#ben askren

[dannycardfan824]

TOPPS 2020 UFC KNOCKOUT

BEN ASKREN #KA-BA 49/50 BLUE KNOCKOUT AUTOGRAPH PSA GRADED 7

[theanticool]

If you want an idea on how long it can take a fighter to figure out their game or even just get to a title fight.

Alexandre Pantoja started MMA in 2007. He got to the UFC in 2017 and debuted on the UFC on FOX: Valentina Shevchenko vs Julianna Pena card. That card also had a fight between Jorge Masvidal vs Donald Cerrone. Masvidal was still 2 years away from becoming a viral star for knocking out Ben Askren and would actually lose his next two fights. Pantoja did not become UFC champion until 2023.

Islam Makhachev made his pro debut in 2010. Got to the UFC in 2015. The card he debuted on? UFC 187 - Daniel Cormier vs Anthony Johnson for the UFC light heavyweight title w/ Chris Weidman defending the middleweight title against Vitor Belfort. It would take Makhachev 7 years (2022) in the UFC to not just win the title, but earn himself a title fight at all and it'd require him going 12-1 to do it.

Merab Dvalishvili made his debut in 2014. Got to the UFC pretty quick, signing in 2017. Lost his first two fights. Proceeded to rattle off 10 consecutive wins before he could get a title fight - in 2024. Took him 7 years in the promotion just to get to a title fight.

Ilia Topuria made his pro debut in 2015. Got signed to the UFC in 2020. Only had to go 6-0 to get to a title fight. Fair enough. But it did take another 4 years to do so while staying undefeated to do it. That's 9 years of fighting before he got to the title.

This isn't even mentioning guys who figure things out super late - Charles Oliveira, Rafael Dos Anjos, Jan Błachowicz, Dustin Poirier, etc.

Guys who come in and 'get it' out the gate early like Cody Garbrandt, Chris Weidman, Jon Jones, etc. are super rare (except at heavyweight tbh). Becoming a great/borderline elite MMA fighter takes a long time. It takes a lot of cage time. And often, a ton of road bumps.

[ryanrivers]

Paul vs Perry

After Jake Paul's fight with Tommy Fury, I joked that Jake can only beat black people. This is still true after his fight with Mike Perry, who is also part black (2% according to him, so the one drop rule applies). Before you say it, no, Ben Askren doesn't count. A man who is out shape, out of practice, with bad hips would've lost to the likes of Glass Joe. Ryan Bourland doesn't count either. Who Ryan Bourland you may ask? My thoughts exactly!

All jokes aside, I still feel like we haven't seen anything different from Jake. The most notable thing is his shitty gas tank. By the second round he was breathing from his mouth that was so wide open a boxer with a good hook would've erased his chin.

In regards to Mike Perry, a man who found much success in Bare Knuckle Fighting, did a good job of representing his sport, because he damn sure wasn't fighting like a boxer. He did have a few glimpses of success. If only he did...

Im not going to finish that sentence, because its the same story for every Jake Paul fight. X should've done this, X should've done that; all because Jake's opponents are shit boxers.

Tommy Fury was able to finish the job in a split decision. I haven't heard much from Tommy since. Apparently he fought KSI a few months after and nothing else, which sounds par for the course. Tommy was more into being a celebrity than a boxer. This is evident if you watched him on the reality game show "Love Island UK" - its a guilty pleasure of mine.

Jake's spectacle with Perry came about due to his fight with Mike Tyson being postponed and rescheduled to November, and Jake wanted to stay busy and not get ring rust. I'll give props to Jake, because he could've just sat on his ass in the meantime. It shows that his loss against Tommy didn't discourage him. He is still committed to boxing... for now.

[butchieboxing]

ben askren

[rsjbs]

UFC 239 MMA

2019 years

7 July

Ben askren vs jorge masvidal

[cleverhottubmiracle]

