Entertainment

O.J. Simpson, 76, Dies of Prostate Cancer

Orenthal James (O.J.) Simpson, who rose to fame as a college football player who went on to the NFL and parlayed his talents in acting and sportscasting, succumbed to prostate cancer on April 10, his family announced.

Published

2 years ago

April 17, 2024

Oakland Post

Orenthal James (O.J.) Simpson. Wikipedia photo

By Post Staff

Born and raised in San Francisco, the Galileo High School graduate was recruited by the University of Southern California after he was on a winning Junior College All-American team.

At USC, he gained wide acclaim as a running back leading to him becoming the No. 1 pick in the AFL-NFL draft in 1969 and joining the Buffalo Bills, where he had demanded – and received — the largest contract in professional sports history: $650,000 over five years. In 1978, the Bills traded Simpson to his hometown team, the San Francisco 49ers, retiring from the game in 1979.

Simpson’s acting career had begun before his pro football career with small parts in 1960s TV (“Dragnet”) before “Roots” and film (“The Klansman,” “The Towering Inferno,” Capricorn One”).

He was also a commentator for “Monday Night Football,” and “The NFL on NBC,” and in the mid-1970s Simpson’s good looks and amiability made him, according to People magazine, “the first b\Black athlete to become a bona fide lovable media superstar.”

The Hertz rent-a-car commercials raised his recognition factor while raising Hertz’s profit by than 50%, making him critical to the company’s bottom line.

It could be said that even more than his success as a football star, the commercials of his running through airports endeared him to the Black community at a time when it was still unusual for a Black person to represent a national, mainstream company.

He remained on Hertz team into the 1990s while also getting income endorsing Pioneer Chicken, Honey Baked Ham and Calistoga water company products and running O.J. Simpson Enterprises, which owned hotels and restaurants.

He married childhood sweetheart Marguerite Whitley when he was 19 and became the father of three children. Before he divorced in 1979, he met waitress and beauty queen Nicole Brown, who he would marry in 1985. A stormy relationship before, during and after their marriage ended, it would lead to a highway car chase as police sought to arrest Simpson for the murder by stabbing of Brown and her friend Ron Goldman in 1994.

The pursuit, arrest, and trial of Simpson were among the most widely publicized events in American history, Wikipedia reported.

Characterized as the “Trial of the Century,” he was acquitted by a jury in 1995 but found liable in the amount of $33 million in a civil action filed by the victims’ families three years later.

Simpson would be ensnared in the criminal justice system 12 years later when he was arrested after forcing his way into a Las Vegas hotel room to recover sports memorabilia he believed belonged to him.

In 2008, he received a sentence of 33 years and was paroled nine years later in 2017.

When his death was announced, Simpson’s accomplishments and downfalls were acknowledged.

Sports analyst Christine Brennan said: “… Even if you didn’t love football, you knew O.J. because of his ability to transcend sports and of course become the businessman and the pitchman that he was.

“And then the trial, and the civil trial, the civil case he lost, and the fall from grace that was extraordinary and well-deserved, absolutely self-induced, and a man that would never be seen the same again,” she added.

“OJ Simpson played an important role in exposing the racial divisions in America,” attorney Alan Dershowitz, an adviser on Simpson’s legal “dream team” told the Associated Press by telephone. “His trial also exposed police corruption among some officials in the Los Angeles Police Department. He will leave a mixed legacy. Great athlete. Many people think he was guilty. Some think he was innocent.”

“Cookie and I are praying for O.J. Simpson’s children … and his grandchildren following his passing. I know this is a difficult time,” Magic Johnson said on X.

“I feel that the system failed Nicole Brown Simpson and failed battered women everywhere,” attorney Gloria Allred, who once represented Nicole’s family, told ABC News. “I don’t mourn for O.J. Simpson. I do mourn for Nicole Brown Simpson and her family, and they should be remembered.”

Simpson was diagnosed with prostate cancer about a year ago and was undergoing chemotherapy treatment, according to Pro Football Hall of Fame President Jim Porter. He died in his Las Vegas, Nevada, home with his family at his side.

He is survived by four children: Arnelle and Jason from his first marriage and Sydney and Justin from his second marriage. He was predeceased son, Aaren, who drowned in a family swimming pool in 1979.

Sources for this report include Wikipedia, ABC News, Associated Press, and X.

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Oakland Post: Week of August 12 – 18, 2026

The printed Weekly Edition of the Oakland Post: Week of August 12 – 18, 2026

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18 hours ago

August 15, 2026

Oakland Post

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Art

Misty Copeland Shapes Ballet’s Tomorrow

THE POSITIVE COMMUNITY — Misty Copeland will curate the 2026 Joyce Ballet Festival, a two-week event in New York City from August 4-16. This role allows her to influence the future of ballet by showcasing a wide range of dancers, choreographers, and companies. The festival will present both established and contemporary works, blending classical traditions with new artistic expressions.

Published

7 days ago

August 9, 2026

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Misty Copeland at the 2026 Met Gala, wearing fashion in theme of "Costume Art" Date 4 May 2026, 19:39:21

This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.

Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.

That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.

Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.

The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.

The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.

The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.

For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.

Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.

The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.

Based on reporting by The Positive Community.