foundation Golf Day To raise money for the homeless, it will be held on Tuesday September 11 at the spectacular NSW Golf Club, La Perouse.

Italy Has just banned all advertising for gambling, most particularly including sponsorships of sporting teams. Watch this space!

Caloundra Won their first rugby grand final since their foundation in 1982, beating Noosa.

Twitter: @Peter_Fitz

Peter FitzSimons is a Herald journalist, columnist and author, based in Sydney. He is also a former Wallabies player.