(Photo by Chris McKay/WireImage) The inauguration of President Donald Trump on January 20, 2025, marked not just a political transfer of power but a cultural inflection point. Few could have predicted the lineup of artists chosen to perform, but Snoop Dogg, Nelly, Soulja Boy, and Rick Ross—four figures deeply ingrained in the fabric of hip-hop—are in the number of artists slated to perform to mark this controversial moment in history. Their participation sparked an uproar, not only for the optics of Black artists aligning with Trump, but for what it revealed about the blurred lines between cultural influence and political power. ATLANTA, GEORGIA – APRIL 17: Snoop Dogg and Rick Ross attend Triller Fight Club: Jake Paul v Ben Askren at Mercedes-Benz Stadium on April 17, 2021 in Atlanta, Georgia. (Photo by Jeff Kravitz/Getty Images for Triller) Snoop Dogg’s appearance at the pre-inauguration Crypto Ball felt particularly jarring. Known for his scathing criticisms of Trump—most famously vowing in 2017 to “roast the fuck out of” any Black artist who performed at his events—Snoop now headlined an event hosted by David Sacks, a Silicon Valley mogul dubbed the “White House A.I. and Crypto Czar.” Once a steadfast critic of Trump’s policies, Snoop’s presence on this stage left fans questioning whether financial incentives or a strategic rebranding motivated his change of heart. Nelly, who is scheduled to performed at the Liberty Ball, attempted to deflect criticism by framing his decision as respect for the office of the presidency rather than the man occupying it. In a Youtube interview with Geto Boys’ Willie D, Nelly said, “I respect the office. This isn’t politics. Politics for me is over; [Trump] won, he’s the Commander-in-Chief.” The ‘Hot In Herre’ rapper went on to say, “I was born in a military base in Austin. My father served, my grandfather served, my uncle served, my auntie served. I’ve been entertaining the troops all over this world,” he added. “If these people can give their live for the office, Nelly can perform for it.” Nelly’s defense, invoking his military background and his long-standing tradition of entertaining service members, attempted to divorce his art from the politics of the day. Yet, the question remains: is it truly possible to perform at such a politically charged event without being seen as tacitly endorsing the administration? Can an artist justify participating in an inauguration while maintaining the façade of political neutrality? Soulja Boy and Rick Ross, who performed alongside Snoop at the Crypto Ball, are once again aligning themselves with the technology and crypto industries, which have increasingly prioritized profit over the political struggles of the communities these artists represent. For Soulja Boy, whose career has been defined by cultural disruption, the event felt like an extension of his brand—a space to navigate the tech world that continues to shape modern culture. However, for critics, their appearance embodied the troubling trend of celebrity figures aligning themselves with Silicon Valley’s new class of power brokers, often at the expense of the very communities their music once spoke for. Several well-known athletes, including football’s Antonio Brown, boxing’s Mike Tyson, and hockey’s Evander Kane, were also reported to be attending, according to a source familiar with the event’s attendance list, as reported by NBC News. Their presence highlighted the growing intersection of sports, celebrity culture, and political influence, prompting questions about the underlying catalyst behind these high-profile affiliations. Joining these athletes in showing support for Trump were rappers Rod Wave, Kodak Black, and Fivio Foreign, all of whom had explicitly backed Trump both through their music and event appearances. Florida rapper Kodak Black, endorsed Trump publicly, and even personally thanked him for granting him a pardon during his time in prison. Fivio Foreign, also lent his support to Trump, creating a rap record with Black, dubbed “ONBOA47RD,” in support of the president. Critics from all corners weighed in. On CNN, Keith Boykin was outspoken in his condemnation of the artists decisions. “It’s a huge dishonor to Black people. I mean, if you look at Donald Trump, the man who refused to rent to black people in the 1970s, who tried to lead a lynch mob against five black and brown kids in the 1980s for the Central Park case, who refused to allow Black casino workers to have a prominent place in his casinos in Atlantic City in the 1990s, who spent five and a half years lying about Barack Obama’s birth certificate in the 2000s, who came into office and then attacked Black people like Colin Kaepernick, who attacked Ruby Freeman and her daughter Shay Moss for simply doing their jobs in Fulton County election workers,” Boykin continued. “You dishonor those people when you go and perform for this man, this man who has done nothing but dishonor black people. And just even last year, just last year, he was calling Haitian immigrants, accusing them of eating cats and dogs. This is not somebody that Black people should be associated with and pretending to normalize. We should be challenging him. And it dishonors the legacy of Dr. Martin Luther King Jr., whose birthday we honor on Monday to celebrate this man.” Boykin’s remarks highlight a stark tension: the question of whether participating in such an event constitutes an endorsement of Trump’s policies—policies that have historically vilified and marginalized Black people. This criticism is particularly pointed considering the long-standing relationship between hip-hop culture and resistance. Hip-hop, at its core, has always been about resistance, authenticity, and fighting for social justice—values that seem at odds with the rhetoric and actions of the Trump administration. It’s notable to see the number of Black celebrities now aligning with Trump, especially in light of the intense backlash singer Chrisette Michele faced after performing at his inaugural ball in 2017. Her decision to take the stage at the event sparked widespread criticism, resulting in her being dropped by her record label, Capitol Records, and enduring significant personal and professional fallout. Today, the air seems different around public support of Trump. It’s impossible not to think of Martin Luther King Jr.’s famous words today, on the day we celebrate his efforts for equality: “In the end, we will remember not the words of our enemies, but the silence of our friends.” Yet, these performances feel like more than just silence—they symbolized acquiescence. Angela Davis once asserted that “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.” To stand on that stage, in celebration of an administration with a contentious legacy, feels like a stark departure from that struggle. “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.”– Angela Davis Back in 2017, Trump’s inauguration struggled to secure top-tier performers, with many artists declining as an act of defiance. Eight years later, the landscape has shifted. Whether the motivation was financial, professional, or a misguided attempt to build bridges, the participation of Snoop Dogg, Nelly, Soulja Boy, and Rick Ross signals a pivotal moment in culture. Performing at a presidential inauguration is undeniably a legacy moment, but legacies are defined not just by the stages graced but by the values upheld. For these artists, this decision has ignited complex questions about the intersection of artistry, accountability, and the power of celebrity. In a deeply polarized era, their presence speaks volumes about the role of Black artists in shaping—and navigating—power. In the time following the inauguration and the discourse evolves, one thing is certain: the performances at Trump’s inauguration will leave a lasting imprint on their careers, reshaping both their legacies and the cultural conversation for years to come. Source link

[norajworld]

