The new Thurgood ‘Marshall’ movie is a thrilling What-Had-Happened-Was Superstar Chadwick Boseman and director Reggie Hudlin talk colorism and the black film renaissance

Chadwick Boseman remembers the exact moment when he understood why the work he was doing — not just the grabbing of marquees, not just working alongside Hollywood’s top talent, not just surprising critics with how easily he melts into a role of some of the world’s most famous men — was cemented.

He was on the set of Draft Day, a 2014 sports drama about the Cleveland Browns and its general manager (Kevin Costner) who wants to turn around his consistently losing team with a hot draft pick. “When you’re doing a car shot,” Boseman says, leaning in and slightly pushing back the sleeves of his sharp, black bomber, “you’re following the lead car.” He said they stopped in front of the projects. “I get out of the car, and somebody says, ‘Yo, that’s that dude from that baseball movie outside, right?!’ Everybody in the projects came outside, and they were like, ‘Hey, hey, hey! I got your movie on DVD in the house!’ The DVD hadn’t come out yet. They were like, ‘It didn’t come out yet? Oh, no, no. We didn’t mean it that way. But look — I saw it.’ ” He says that’s what it’s all about. “You want people to appreciate what you’ve been doing.”

This week, Boseman’s latest film, Marshall, opens. Once again, the actor takes on a role of a historical, powerful-in-his-field man. He’s portrayed baseball and civil rights icon Jackie Robinson and the influential James Brown. Now he’s legendary lawyer and eventual Supreme Court justice Thurgood Marshall.

It’s an interesting casting, to be sure. Part of Marshall’s story is rooted in his light skin. It was a privilege. Marshall himself was the highest of yellows, and his skin color — on the verge of passable — was unmissable. Boseman, on the other hand is decidedly black, with striking chocolate skin — and that factor almost prevented him from even going after the role.

It’s an interesting casting, to be sure. Part of Marshall’s story is rooted in his light skin. It was a privilege.

Reginald Hudlin, the film’s director, said it’s been a hot topic, even among his close circle. “I’ve had friends who admitted to me, ‘I went in going I don’t know if this casting works.’ And they also have admitted, within 20 seconds, that concern was gone, it had never occurred to them. Because Chadwick’s performance is the exact spirit of Thurgood Marshall. He said that people who have clerked under Marshall, who knew him intimately, are more than satisfied. They’re like, ‘Oh, my God, how did you capture all those little nuances of his personality? You guys nailed it.’ To have that affirmed by people who have firsthand knowledge is a huge relief.”


But Marshall isn’t a biopic. It’s a dissection of one of the best legal minds in American history. And as he has done in his previous biographical work, you stop wondering about the actor at all, let alone the shade of his skin. “If this was a cradle-to-grave story about Marshall, obviously we would have to deal with his complexion,” said Boseman, who is also credited as a producer on the film. “Right now, we’re dealing with one case. He’s walking into this courtroom as a black man. He’s not a black man passing as a white man. He didn’t try to pass as a white man. He showed up as the black attorney, right? He showed up as a black man and got gagged for being black, right?”

“They didn’t say,” Boseman stops to laugh, “ ‘We’re going to gag you because you’re light-skinned-ded.’ ”

Marshall, at its best, is an examination of Marshall’s brilliance. It’s an up-close, deep dive into how Marshall changed the course of American history. “Everything is a risk,” Boseman said. “No matter what movie you do, it’s a risk. … It’s also a risk, if you look like the person, to play the role because then there’s the pressure of doing certain things a certain way.”

The court case used to examine Marshall’s legal savvy is relatively unknown — a black man in Connecticut (Sterling K. Brown) is accused of raping a white woman (Kate Hudson) — and Marshall is stripped of his voice. He’s told by a racist judge that he can’t speak in the courtroom. He couldn’t speak on behalf of his client at all. Instead, he had to employ Sam Friedman, an insurance lawyer who is a white Jewish man (Josh Gad), and teach him how to try this case. There’s a tone of Mighty Whitey here, to be sure, intermingled with a lesson on the importance of allies. Timely.

That said, it’s Boseman’s film. And not for nothing, he absolutely nails it. In four short years, the Howard University-educated Boseman has positioned himself as a force. He’s a box-office draw, and at the top of next year he leads the highly anticipated Black Panther, which surely will change the course of Hollywood, or at least continue to challenge the notion that films with predominantly black casts don’t travel internationally.

Not that Boseman isn’t up for the challenge. He’s the black man — sometimes he’s by himself — gracing Vanity Fair-like magazine gatefold layouts representing the next biggest thing in Hollywood. His representation is undeniable. And he understands his worth.


This film feels very much like 2017. It takes place in December 1940, a time when the NAACP was concentrating on its litigation in the South, suing over voting rights and equal pay for black teachers and segregation in higher education. But in the North, issues abounded as well — in Bridgeport, Connecticut, for example, there was a 1933 law that banned racial discrimination in public places, and it went unenforced in 1940. Marshall was 32 years old at the time and just beginning the work that would change the lives of black Americans for generations to come.

That notion of public discrimination is tested constantly — turn to any current news headline or cable TV news lower third for quick proof. And Marshall the movie sometimes feels like a thrilling, current-day, true-life drama. Often, when we talk about the historic work the NAACP did with Marshall as its chief legal brain trust, we think about the work done south of the Mason-Dixon line. But this case is set in a conservative white Connecticut town — away from the hard-and-fast Jim Crow laws that crippled black folks who lived in American Southern states.

“That was very much our intent. ‘Why did you choose this case? Why didn’t you do him as a Supreme Court justice? How come you didn’t do Brown v. Board of Education? Those are all worthy stories, stories that the public thinks they know — ‘Oh, I learned about Brown in fifth grade. I got that.’ You don’t got this,” Hudlin said. “You don’t know this case, you don’t know the outcome of this case, which gives me the chance to be true to genre. Because I think genre is what saves these movies from being medicine movies, which I despise. You want to make a movie that works if it wasn’t Thurgood Marshall. If Joe Blow was against the odds in this legal case, does the movie still work?”