(Photo by Chris McKay/WireImage) The inauguration of President Donald Trump on January 20, 2025, marked not just a political transfer of power but a cultural inflection point. Few could have predicted the lineup of artists chosen to perform, but Snoop Dogg, Nelly, Soulja Boy, and Rick Ross—four figures deeply ingrained in the fabric of hip-hop—are in the number of artists slated to perform to mark this controversial moment in history. Their participation sparked an uproar, not only for the optics of Black artists aligning with Trump, but for what it revealed about the blurred lines between cultural influence and political power. ATLANTA, GEORGIA – APRIL 17: Snoop Dogg and Rick Ross attend Triller Fight Club: Jake Paul v Ben Askren at Mercedes-Benz Stadium on April 17, 2021 in Atlanta, Georgia. (Photo by Jeff Kravitz/Getty Images for Triller) Snoop Dogg’s appearance at the pre-inauguration Crypto Ball felt particularly jarring. Known for his scathing criticisms of Trump—most famously vowing in 2017 to “roast the fuck out of” any Black artist who performed at his events—Snoop now headlined an event hosted by David Sacks, a Silicon Valley mogul dubbed the “White House A.I. and Crypto Czar.” Once a steadfast critic of Trump’s policies, Snoop’s presence on this stage left fans questioning whether financial incentives or a strategic rebranding motivated his change of heart. Nelly, who is scheduled to performed at the Liberty Ball, attempted to deflect criticism by framing his decision as respect for the office of the presidency rather than the man occupying it. In a Youtube interview with Geto Boys’ Willie D, Nelly said, “I respect the office. This isn’t politics. Politics for me is over; [Trump] won, he’s the Commander-in-Chief.” The ‘Hot In Herre’ rapper went on to say, “I was born in a military base in Austin. My father served, my grandfather served, my uncle served, my auntie served. I’ve been entertaining the troops all over this world,” he added. “If these people can give their live for the office, Nelly can perform for it.” Nelly’s defense, invoking his military background and his long-standing tradition of entertaining service members, attempted to divorce his art from the politics of the day. Yet, the question remains: is it truly possible to perform at such a politically charged event without being seen as tacitly endorsing the administration? Can an artist justify participating in an inauguration while maintaining the façade of political neutrality? Soulja Boy and Rick Ross, who performed alongside Snoop at the Crypto Ball, are once again aligning themselves with the technology and crypto industries, which have increasingly prioritized profit over the political struggles of the communities these artists represent. For Soulja Boy, whose career has been defined by cultural disruption, the event felt like an extension of his brand—a space to navigate the tech world that continues to shape modern culture. However, for critics, their appearance embodied the troubling trend of celebrity figures aligning themselves with Silicon Valley’s new class of power brokers, often at the expense of the very communities their music once spoke for. Several well-known athletes, including football’s Antonio Brown, boxing’s Mike Tyson, and hockey’s Evander Kane, were also reported to be attending, according to a source familiar with the event’s attendance list, as reported by NBC News. Their presence highlighted the growing intersection of sports, celebrity culture, and political influence, prompting questions about the underlying catalyst behind these high-profile affiliations. Joining these athletes in showing support for Trump were rappers Rod Wave, Kodak Black, and Fivio Foreign, all of whom had explicitly backed Trump both through their music and event appearances. Florida rapper Kodak Black, endorsed Trump publicly, and even personally thanked him for granting him a pardon during his time in prison. Fivio Foreign, also lent his support to Trump, creating a rap record with Black, dubbed “ONBOA47RD,” in support of the president. Critics from all corners weighed in. On CNN, Keith Boykin was outspoken in his condemnation of the artists decisions. “It’s a huge dishonor to Black people. I mean, if you look at Donald Trump, the man who refused to rent to black people in the 1970s, who tried to lead a lynch mob against five black and brown kids in the 1980s for the Central Park case, who refused to allow Black casino workers to have a prominent place in his casinos in Atlantic City in the 1990s, who spent five and a half years lying about Barack Obama’s birth certificate in the 2000s, who came into office and then attacked Black people like Colin Kaepernick, who attacked Ruby Freeman and her daughter Shay Moss for simply doing their jobs in Fulton County election workers,” Boykin continued. “You dishonor those people when you go and perform for this man, this man who has done nothing but dishonor black people. And just even last year, just last year, he was calling Haitian immigrants, accusing them of eating cats and dogs. This is not somebody that Black people should be associated with and pretending to normalize. We should be challenging him. And it dishonors the legacy of Dr. Martin Luther King Jr., whose birthday we honor on Monday to celebrate this man.” Boykin’s remarks highlight a stark tension: the question of whether participating in such an event constitutes an endorsement of Trump’s policies—policies that have historically vilified and marginalized Black people. This criticism is particularly pointed considering the long-standing relationship between hip-hop culture and resistance. Hip-hop, at its core, has always been about resistance, authenticity, and fighting for social justice—values that seem at odds with the rhetoric and actions of the Trump administration. It’s notable to see the number of Black celebrities now aligning with Trump, especially in light of the intense backlash singer Chrisette Michele faced after performing at his inaugural ball in 2017. Her decision to take the stage at the event sparked widespread criticism, resulting in her being dropped by her record label, Capitol Records, and enduring significant personal and professional fallout. Today, the air seems different around public support of Trump. It’s impossible not to think of Martin Luther King Jr.’s famous words today, on the day we celebrate his efforts for equality: “In the end, we will remember not the words of our enemies, but the silence of our friends.” Yet, these performances feel like more than just silence—they symbolized acquiescence. Angela Davis once asserted that “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.” To stand on that stage, in celebration of an administration with a contentious legacy, feels like a stark departure from that struggle. “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.”– Angela Davis Back in 2017, Trump’s inauguration struggled to secure top-tier performers, with many artists declining as an act of defiance. Eight years later, the landscape has shifted. Whether the motivation was financial, professional, or a misguided attempt to build bridges, the participation of Snoop Dogg, Nelly, Soulja Boy, and Rick Ross signals a pivotal moment in culture. Performing at a presidential inauguration is undeniably a legacy moment, but legacies are defined not just by the stages graced but by the values upheld. For these artists, this decision has ignited complex questions about the intersection of artistry, accountability, and the power of celebrity. In a deeply polarized era, their presence speaks volumes about the role of Black artists in shaping—and navigating—power. In the time following the inauguration and the discourse evolves, one thing is certain: the performances at Trump’s inauguration will leave a lasting imprint on their careers, reshaping both their legacies and the cultural conversation for years to come. Source link