It does. “This crime has all these broader implications, economic implications, for black folk. And for the institution of the NAACP. The truth is messy. Everyone comes into the case with their own particular set of -isms,” Hudlin said. “The challenge is, do you respect the process of the legal system to get to uncomfortable truths? And do you have enough personal integrity to acknowledge uncomfortable truths as they emerge, that don’t fit your preconceived notions? That’s how America works, you know?”


This film premieres right at the start of Hollywood’s award season preseason. In the fourth quarter of each year, we’ve come to expect the year’s best to be presented, or some of the year’s most generously budgeted films to hit the big screen.

But Marshall, perhaps, carries a bigger weight. It feels like a tipoff of a major moment for black creatives both behind and in front of the camera. This is the first time we’ve seen so many black directors working on films of this magnitude and at this level. Coming soon after this film are projects by directors Ava DuVernay (A Wrinkle In Time) and Ryan Coogler (Black Panther), and Gina Prince-Bythewood is writing and directing Spider-Man spinoff Silver & Black. And the list goes on.

“He showed up as a black man and got gagged for being black. They didn’t say, ‘We’re going to gag you because you’re light-skinned-ded.’ ” — Chadwick Boseman

“I would say like three, maybe four years ago … in separate moments … we’ve talked about what’s been happening over the past few years. And I remember leaving several of those conversations, and we said, ‘Let’s not say it publicly, but we’re in the renaissance,’ ” Boseman says. “Let’s not say it publicly, because if we say it, then people will think we’re happy with it. That we’re satisfied with that. So let’s not ever actually say it. I think now we’re at a point where there’s no point in not saying it, because it’s obvious that this is a different moment.”

This is a huge moment, but it comes with questions — plenty of them.

“My bigger-picture analysis is that there are 20-year cycles,” said Hudlin. “You have this explosion in the 1970s with the blaxploitation movement, which created a set of stars and a set of icons so powerful they still resonate today. You can say Shaft, you can say Superfly, you can say Foxy Brown, and those things still mean things to people 40 years later.” He said that then there was a five- or 10-year period, a kind of collapsing, where basically in the ’80s you have Eddie Murphy and Prince. They don’t have folks really able to make movies. “Then, in the ’90s, there was that explosion of Spike Lee, and myself, and John Singleton. Those films were different from the movies of the ’70s. More personal, you know?”

He said blacks were telling their own stories, and there were greater production values. “And then like a 10-year period, a shutdown, and really you have Tyler Perry. And now this new wave, right? And when you look at all three of these periods, the thing is, the movies get bigger, they get more varied in their subject matter, and the production value keeps increasing. When you look at the bounty of black images, of black filmmakers working in film and television — no. We’ve never had it this good. We’ve never had material this rich, and to me, the outstanding question is, when does it no longer become a cycle and becomes a fixture and part of the entertainment landscape?”

As they say on social media, that’s a question that needs an answer.

‘Gook’ director Justin Chon talks filmmaking, race and the Rodney King riots The film is set in a Korean-owned store on the day the verdict comes down in the police brutality case

So far, nothing has managed to unseat Get Out as my favorite film of the year. But Gook, the new movie written and directed by Twilight actor Justin Chon, is definitely a close second.

Shot in black and white, Gook takes place in and around a Paramount, California, shoe store run by two Korean brothers, Eli (Chon) and Daniel (David So). Eli and Daniel have, in a sense, adopted an 11-year-old black girl named Kamilla (played with stunning control and depth by Simone Baker). Kamilla’s mother is dead, and she lives with her older sister and brother and works in the store with Eli and Daniel. The movie follows the characters on the day the verdict in the Rodney King police brutality case is announced.

Chon, 36, grew up in Irvine, California, and often worked in his father’s shoe store in Paramount. His father, Sang, a Korean immigrant, was a child actor in South Korea, and in Gook he plays Mr. Kim, the owner of a liquor store. Chon was heavily influenced by La Haine, a 1995 film that examines the aftermath of riots in the projects of Paris when an unarmed Arab man is shot and killed by French police.

Gook’s distributor recently decided to extend its theater run, so if you haven’t seen it yet, you still have a chance.

This interview has been edited and condensed for length and clarity.

How did La Haine influence your thinking about Gook?

I really loved the ’90s era of filmmaking where if you could get access to a camera, it had that sort of Clerks way of making films where it was all much cheaper.

[La Haine] was about three friends who were from different ethnic backgrounds, and that just represented when I was hanging out at my dad’s store and would make neighborhood friends. I met this French guy, we were talking about film and he was like, ‘Have you ever watched La Haine?’ When you think of Paris or France, you just think of the tourist aspects and how they enjoy life and how their food is so amazing. And he’s like, ‘You know, you should watch it because it’ll change your kind of a perspective of like what else exists there.’ When I finally saw it, I’m like, ‘Wow, this is exactly like what happened here.’ Same s—, different place. I’m thinking these are American problems. But then I look at them and I identified so much with them being youthful and diverse and into things like break dancing.

When I started thinking about [Gook], I just started thinking about all the social dynamics, and that film just kept popping up in my head. There’s so many similarities. It just never left my psyche. My film constantly gets compared to Do the Right Thing, and I understand that. I was a huge fan of Spike Lee growing up, and that’s just in my blood now because I’ve seen his movies so many times, but it wasn’t exactly the main influence.

Was that a Silent Bob joke I spotted in your film? There’s a minor character who simply goes by “Silent.”

Here’s the thing: I knew, no matter what, I was going to get that comparison just because of how bootstrap the film was and how minimalistic it was and the type of humor that I’m into. I mean, Kevin Smith isn’t exactly my god or anything. I don’t look at his work and say, ‘You know, that’s like the end-all, be-all’ — not even close. Let’s be honest. I really love what he’s done, but, like, I just knew I was going to get that comparison because of the single location, these guys hanging out over the course of a day.

So I was just like, if they’re going to make that comparison, I’ll just give them a little nugget, a little Easter egg. It’s like, yeah, I know what you’re going to think. Even Mr. Kim, the first time you see him, I paint him as the exact thing you’ve seen in every movie like Menace II Society. This is what you are expecting from an L.A. riots film in ’92, right? I felt like my job as a filmmaker was to slowly peel the layers away and humanize them.

You present a full picture of the tensions that exist for Koreans in Southern California, not just with black people but with Latinos. Those attitudes vary a lot depending on generation.

Especially in modern cinema, there’s a fear of offending anyone. I’m totally with that — let’s respect people. I just didn’t want to shy away from everything. If I’m going to talk about this event, this uprising, I felt like it would be detrimental for me to candy-coat anything. At the time, blacks and Koreans were not getting along. But nobody was getting along. It’s always seen as a black and white issue, but then because I’m Korean, it becomes a Korean and black issue. What do I remember? It wasn’t like it was just a black and Korean issue either. It was everybody in this community just trying to make things work.

Within the Korean people I showed — we don’t get along, either! Intergenerationally, we have huge problems because they come from the old country and we all were born here. We have a different set of morality and ethics than they do. We’re Americans. I felt like I can be very nuanced about it, but in the early ’90s there was nothing nuanced. Everything was much more in your face in terms of, like, music, like, N.W.A. — there was nothing muted about that. So I just felt, if I’m going to talk about the riots, this film really needs to be raw rather than me trying to idealize anything.

Simone Baker as Kamilla in Gook.

Courtesy of Birthday Soup Films

It’s astonishing that you have a black girl at the center of a film whose name is an Asian slur. What made you want to tell this story through her eyes?

One of the main reasons was that if I’m going to make a film outside the system, I want to represent some of the most underrepresented demographics, which to me are Asian-American men and African-American females.

At first Kamilla was Kamal — it was a boy. And I just was, like, you know what, this is a good opportunity for me to balance it out. There’s a lot of testosterone in the film. I explore themes of masculinity and how it’s toxic to every community. The archaic idea of masculinity and what our parents taught — well, at least for fathers and sons — what they taught us about how to be men:

Defend yourself. Don’t let anyone take advantage of you. All those things, a false sense of protection and ego and all that stuff. But because of that I was like, man, you know, I just need some balance. And I knew that character was going to be the bridge between these two communities. There was a point in the rewrite I figured if I make her a little girl — you just treat little girls differently if you’re a man. You’re not going to be so rough with them. I realized quickly that [Daniel and Eli] would be more of themselves. They would let their guards down. They would treat her with more respect and more gently than they would with a boy. She’s so resilient and so positive, I just thought it was refreshing to see a girl like that.

It makes the end that much more gutting.

With Keith [Kamilla’s brother, played by Curtiss Cook Jr.], how he interacts with her — I don’t think he could ever hit her. I knew when she asked, ‘Tell me something good about Mom,’ if it was a boy, being an older brother, he could be like, ‘Just toughen up. It’s all good.’ But with a girl, you’re kind of forced to deal with it at some level.

Justin Chon (left) as Eli and Simone Baker as Kamilla in Gook.

Courtesy of Birthday Soup Films

You use her to draw out everyone’s emotions, like when Daniel and Eli are dancing in the store with her. The two of them are so protective of her, and it’s sweet.

Especially when Mr. Kim comes and slaps her. It’s just like, you can’t let that happen! Who’s going to think that’s OK? That’s an important moment because the audience — you’re going to decide right there. What is this going to be like? What kind of relationship is this? How do these communities come together and what is this all about? As soon as you see these brothers stick up for her, it’s like, yes, they’re doing what should be done. It doesn’t matter whether they want her to be at the store or not. The point is that should not happen and these two brothers need to be there for her and stick up for her rights as a human being.

Everyone in this film is complicated, and you don’t see the filmmaker’s ego.

The reason I’m an actor, the reason I’m interested in directing and writing, is all because of collaboration. I really believe in a group coming together. You can’t make a film by yourself. It’s impossible. I mean, you can, but it will take a long time and it probably won’t be interesting.

We’re talking about human beings. It’s such a complicated thing, and there’s so many things that make it so beautiful and unique. Ego, in singularity, in terms of storytelling — it doesn’t serve our collective human experience.

So, you know, when it comes to fully fleshed characters, I wrote them, but I can’t play — I’m not doing Nutty Professor. I’m hiring these people because they exemplify what I was envisioning, but at the end of the day, they are still the ones that are performing. When it comes to the characters, they feel real because I included them in the process. The one person I didn’t get that much rehearsal time with was Curtiss Cook Jr., who plays Keith. At first, I didn’t tell him anything about the role. But I sent him the script after I hung out with him and he was like, ‘OK, I love this, but I have concerns.’ I said, ‘OK, let’s talk about it.’

Curtiss is like, ‘How do you feel about how you’re portraying African-American men?’

The first thing I said was Eli and Keith are the same character. They both are orphaned. They both are trying to take care of younger siblings, both trying to make ends meet and struggling to make that happen. It’s just that they can’t see eye to eye and realize that they share some of the same pain.

Curtis was like, ‘OK, that’s fine. But you have to understand that everything I do as an African-American male, I’m representing. I just want to make sure that this is done correctly.’ So we had hours and hours and hours of conversations.

I wanted him to know I was going to make his character three-dimensional. He wasn’t going to be an angry black man.

Curtiss Cook Jr. as Keith in Gook.

Courtesy of Birthday Soup Films

I’m familiar with Cook from Naz & Maalik.

That’s why I hired him — I saw the movie. He’s so good in that. He’s just so honest, so present. He’s dynamic. When you watch and you’re like, ‘OK, here’s a human just being a human.’ This guy, even if he’s aggressive in this film, he can bring the humanity and sensitivity that I needed.

What do you remember about Latasha Harlins, the 15-year-old girl who was shot and killed in 1991 by a Korean shop owner who suspected her of stealing? What were the discussions of that like with your parents, within your community?