[ellajme0]

(Photo by Chris McKay/WireImage) The inauguration of President Donald Trump on January 20, 2025, marked not just a political transfer of power but a cultural inflection point. Few could have predicted the lineup of artists chosen to perform, but Snoop Dogg, Nelly, Soulja Boy, and Rick Ross—four figures deeply ingrained in the fabric of hip-hop—are in the number of artists slated to perform to mark this controversial moment in history. Their participation sparked an uproar, not only for the optics of Black artists aligning with Trump, but for what it revealed about the blurred lines between cultural influence and political power. ATLANTA, GEORGIA – APRIL 17: Snoop Dogg and Rick Ross attend Triller Fight Club: Jake Paul v Ben Askren at Mercedes-Benz Stadium on April 17, 2021 in Atlanta, Georgia. (Photo by Jeff Kravitz/Getty Images for Triller) Snoop Dogg’s appearance at the pre-inauguration Crypto Ball felt particularly jarring. Known for his scathing criticisms of Trump—most famously vowing in 2017 to “roast the fuck out of” any Black artist who performed at his events—Snoop now headlined an event hosted by David Sacks, a Silicon Valley mogul dubbed the “White House A.I. and Crypto Czar.” Once a steadfast critic of Trump’s policies, Snoop’s presence on this stage left fans questioning whether financial incentives or a strategic rebranding motivated his change of heart. Nelly, who is scheduled to performed at the Liberty Ball, attempted to deflect criticism by framing his decision as respect for the office of the presidency rather than the man occupying it. In a Youtube interview with Geto Boys’ Willie D, Nelly said, “I respect the office. This isn’t politics. Politics for me is over; [Trump] won, he’s the Commander-in-Chief.” The ‘Hot In Herre’ rapper went on to say, “I was born in a military base in Austin. My father served, my grandfather served, my uncle served, my auntie served. I’ve been entertaining the troops all over this world,” he added. “If these people can give their live for the office, Nelly can perform for it.” Nelly’s defense, invoking his military background and his long-standing tradition of entertaining service members, attempted to divorce his art from the politics of the day. Yet, the question remains: is it truly possible to perform at such a politically charged event without being seen as tacitly endorsing the administration? Can an artist justify participating in an inauguration while maintaining the façade of political neutrality? Soulja Boy and Rick Ross, who performed alongside Snoop at the Crypto Ball, are once again aligning themselves with the technology and crypto industries, which have increasingly prioritized profit over the political struggles of the communities these artists represent. For Soulja Boy, whose career has been defined by cultural disruption, the event felt like an extension of his brand—a space to navigate the tech world that continues to shape modern culture. However, for critics, their appearance embodied the troubling trend of celebrity figures aligning themselves with Silicon Valley’s new class of power brokers, often at the expense of the very communities their music once spoke for. Several well-known athletes, including football’s Antonio Brown, boxing’s Mike Tyson, and hockey’s Evander Kane, were also reported to be attending, according to a source familiar with the event’s attendance list, as reported by NBC News. Their presence highlighted the growing intersection of sports, celebrity culture, and political influence, prompting questions about the underlying catalyst behind these high-profile affiliations. Joining these athletes in showing support for Trump were rappers Rod Wave, Kodak Black, and Fivio Foreign, all of whom had explicitly backed Trump both through their music and event appearances. Florida rapper Kodak Black, endorsed Trump publicly, and even personally thanked him for granting him a pardon during his time in prison. Fivio Foreign, also lent his support to Trump, creating a rap record with Black, dubbed “ONBOA47RD,” in support of the president. Critics from all corners weighed in. On CNN, Keith Boykin was outspoken in his condemnation of the artists decisions. “It’s a huge dishonor to Black people. I mean, if you look at Donald Trump, the man who refused to rent to black people in the 1970s, who tried to lead a lynch mob against five black and brown kids in the 1980s for the Central Park case, who refused to allow Black casino workers to have a prominent place in his casinos in Atlantic City in the 1990s, who spent five and a half years lying about Barack Obama’s birth certificate in the 2000s, who came into office and then attacked Black people like Colin Kaepernick, who attacked Ruby Freeman and her daughter Shay Moss for simply doing their jobs in Fulton County election workers,” Boykin continued. “You dishonor those people when you go and perform for this man, this man who has done nothing but dishonor black people. And just even last year, just last year, he was calling Haitian immigrants, accusing them of eating cats and dogs. This is not somebody that Black people should be associated with and pretending to normalize. We should be challenging him. And it dishonors the legacy of Dr. Martin Luther King Jr., whose birthday we honor on Monday to celebrate this man.” Boykin’s remarks highlight a stark tension: the question of whether participating in such an event constitutes an endorsement of Trump’s policies—policies that have historically vilified and marginalized Black people. This criticism is particularly pointed considering the long-standing relationship between hip-hop culture and resistance. Hip-hop, at its core, has always been about resistance, authenticity, and fighting for social justice—values that seem at odds with the rhetoric and actions of the Trump administration. It’s notable to see the number of Black celebrities now aligning with Trump, especially in light of the intense backlash singer Chrisette Michele faced after performing at his inaugural ball in 2017. Her decision to take the stage at the event sparked widespread criticism, resulting in her being dropped by her record label, Capitol Records, and enduring significant personal and professional fallout. Today, the air seems different around public support of Trump. It’s impossible not to think of Martin Luther King Jr.’s famous words today, on the day we celebrate his efforts for equality: “In the end, we will remember not the words of our enemies, but the silence of our friends.” Yet, these performances feel like more than just silence—they symbolized acquiescence. Angela Davis once asserted that “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.” To stand on that stage, in celebration of an administration with a contentious legacy, feels like a stark departure from that struggle. “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.”– Angela Davis Back in 2017, Trump’s inauguration struggled to secure top-tier performers, with many artists declining as an act of defiance. Eight years later, the landscape has shifted. Whether the motivation was financial, professional, or a misguided attempt to build bridges, the participation of Snoop Dogg, Nelly, Soulja Boy, and Rick Ross signals a pivotal moment in culture. Performing at a presidential inauguration is undeniably a legacy moment, but legacies are defined not just by the stages graced but by the values upheld. For these artists, this decision has ignited complex questions about the intersection of artistry, accountability, and the power of celebrity. In a deeply polarized era, their presence speaks volumes about the role of Black artists in shaping—and navigating—power. In the time following the inauguration and the discourse evolves, one thing is certain: the performances at Trump’s inauguration will leave a lasting imprint on their careers, reshaping both their legacies and the cultural conversation for years to come. Source link