I was 11 when that happened. The thing about Korean culture is we just don’t talk about current issues. We don’t talk about trauma or problems. That was one of the difficulties making this film. Mr. Kim is my dad. And he didn’t want to do the film. He didn’t understand. He’s like, ‘Why do you want to go back to that?’ We’re so used to not talking about even family issues. We don’t have family meetings or, like, discussions. It’s just like, let’s move on. The Korean War is bad, but we don’t talk about it, so let’s move on. It happened. It doesn’t help us to revisit that. It’s a difference in cultures. So as an 11-year-old, no one was talking about that. But what I do know, though, is a lot of Koreans were angry at that verdict. Why? Because it made everyone’s life 10 times more difficult. I don’t think anyone thought you should end someone’s life. That’s crazy. I don’t think it was a conversation of whether people thought it was right or wrong. I think everyone unanimously was like, ‘OK, that shouldn’t have happened.’

It’s a very delicate thing to talk about. That’s the thing about authenticity. In my film, people ask me, ‘What kind of research did you do to accurately represent the African-American experience?’ It’s the same thing with Latasha Harlins and how we talk about this. I can only tell the story from my perspective and my experiences because I will never understand what it feels like to actually be African-American in this country.

That whole incident was unfortunate and it was not right. The fact that [the shop owner, Soon Ja Du] didn’t do any jail time, that’s — that’s f—ing crazy. So in terms of the rage, that’s just understood. That’s a given. People feel like justice was not served, and rightfully so.

The summer of Mo’ne Davis’ magical Little League World Series A play-by-play of the historic 2014 ‘Sports Illustrated’ cover that almost didn’t happen

LeBron James told the world, “I’m coming home.New York Yankees captain Derek Jeter embarked upon a farewell tour in his 20th and final season. The U.S. men’s basketball team won gold at the FIBA World Cup in Spain, and Germany’s national soccer team emerged victorious at the World Cup in Brazil. And Serena Williams became the first woman to win three consecutive U.S. Open titles since the 1970s. The summer of 2014 revitalized the typically dreaded period of the sports calendar with memorable performances from the most dominant competitors around the globe. Yet somehow that brief era belonged to only one athlete: Little League phenom pitcher Mo’ne Davis, 13.

Sports Illustrated writer Albert Chen reported on Davis’ unprecedented 2014 Little League World Series run. “She was the biggest sports story,” he said, “in a summer full of sports stories.”

Mo’ne — who is now 16 and still chasing her dream of playing Division I college basketball, though she hasn’t given up pitching just yet — led Philadelphia’s Taney Dragons into Williamsport, Pennsylvania, becoming the first African-American girl to play in the Little League World Series. But the history-making didn’t stop there. She also became the first girl to pitch a shutout and earn a win, after a 4-0 victory over Nashville in her first start of the tournament. With long, swinging braids, piercing hazel eyes and undeniable ability on the mound, Davis threw a 70 mph fastball that she paired beautifully with an array of off-speed pitches. And on Aug. 25, 2014, she appeared on the front of Sports Illustrated — the first Little Leaguer in history on the cover of the magazine.

Leading up to the 2014 Little League World Series, longtime Sports Illustrated cover photographer Al Tielemans, a native of North Philadelphia, pitched a story to the magazine about the star female pitcher of his home state Dragons. The magazine sent two reporters to join him in Williamsport. Yet, as much potential as there was in the story, many things had to fall into place for Mo’ne to actually make the cover.


On Aug. 9, 2014, while on a two-day vacation in Philadelphia with his wife, Tielemans picked up an issue of The Philadelphia Inquirer. He stumbled across a story about a local Little League team playing the following night in Connecticut for a spot in the Little League World Series. By the end of the next day, Taney was headed to the Little League World Series to represent the Mid-Atlantic Region after a three-hit, six-strikeout, shutout performance in an 8-0 win over a team from Newark, Delaware — from a 13-year-old female pitcher named Mo’ne Davis. Slowly but surely, Mo’ne became the focus of sports chatter around the country, and Tielemans wanted to capitalize on the buzz. He quickly drafted an Excel spreadsheet for Sports Illustrated managing editor Chris Stone that mapped out the entire double-elimination tournament of the Taney Dragons and, more importantly, what it would take to get Mo’ne on the cover of the magazine.

Meanwhile, Chen had just wrapped a cover story on Pittsburgh Pirates outfielder Andrew McCutchen (the story would appear in the magazine’s Sept. 8, 2014, issue), before boarding a plane departing from Pittsburgh. Soon, he’d receive a call from his editor about a Little League pitcher he’d never heard of.


Leading up to the 2014 Little League World Series, how much did you know about Mo’ne Davis?

Tielemans: I heard a team from Philly was playing for a regional championship. I saw that they won and that they were going to the Little League World Series. That Monday morning, they started having Mo’ne Davis on the morning talk shows, just kind of mentioning it as a blip, like, ‘Oh, a girl pitcher pitched the Philadelphia team’s way to the Little League World Series.’ But that was about it.

Chen: I got off the plane having just finished a story. I was kind of in a cave for that story, not really aware of what was going on. The magazine’s baseball editor at the time, Steve Cannella, I remember getting this phone call from him as I’m getting off the plane. He asks me, ‘Does the name Mo’ne sound familiar to you? … Have you been following her story?’ My answer is, ‘No, what are you talking about?’ I think it was that afternoon when she had the breakout game, struck out a lot of hitters and threw a shutout. I think Twitter went nuts and by the time I landed a lot of people had heard about her, and all those people were tweeting about her. I hadn’t checked my phone, or watched ESPN or anything. … It just goes to show you how quickly things snowball in this day and age. You wake up one morning and no one’s heard of Mo’ne Davis. Then you get a phone call and you’re one of the last people who’ve heard of her story. It wasn’t the huge sensation it would become, but within the sports world it was already exploding. I had no plans to go to the Little League World Series. We had no plans to send a writer.

Tielemans: I felt like the media was restrained about her and the team going into the Little League World Series. It wasn’t overboard. It was respectful about the fact that they were kids. Then, when she pitched on Friday, obviously it blew up.

Starting pitcher Mo’ne Davis #3 of Pennsylvania pitches during the 2014 Little League World Series.

Drew Hallowell/MLB Photos via Getty Images

Can you set the scene of Taney’s Friday afternoon game against Nashville, and Mo’ne’s shutout?