[chilimili212]

(Photo by Chris McKay/WireImage) The inauguration of President Donald Trump on January 20, 2025, marked not just a political transfer of power but a cultural inflection point. Few could have predicted the lineup of artists chosen to perform, but Snoop Dogg, Nelly, Soulja Boy, and Rick Ross—four figures deeply ingrained in the fabric of hip-hop—are in the number of artists slated to perform to mark this controversial moment in history. Their participation sparked an uproar, not only for the optics of Black artists aligning with Trump, but for what it revealed about the blurred lines between cultural influence and political power. ATLANTA, GEORGIA – APRIL 17: Snoop Dogg and Rick Ross attend Triller Fight Club: Jake Paul v Ben Askren at Mercedes-Benz Stadium on April 17, 2021 in Atlanta, Georgia. (Photo by Jeff Kravitz/Getty Images for Triller) Snoop Dogg’s appearance at the pre-inauguration Crypto Ball felt particularly jarring. Known for his scathing criticisms of Trump—most famously vowing in 2017 to “roast the fuck out of” any Black artist who performed at his events—Snoop now headlined an event hosted by David Sacks, a Silicon Valley mogul dubbed the “White House A.I. and Crypto Czar.” Once a steadfast critic of Trump’s policies, Snoop’s presence on this stage left fans questioning whether financial incentives or a strategic rebranding motivated his change of heart. Nelly, who is scheduled to performed at the Liberty Ball, attempted to deflect criticism by framing his decision as respect for the office of the presidency rather than the man occupying it. In a Youtube interview with Geto Boys’ Willie D, Nelly said, “I respect the office. This isn’t politics. Politics for me is over; [Trump] won, he’s the Commander-in-Chief.” The ‘Hot In Herre’ rapper went on to say, “I was born in a military base in Austin. My father served, my grandfather served, my uncle served, my auntie served. I’ve been entertaining the troops all over this world,” he added. “If these people can give their live for the office, Nelly can perform for it.” Nelly’s defense, invoking his military background and his long-standing tradition of entertaining service members, attempted to divorce his art from the politics of the day. Yet, the question remains: is it truly possible to perform at such a politically charged event without being seen as tacitly endorsing the administration? Can an artist justify participating in an inauguration while maintaining the façade of political neutrality? Soulja Boy and Rick Ross, who performed alongside Snoop at the Crypto Ball, are once again aligning themselves with the technology and crypto industries, which have increasingly prioritized profit over the political struggles of the communities these artists represent. For Soulja Boy, whose career has been defined by cultural disruption, the event felt like an extension of his brand—a space to navigate the tech world that continues to shape modern culture. However, for critics, their appearance embodied the troubling trend of celebrity figures aligning themselves with Silicon Valley’s new class of power brokers, often at the expense of the very communities their music once spoke for. Several well-known athletes, including football’s Antonio Brown, boxing’s Mike Tyson, and hockey’s Evander Kane, were also reported to be attending, according to a source familiar with the event’s attendance list, as reported by NBC News. Their presence highlighted the growing intersection of sports, celebrity culture, and political influence, prompting questions about the underlying catalyst behind these high-profile affiliations. Joining these athletes in showing support for Trump were rappers Rod Wave, Kodak Black, and Fivio Foreign, all of whom had explicitly backed Trump both through their music and event appearances. Florida rapper Kodak Black, endorsed Trump publicly, and even personally thanked him for granting him a pardon during his time in prison. Fivio Foreign, also lent his support to Trump, creating a rap record with Black, dubbed “ONBOA47RD,” in support of the president. Critics from all corners weighed in. On CNN, Keith Boykin was outspoken in his condemnation of the artists decisions. “It’s a huge dishonor to Black people. I mean, if you look at Donald Trump, the man who refused to rent to black people in the 1970s, who tried to lead a lynch mob against five black and brown kids in the 1980s for the Central Park case, who refused to allow Black casino workers to have a prominent place in his casinos in Atlantic City in the 1990s, who spent five and a half years lying about Barack Obama’s birth certificate in the 2000s, who came into office and then attacked Black people like Colin Kaepernick, who attacked Ruby Freeman and her daughter Shay Moss for simply doing their jobs in Fulton County election workers,” Boykin continued. “You dishonor those people when you go and perform for this man, this man who has done nothing but dishonor black people. And just even last year, just last year, he was calling Haitian immigrants, accusing them of eating cats and dogs. This is not somebody that Black people should be associated with and pretending to normalize. We should be challenging him. And it dishonors the legacy of Dr. Martin Luther King Jr., whose birthday we honor on Monday to celebrate this man.” Boykin’s remarks highlight a stark tension: the question of whether participating in such an event constitutes an endorsement of Trump’s policies—policies that have historically vilified and marginalized Black people. This criticism is particularly pointed considering the long-standing relationship between hip-hop culture and resistance. Hip-hop, at its core, has always been about resistance, authenticity, and fighting for social justice—values that seem at odds with the rhetoric and actions of the Trump administration. It’s notable to see the number of Black celebrities now aligning with Trump, especially in light of the intense backlash singer Chrisette Michele faced after performing at his inaugural ball in 2017. Her decision to take the stage at the event sparked widespread criticism, resulting in her being dropped by her record label, Capitol Records, and enduring significant personal and professional fallout. Today, the air seems different around public support of Trump. It’s impossible not to think of Martin Luther King Jr.’s famous words today, on the day we celebrate his efforts for equality: “In the end, we will remember not the words of our enemies, but the silence of our friends.” Yet, these performances feel like more than just silence—they symbolized acquiescence. Angela Davis once asserted that “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.” To stand on that stage, in celebration of an administration with a contentious legacy, feels like a stark departure from that struggle. “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.”– Angela Davis Back in 2017, Trump’s inauguration struggled to secure top-tier performers, with many artists declining as an act of defiance. Eight years later, the landscape has shifted. Whether the motivation was financial, professional, or a misguided attempt to build bridges, the participation of Snoop Dogg, Nelly, Soulja Boy, and Rick Ross signals a pivotal moment in culture. Performing at a presidential inauguration is undeniably a legacy moment, but legacies are defined not just by the stages graced but by the values upheld. For these artists, this decision has ignited complex questions about the intersection of artistry, accountability, and the power of celebrity. In a deeply polarized era, their presence speaks volumes about the role of Black artists in shaping—and navigating—power. In the time following the inauguration and the discourse evolves, one thing is certain: the performances at Trump’s inauguration will leave a lasting imprint on their careers, reshaping both their legacies and the cultural conversation for years to come. Source link

[oliviajoyice21]