Chen: I had a great reporter working with me in Williamsport. Her name is Emily Kaplan (now of ESPN). We kind of tag-teamed. I wrote the story, but she did a huge amount of reporting … I went to Philadelphia and did a lot of reporting on the city and Mo’ne’s school. I watched the game that Friday on TV. Of course, I show up there and everyone in Philadelphia is rooting for her.

“She was just like a rock star, or Brazilian soccer player — she only needed one name to be recognized.” — Albert Chen, Sports Illustrated

Tielemans: It was an overcast day. Kind of threatening rain, but it never did. It was your classic first day at Williamsport. There was a buzz because it was getting started. … It was a great day to shoot. … Williamsport is a great place to shoot. You’re just so close. Just the fact that I had proposed this story … I felt like I was sitting on something that could really explode, and that’s always exciting. Everybody was there talking about Mo’ne.

Chen: If they lose, if she doesn’t do well in her start, it’s still a wonderful story, but is it a story we should be running in the magazine the following week, when there are many other things going on in the sports world? If they had lost that game on Friday, then the conversation is obviously every different.

Tielemans: When she won, and was dominant, it became a great story.

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The first girl to appear at the Little League World Series for a U.S. team in 10 years, Mo’ne dominated. In Taney’s 4-0 win over Nashville in the opening round of the tournament on Friday afternoon, Mo’ne threw 70 pitches, with eight strikeouts and zero walks, while allowing just two hits. Before her performance, no girl had pitched her team to a win or thrown a shutout at the Little League World Series. The victory advanced Taney to a game against Pearland, Texas, on Sunday night. With Sports Illustrated going to press on Monday night, Taney needed to win for Mo’ne to make the cover of the magazines that would hit newsstands on Wednesday. A loss on Sunday would’ve brought Taney to face double-elimination on Monday and potentially be eliminated before the magazine’s release. Down 6-5 in the bottom of the sixth and final inning against Texas, Taney rallied with two runs to win the game, 7-6, which kept the team alive until Thursday and meant Mo’ne was destined to grace a national cover.

At what point did you realize you were writing, or shooting, for a possible cover?

Chen: After her performance Friday, when she threw the shutout and won the game against Nashville, when I woke up Saturday morning and knew she was the talk of the sports world, I knew that this was potentially a cover story.

Tielemans: That’s essentially what I originally proposed. It was like, ‘Hey, this is a story. Here’s the deal — if this and this happens, you can put her on the cover and you’ve got three days before they can even be eliminated.’ But if something else happened that was more important, it could’ve been bumped easily. You go in with the idea and the people at the magazine make the decisions. You give them your material and just deal with whatever happens. It just so happened that it played out.

“It was totally cool that a girl went in and mowed down a team of Little League players.” — Al Tielemans, Sports Illustrated photographer

Chen: I had to start writing the story on Sunday knowing that there was a chance it wouldn’t run. Sunday night is the night that they played the game where they were down 6-5 going into the final inning and they scored two runs in the sixth inning to win that game. If they had lost that game, there wouldn’t have been a story in that issue of the magazine, and she obviously would not have been on the cover.

I didn’t know, for sure, that I was writing a cover story until Sunday evening around 9:30, 9:45, when that winning run was scored. I turned in the story the very next morning, and I don’t know why I remember this, but I was actually a little bit early filing.

What are some of Sports Illustrated covers of note that you’ve written or shot for? And where does the Mo’ne Davis cover rank in the conversation?

Chen: I had the Andrew McCutchen cover. Probably one of my more prominent ones was I did the cover story on the baseball player Josh Hamilton. That got a lot of buzz. I have a bunch of college football covers as well.

Tielemans: Max Scherzer and Bryce Harper on the baseball preview issue. I had the picture of Anthony Rizzo when the Cubs won the World Series for the cover. I did the NBA preview in 2014 with LeBron James, Kyrie Irving and Kevin Love. I did Nick Foles’ snow game. I did when Bubba Watson won the Masters. Portraits of David Price with the Rays and Joey Votto. I did the cover when the Steelers beat the Cardinals in Super Bowl XLIII.

Chen: The Mo’ne cover got more attention than any other cover I’ve written. I don’t think there’s any question about it. Spike Lee did a short documentary on Mo’ne. I went to Philadelphia to talk to him about it and was interviewed on camera. Spike Lee definitely has not called me up for any other cover stories I’ve done.

Tielemans: It’s wayyyyy up there. It’s kind of hard to match the Cubs win the World Series for the first time in 108 years. But a lot of the Mo’ne cover has to do with the fact that I pitched it, I mapped it out, I explained it, and all of the pieces fell into place. There’s so much luck involved in this business. I don’t get any attention out of getting the cover, but when the cover gets attention, it is cool. It’s pretty fun when your cover gets a lot of play, and it got a lot of play when Mo’ne was on TV. It was a cool feeling.

Chen: What makes me feel good about it is it was really the right 13-year-old. I imagine there are very few 13-year-olds on the planet that can really handle that kind of attention and pressure, everything that goes with being on the cover of a magazine. She was the right 13-year-old in terms of her being able to handle the attention, and the craze, and the history and the frenzy that came along with it. She was able to handle it. … All credit to her for that.

Tielemans: Going into it, I did not know that there had never been a Little Leaguer on the cover.

What do you think Mo’ne’s story meant to the sports world at the time in 2014? And what does it mean now?

Chen: A lot of things happened that summer, but August of 2014 will always be remembered as the summer of Mo’ne. She stole the show. She was front and center. She was just like a rock star or Brazilian soccer player. She only needed one name to be recognized.

Tielemans: What made it cool for me was she was just a kid … a normal 13-year-old kid. She was very friendly, very respectful, and as shy as the 13-year-old you’d expect her to be. She fit in with those guys completely normally.

Chen: I think it’s still a unique story for sure, because you peel away all the layers and it was a story about so many different things. About gender, about race, about so many larger things. But at the end of the day, it was a story about pitchers blowing away hitters in the Little League World Series, so I think her name still resonates with some people.

Tielemans: It was totally cool that a girl went in and mowed down a team of Little League players. She really went out and did it. Just a kid out there throwing baseballs. The normalcy of it all is what made it so absolutely cool.

The 30 best NBA throwback jerseys ever Nike will release classic uniforms for eight teams this year, but we’re doing the whole league

The NBA just got some new swag. After 11 years with Adidas as its official apparel provider, the league is now with Nike. The partnership that makes Nike the NBA’s exclusive on-court uniform and apparel supplier as of Oct. 1 was originally announced in June 2015. Nike recently revealed a first-glance look at the league’s new uniforms earlier this week.

For the first time in history, the logo of an apparel partner will appear on the NBA’s uniforms, which Nike crafted using Alpha Yarns and recycled plastic bottles. How does that translate? Compared with Adidas’ current product, the Nike uniforms are more flexible, dry 30 percent faster and also feature larger armholes and a reshaped collar. Nike has even re-envisioned uniform designation by eliminating the traditional concept of “home” and “away” jerseys. With four options to choose from at the beginning of the season, each NBA team will select the jersey it will wear at all home games for the entire year, while visiting teams will decide on a contrasting uniform. This means teams won’t be restricted to wearing white at home.

Lastly, yet most importantly to the culture, Nike will provide eight teams with “Classic Edition” uniforms — aka throwback jerseys, set to be unveiled in October — to celebrate the most memorable on-court looks of the past.

But why do just eight? The NBA’s other 22 teams deserve throwbacks too. So, which oldie-but-goodie jerseys would we like to see each team wear during the 2017-18 season? Man, there are a lot to choose from, and The Undefeated is here to throw it all the way back — to the times of Afros, short shorts, O.G. franchises and now-legendary hoopers — with the best throwback jerseys for all 30 NBA teams.

EASTERN CONFERENCE

Atlanta Hawks

Dikembe Mutombo (No. 55) of the Atlanta Hawks looks on against the Golden State Warriors on Feb. 4, 1997, at San Jose Arena in San Jose, California.

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Dikembe Mutombo, 1997

*Wags finger* “No, no, no,” as Hall of Fame big man Dikembe Mutombo would say — there is no jersey in Atlanta Hawks history that’s better than this red, black and yellow edition from the ’90s that features a hawk clutching a ball in its talons. In 2016, the Hawks retired Mutombo’s No. 55. Hope this one is in the rafters.

Boston Celtics

Bill Russell (No. 6) of the Boston Celtics moves the ball up court during a game played in 1967 at the Boston Garden in Boston.

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Bill Russell, 1967

The Boston Celtics’ jerseys have barely changed in the 71-year history of the franchise. Same colors. Same font and lettering. Same classic feel. However, back in the days of Boston legend Bill Russell, Celtics players didn’t have names on the backs of their jerseys. So, if you ever see Isaiah Thomas with just his No. 4 behind him, you’ll know Boston is going retro.

Brooklyn Nets

Julius Erving (No. 32) of the New York Nets looks on against the Boston Celtics during a game played circa 1975 at the Boston Garden in Boston.

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Julius Erving, 1975

The Brooklyn Nets were once the American Basketball Association’s New York Nets. This was when Julius Erving, a three-time ABA MVP, was at the peak of his powers — and so was his beautiful Afro — and wearing the iconic American flag-themed uniforms. A cartoon version of Erving, donning the same jersey and glorious ’fro, appeared on the 2003 video game NBA Street Vol. 2.

Charlotte Hornets

Larry Johnson (No. 2) high-fives teammate Muggsy Bogues (No. 1) of the Charlotte Hornets during a game against the New Jersey Nets played circa 1991 at Brendan Byrne Arena in East Rutherford, New Jersey.

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Larry Johnson and Muggsy Bogues, 1991

From 1988 to 2002, before the franchise relocated to New Orleans, the Charlotte Hornets were a force in style. It’s hard not to reminisce about strongman Larry Johnson, 5-foot-3 point guard Muggsy Bogues, a young Alonzo Mourning and Steph’s sharpshooting pops Dell Curry in their white, teal and purple pinstriped uniforms. After a two-year layoff without a pro hoops team in the city, the NBA established the Charlotte Bobcats as an expansion team in 2004. The Bobcats wore less-than-memorable blue, orange and white uniforms for 10 years before the team got its Hornets name and colors back from New Orleans in 2014. Atop franchise majority owner Michael Jordan’s to-do list should be finessing Nike into bringing back these classic uniforms. With the Jordan Brand Jumpman logo on the jerseys, of course.

Chicago Bulls

Michael Jordan (No. 23) of the Chicago Bulls stands on the court moves the ball at the perimeter against the Los Angeles Clippers at the Sports Arena in Los Angeles.

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Michael Jordan, 1984

Nothing says rookie-year Michael Jordan more than the images from the 1985 dunk contest, in which the then-21-year-old version of the greatest of all time took flight, with his gold chains swinging in the breeze, while he wore a red Bulls jersey with “Chicago” in slanted cursive. This is no question the best Bulls jersey of all time. You know who would wear it with some swag? Jimmy Butler. Actually, never mind.

Cleveland Cavaliers

Terrell Brandon (No. 1) of the Cleveland Cavaliers reacts against the Sacramento Kings during a game played on March 11, 1997, at Arco Arena in Sacramento, California.

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Terrell Brandon, 1997

Even doper than these late ’90s alternate Cleveland Cavaliers uniforms in black, blue, orange and white (which are much sleeker colors than the Cavs’ wine and gold) are the team’s warm-ups, featuring a ball swishing through a hoop on the backs. LeBron James would look too tough in these during his final season in Cleveland. Just kidding. Kind of.

Detroit Pistons

Grant Hill of the Detroit Pistons moves the ball during the game against the Houston Rockets on Feb. 15, 2000, at Compaq Center in Houston.

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Grant Hill, 2000

In the summer of 1996, the Detroit Pistons revamped their uniforms, changing their colors from red, white and blue to teal, black, yellow and red. They also introduced one of the fiercest logos in league history. The new design takes the engine part after which the team is named, a piston, and plays off the concept of a car’s horsepower by incorporating a stallion with a flaming mane. To add to the flair, the S’s in “PISTONS” on the front of the jerseys elongate into exhaust pipes. Nike needs to bring back whoever created this design ASAP.