(Photo by Chris McKay/WireImage) The inauguration of President Donald Trump on January 20, 2025, marked not just a political transfer of power but a cultural inflection point. Few could have predicted the lineup of artists chosen to perform, but Snoop Dogg, Nelly, Soulja Boy, and Rick Ross—four figures deeply ingrained in the fabric of hip-hop—are in the number of artists slated to perform to mark this controversial moment in history. Their participation sparked an uproar, not only for the optics of Black artists aligning with Trump, but for what it revealed about the blurred lines between cultural influence and political power. ATLANTA, GEORGIA – APRIL 17: Snoop Dogg and Rick Ross attend Triller Fight Club: Jake Paul v Ben Askren at Mercedes-Benz Stadium on April 17, 2021 in Atlanta, Georgia. (Photo by Jeff Kravitz/Getty Images for Triller) Snoop Dogg’s appearance at the pre-inauguration Crypto Ball felt particularly jarring. Known for his scathing criticisms of Trump—most famously vowing in 2017 to “roast the fuck out of” any Black artist who performed at his events—Snoop now headlined an event hosted by David Sacks, a Silicon Valley mogul dubbed the “White House A.I. and Crypto Czar.” Once a steadfast critic of Trump’s policies, Snoop’s presence on this stage left fans questioning whether financial incentives or a strategic rebranding motivated his change of heart. Nelly, who is scheduled to performed at the Liberty Ball, attempted to deflect criticism by framing his decision as respect for the office of the presidency rather than the man occupying it. In a Youtube interview with Geto Boys’ Willie D, Nelly said, “I respect the office. This isn’t politics. Politics for me is over; [Trump] won, he’s the Commander-in-Chief.” The ‘Hot In Herre’ rapper went on to say, “I was born in a military base in Austin. My father served, my grandfather served, my uncle served, my auntie served. I’ve been entertaining the troops all over this world,” he added. “If these people can give their live for the office, Nelly can perform for it.” Nelly’s defense, invoking his military background and his long-standing tradition of entertaining service members, attempted to divorce his art from the politics of the day. Yet, the question remains: is it truly possible to perform at such a politically charged event without being seen as tacitly endorsing the administration? Can an artist justify participating in an inauguration while maintaining the façade of political neutrality? Soulja Boy and Rick Ross, who performed alongside Snoop at the Crypto Ball, are once again aligning themselves with the technology and crypto industries, which have increasingly prioritized profit over the political struggles of the communities these artists represent. For Soulja Boy, whose career has been defined by cultural disruption, the event felt like an extension of his brand—a space to navigate the tech world that continues to shape modern culture. However, for critics, their appearance embodied the troubling trend of celebrity figures aligning themselves with Silicon Valley’s new class of power brokers, often at the expense of the very communities their music once spoke for. Several well-known athletes, including football’s Antonio Brown, boxing’s Mike Tyson, and hockey’s Evander Kane, were also reported to be attending, according to a source familiar with the event’s attendance list, as reported by NBC News. Their presence highlighted the growing intersection of sports, celebrity culture, and political influence, prompting questions about the underlying catalyst behind these high-profile affiliations. Joining these athletes in showing support for Trump were rappers Rod Wave, Kodak Black, and Fivio Foreign, all of whom had explicitly backed Trump both through their music and event appearances. Florida rapper Kodak Black, endorsed Trump publicly, and even personally thanked him for granting him a pardon during his time in prison. Fivio Foreign, also lent his support to Trump, creating a rap record with Black, dubbed “ONBOA47RD,” in support of the president. Critics from all corners weighed in. On CNN, Keith Boykin was outspoken in his condemnation of the