Indiana Pacers

Reggie Miller of the Indiana Pacers pictured on Nov. 30, 1995, at Arco Arena in Sacramento, California.

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Reggie Miller, 1995

This is the uniform in which Reggie Miller, the greatest Indiana Pacer of all time, had the two greatest moments of his career: his eight points in 8.9 seconds and his infamous choke sign directed at filmmaker and Knicks superfan Spike Lee. Honorable mention: The 1989-90 away jersey in a more pale blue, with “PACERS” in a yellow panel stretching across the front. Both uniforms are way nicer than the hideous Hoosiers-themed “Hickory” jerseys that Indiana wore in 2015.

Miami Heat

Alonzo Mourning (No. 33) of the Miami Heat celebrates against the Sacramento Kings on Nov. 22, 1996, at Arco Arena in Sacramento, California.

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Alonzo Mourning, 1996

Simply put, these red alternate Heat jerseys from the ’90s are flame emojis 🔥 🔥 🔥.

Milwaukee Bucks

Glenn Robinson of the Milwaukee Bucks gets into position against the Sacramento Kings during a game played on March 13, 1996, at Arco Arena in Sacramento, California.

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Glenn Robinson, 1996

This is the best jersey the Milwaukee Bucks have ever worn, an alternate hunter green number with a huge buck on the abdomen and the team’s name that fades from white to purple. Born in 1994, Bucks superstar Giannis Antetokounmpo was a toddler when these jerseys popped in the mid-1990s. If Nike brought them back, the Greek Freak would surely make them pop.

Orlando Magic

Anfernee Hardaway (No. 1) and Shaquille O’Neal of the Orlando Magic return to the court during a game played circa 1994 at the Boston Garden in Massachusetts.

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Shaquille O’Neal, 1993

The most iconic uniform pinstripes belong to the New York Yankees. But a close second are certainly the stripes on the jerseys that the Orlando Magic wore in the 1990s. Is there a swaggier tandem in NBA history than Shaquille O’Neal and Penny Hardaway? Nope, and it’s not even close. They changed the game in their white, royal blue and black uniforms, embossed with stars on the chest as the letter A in either “ORLANDO” or “MAGIC.” And don’t get us started on the warm-up jackets. Too much sauce.

New York Knicks

Patrick Ewing (No. 33) (left) and Larry Johnson of the New York Knicks talk while playing the Sacramento Kings on Feb. 20, 1997, at Arco Arena in Sacramento, California.

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Patrick Ewing and Larry Johnson, 1997

As with the Boston Celtics, the uniforms of the New York Knicks haven’t changed much over the years. Yet, in the mid-’90s, the team added a nice touch of black trim to its road jerseys, which were worn by countless Knicks, from Patrick Ewing, John Starks and Charles Oakley to Allan Houston and Latrell Sprewell. One player who never got to rock this jersey — and probably never will, with his days as a Knick numbered? Carmelo Anthony.

Philadelphia 76ers

Philadelphia 76ers rookie guard Allen Iverson.

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Allen Iverson, 1996

A rookie Allen Iverson with no cornrows, one tattoo and “SIXERS” on the chest of a bright red jersey — paired with his red and white Reebok Questions, of course — is nothing short of iconic. Take notes, Joel Embiid, Ben Simmons and Markelle Fultz. This is where #TheProcess began.

Toronto Raptors

Vince Carter of the Toronto Raptors seen during the game against the Houston Rockets on March 25, 1999, at Compaq Center in Houston.

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Vince Carter, 1999

The Toronto Raptors should’ve kept the 1995 uniforms that they entered the league with forever. In more than two decades, the franchise has yet to top its 1990s purple away jersey, with red, black and gray trim, featuring a roaring raptor dribbling a basketball. Swagged by both Tracy McGrady and Vince Carter early in their careers, this is one of the greatest NBA jerseys of all time. To celebrate the team’s 20th anniversary during the 2014-15 season, the Raptors broke out the “Dino” uniforms in throwback fashion. It won’t be another anniversary year, but why not do it again for the 2017-18 season?

Washington Wizards

Earl Monroe (No. 10) of the Baltimore Bullets looks on against the New York Knicks during an NBA basketball game circa 1969 at the Baltimore Coliseum in Maryland.

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Earl Monroe, 1969

Forget the classic red, white and blue Washington Bullets jerseys that inspired what the Washington Wizards currently rock on the court. Bring back the blue, orange and white Baltimore Bullets uniforms from the late 1960s. Nowadays, they would be dubbed the “Hands Up Don’t Shoot” jerseys, given the extended-arms design of the L’s in “BULLETS.” #BlackLivesMatter

WESTERN CONFERENCE

Dallas Mavericks

Adrian Dantley of the Dallas Mavericks dunks during an NBA game against the Los Angeles Lakers at the Great Western Forum in Los Angeles in 1989.

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Adrian Dantley, 1989

The Dallas Mavericks should definitely return to the logo that features a big blue letter M topped with cowboy hat — inside a green basketball. For decades, this classic design made its way onto the shorts of Mavericks uniforms, the best of which came in the form of alternate green jerseys with Wild West-esque font on the front. Pull some strings, Mark Cuban!

Denver Nuggets

Alex English of the Denver Nuggets shoots a free throw against the Washington Bullets during an NBA basketball game circa 1990 at the Capital Centre in Landover, Maryland.

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Alex English, 1990

Sweet 8-pound, 6-ounce, newborn infant Jesus, these multicolored Denver Nuggets uniforms from the ’80s and ’90s are sweet. Name a throwback NBA jersey with a centerpiece logo as loud as Denver’s rainbow city skyline. But it works, as there certainly isn’t one as bold and beautiful as what Hall of Famer Alex English wore on his chest before several players on Denver’s current roster were born.

Golden State Warriors

An October 1968 photo of Al Attles of the San Francisco Warriors. (AP Photo)

AP Photo

Al Attles, 1968

In eight games during their 73-9 NBA record-setting 2015-16 season, Stephen Curry, Klay Thompson and Draymond Green balled out in the alternate yellow edition of the team’s vintage “The City” uniforms, originally released for the 1966-67 season, nearly 10 years before the franchise won its first NBA title. Like Golden State’s current uniforms, the throwbacks, worn by the likes of Rick Barry, Nate Thurmond and Al Attles, feature the Bay Bridge in a circular illustration on the front of the jersey, with the words “The City” in bold letters over it. The best part of the jersey is each player’s number on the back, which is illustrated in a Bay Area cable car above his name. As the Warriors chase their third title in four years, these uniforms must be in rotation.