artists decisions. “It’s a huge dishonor to Black people. I mean, if you look at Donald Trump, the man who refused to rent to black people in the 1970s, who tried to lead a lynch mob against five black and brown kids in the 1980s for the Central Park case, who refused to allow Black casino workers to have a prominent place in his casinos in Atlantic City in the 1990s, who spent five and a half years lying about Barack Obama’s birth certificate in the 2000s, who came into office and then attacked Black people like Colin Kaepernick, who attacked Ruby Freeman and her daughter Shay Moss for simply doing their jobs in Fulton County election workers,” Boykin continued. “You dishonor those people when you go and perform for this man, this man who has done nothing but dishonor black people. And just even last year, just last year, he was calling Haitian immigrants, accusing them of eating cats and dogs. This is not somebody that Black people should be associated with and pretending to normalize. We should be challenging him. And it dishonors the legacy of Dr. Martin Luther King Jr., whose birthday we honor on Monday to celebrate this man.” Boykin’s remarks highlight a stark tension: the question of whether participating in such an event constitutes an endorsement of Trump’s policies—policies that have historically vilified and marginalized Black people. This criticism is particularly pointed considering the long-standing relationship between hip-hop culture and resistance. Hip-hop, at its core, has always been about resistance, authenticity, and fighting for social justice—values that seem at odds with the rhetoric and actions of the Trump administration. It’s notable to see the number of Black celebrities now aligning with Trump, especially in light of the intense backlash singer Chrisette Michele faced after performing at his inaugural ball in 2017. Her decision to take the stage at the event sparked widespread criticism, resulting in her being dropped by her record label, Capitol Records, and enduring significant personal and professional fallout. Today, the air seems different around public support of Trump. It’s impossible not to think of Martin Luther King Jr.’s famous words today, on the day we celebrate his efforts for equality: “In the end, we will remember not the words of our enemies, but the silence of our friends.” Yet, these performances feel like more than just silence—they symbolized acquiescence. Angela Davis once asserted that “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.” To stand on that stage, in celebration of an administration with a contentious legacy, feels like a stark departure from that struggle. “politics and political affiliation are bound up with and flow from participation in my people’s struggle for liberation.”– Angela Davis Back in 2017, Trump’s inauguration struggled to secure top-tier performers, with many artists declining as an act of defiance. Eight years later, the landscape has shifted. Whether the motivation was financial, professional, or a misguided attempt to build bridges, the participation of Snoop Dogg, Nelly, Soulja Boy, and Rick Ross signals a pivotal moment in culture. Performing at a presidential inauguration is undeniably a legacy moment, but legacies are defined not just by the stages graced but by the values upheld. For these artists, this decision has ignited complex questions about the intersection of artistry, accountability, and the power of celebrity. In a deeply polarized era, their presence speaks volumes about the role of Black artists in shaping—and navigating—power. In the time following the inauguration and the discourse evolves, one thing is certain: the performances at Trump’s inauguration will leave a lasting imprint on their careers, reshaping both their legacies and the cultural conversation for years to come. Source link

[makanmakananenak782]

Ben Askren

Ulasan: Ben Askren adalah mantan juara dunia Bellator dan ONE Championship, serta dikenal dengan kemampuan gulat dan wrestling yang sangat baik. Meskipun ia tidak berkarier lama di UFC, Askren tetap menjadi legenda dalam dunia MMA dengan gaya bertarung yang sangat taktis dan dominan.

[bananascribbles]

on split-second biases, ethics class

Within the classical dual-process framework, System 1 is responsible for only intuitive decisions while System 2 is used for only tasks that involve conscious deliberation. However, the Voudori study’s findings indicate that even with the possible limitations of the experiment, tasks designed to cue intuitive processes may still be able to cue conscious deliberation. It may be because a participant happens to be very used to the principles behind certain tasks and thus there is more time to process things deliberately, even if for only a split second. 

A possible example may be found in combat sports, a discipline that uses both intuitive and deliberate processes. A possible intuitive decision is to use head movement (i.e. bobbing and weaving) to dodge blows, likely ingrained into combat athletes’ muscle memory over training. However, Leon Edwards exploited this tendency against Kamaru Usman in Ultimate Fighting Championship (UFC) 278, a mixed martial arts (MMA) event. Edwards clearly baited Usman to move his head to his right with a feint punch, following up with a head kick from Edwards’s left side that hit Usman flush on the head. From my perspective, the decision to use this fight-winning setup is deliberate. The execution of the setup was completely intuitive. Emphasis should be drawn into the possibility of using a deliberate decision in a very fast-paced sport that punishes split moments of indecision.

However, intuitive thinking more attributed to System 1 thinking can still be affected by biases. It is commonly said within the MMA world that “styles make fights”. Possibly, this can be attributed to how much emphasis an athlete’s training and upbringing can bias said athlete’s fighting style. Usman’s head-weaving tendency may be attributed to biases developed over training, then exploited. Perhaps another example is Ben Askren’s very prompt defeat to Jorge Masvidal in UFC 239. In an interview, Masvidal noted Askren’s bias towards simply rushing towards his opponents (likely to grapple them) and thus deliberately devised a flying knee for the very start of the match. This resulted in the fastest knockout in UFC history to this day.

Not unlike the situation in Friends in which Ross, Chandler, and Joey mistook a popped tire for a gunshot, biases cost Askren his reputation as a stellar MMA fighter in a split-decision mistake.

[heavenforblog1111]

Ben Askren has retired from MMA due to hip problems that he has been facing. I am retiring from the sport of Mixed Martial Arts and frankly I am retiring from everything. Ben Askren on Ariel Helwani's MMA Show. Ben Askren has had a great career in MMA with a record of 19-2-0 and decided to quit on 18 Nov 2019. Ben has been a former welterweight champion at ONE and Bellator. His career at UFC has unfortunately been cut short due to hip problems. Ben Askren retirement reaction:

[ithisatanytime]

when Nate diaz was scheduled to box jake paul i knew nate was gonna lose bad, and no one else seemed to know it, i get it. the first big UFC name he fought or maybe his brother was ben askren and askren was a wrestler in the ufc, of course if you take away his best tool hes gonna be in some trouble. but nate in the UFC was a boxer, a striker, a brawler. yeah he might not be a good wrestler, or even a very good boxer, and maybe he looks like he has no business in the ring but you dont understand this guy is TOUGH!

if you take the UFC seriously as a sport and dont realize that there is a wrestling-esque fake aspect to it, than you would have no reason to believe nate wasnt about to clean jake pauls clock! nate spent his career going toe to toe punching it out with the best punchers in the world! but nope, he was embarrassed, he got rocked and knocked clean out at one point, and all of his fans refused to accept it. he wasnt really trying was the most often suggested attitude which for obvious reasons im not even gonna address here.

i think nate THOUGHT he was gonna win lol. how is a dude whos been boxing for like a couple years embarrassing professional champion level fighters? its fake, not the paul fights ironically but the ufc at a certain level. thats how i knew jake was gonna win btw, hes a damn good boxer hes a natural and i knew hed be fighting for real which nate wouldnt be used to. they start to believe their own hype, this is especially easy to notice with pro wrestlers, everyone knows what they do is not actually fighting but every big wrestler believes his own hype and carries himself like a fighter.

[angrymarks]

UFC Unfiltered: Ripple Effect of Jon Jones' Injury, Catching Up With Ben Askren

http://dlvr.it/Sy2HJr

[cavenewstimes]

Early Morning Report: Ben Askren impressed by Sean Strickland's title win, however it's not most significant upset ever

Sean Strickland got rid of large chances in Sydney, Australia as the underdog in his very first profession title battle. UFC 293 still seems like a pipedream after Strickland turned the MMA world upside down. The bold Xtreme Couture item’s victorious consentaneous choice win over ruling two-time champ Israel Adesanya was the greatest upset in middleweight title battle history per oddsmakers, with…