Houston Rockets

(From left) Guard Clyde Drexler, center Hakeem Olajuwon and forward Charles Barkley of the Houston Rockets stand on the court during a May 7, 1997, playoff game against the Seattle SuperSonics at the Summit in Houston.

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Clyde Drexler, Hakeem Olajuwon and Charles Barkley, 1997

The season after winning back-to-back NBA titles in 1994 and 1995 in legendary red, yellow and white uniforms (which the team still frequently wears), the Houston Rockets switched it up with a completely different color scheme to complement its Hall of Fame trio of Clyde Drexler, Charles Barkley and Hakeem Olajuwon. The pinstriped red, navy and white uniforms are complete with an intricately designed rocket ship that swirls around the team’s name on the front of the jersey. Perhaps a new Rockets big three of Chris Paul, James Harden and Anthony could take the court in these this season. Not so fast, though. Houston has to lock up that trade for Anthony first.

Los Angeles Clippers

Bob MacAdoo (No. 11) of the Buffalo Braves stands on the court against the Boston Celtics during a game played in 1974 at the Boston Garden in Massachusetts.

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Bob McAdoo, 1974

This was a tough decision. It was hard not to go with the throwback Zeke McCall cursive-lettered Clippers jersey, worn by a young Quincy McCall in Love & Basketball. Long before the 2000 film, and current Clippers stars Blake Griffin and DeAndre Jordan, the franchise began in New York as the Buffalo Braves, led by Hall of Famer Bob McAdoo. As simple as the baby blue jerseys that McAdoo and the Braves wore for eight years before the team moved to California in 1978 were, they’re superclassic. Even Jay-Z knows about the retro McAdoo jersey.

Los Angeles Lakers

Magic Johnson of the Los Angeles Lakers passes against Terry Porter of the Portland Trail Blazers at the Veterans Memorial Coliseum in Portland, Oregon, circa 1988. (Photo by Brian Drake/NBAE via Getty Images)

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Magic Johnson, 1988

Imagine rookie point guard Lonzo Ball dropping dimes in the purple road uniforms in which Magic Johnson and the “Showtime” Lakers dazzled en route to five championships in the 1980s. C’mon, Nike. Bring these back for Lonzo, and for the people.

Memphis Grizzlies

Shareef Abdur-Rahim of the Vancouver Grizzlies during a game against the Golden State Warriors played on Jan. 8, 1997, at San Jose Arena in California.

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Shareef Abdur-Rahim, 1997

The 1995-2001 teal Vancouver Grizzlies jerseys are the dopest uniforms in NBA history — don’t @ us. The bold team name sprawling across the chest, the funky color scheme and trim that includes red, brown, black and white, the ferocious logo of a grizzly bear clawing a basketball on the shorts — what is not to like about this jersey? After six seasons in Canada, the franchise relocated to Memphis while maintaining the same mascot. So it’s only right that Nike allows Memphis to pay homage to the team’s former city with these glorious jerseys.

Minnesota Timberwolves

Kevin Garnett of the Minnesota Timberwolves during a game against the Houston Rockets on Feb. 26, 1998, at Compaq Center in Houston.

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Kevin Garnett, 1998

A young Kevin Garnett in the black alternate Minnesota Timberwolves uniforms, with Frankenstein-esque lettering and green pine trees lining the jersey and shorts — SO tough. As Minnesota pushes to make some noise in the deep Western Conference this season, the team’s young core could use some intimidating flair — like Garnett and the Timberwolves had way back when.

New Orleans Pelicans

Chris Paul of the New Orleans Hornets directs the offense against the Houston Rockets on Feb. 27, 2011, at the New Orleans Arena.

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Chris Paul, 2011

What’s the best throwback jersey for a 15-year-old franchise that gave up its first mascot to another city? Look no further than the Mardi Gras-themed “NOLA” uniforms the team formerly known as the New Orleans Hornets wore several years ago, when Chris Paul was still the point guard of the squad that drafted him. It’s hard to imagine that folks in the Big Easy wouldn’t welcome a return of these purple, green and gold jerseys, especially come next February.

Oklahoma City Thunder

Gary Payton of the Seattle SuperSonics dribbles against the Los Angeles Clippers during a game at the Los Angeles Memorial Sports Arena circa 1991.

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Gary Payton, 1991

How crazy would it be if Russell Westbrook, Paul George and the Oklahoma City Thunder paid tribute to the franchise’s former city by taking the floor next season in throwback Seattle SuperSonics jerseys, circa the Gary Payton and Shawn Kemp days? It was a sad time when the team left Seattle in 2008. Hope the city will get another franchise one day. But until then, it’s only right that Nike and the Thunder pay respect to the team’s roots.

Phoenix Suns

Jason Kidd of the Phoenix Suns moves the ball during the game against the Charlotte Hornets on Jan. 29, 2000, at Charlotte Coliseum in Charlotte, North Carolina.

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Jason Kidd, 2000

You can’t tell us that the Phoenix Suns’ talented young trio of Devin Booker, Marquese Chriss and Josh Jackson couldn’t swag these black alternate throwbacks out. The Valley of the Sun needs these blast-from-the-past jerseys.

Portland Trail blazers

Clyde Drexler of the Portland Trail Blazers dribbles the ball against the Washington Bullets during an NBA basketball game circa 1992 at the Capital Centre in Landover, Maryland.

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Clyde Drexler, 1992

We can already see it: the starting lineup of the Portland Trail Blazers being announced to the tune of the Drake, Quavo and Travis $cott More Life track “Portland,” before the players take off their warm-ups to reveal the vintage Blazers uniforms that Clyde Drexler & Co. made iconic. What a moment that would be.

Sacramento Kings

Nate Archibald of the Kansas City Kings dribbles the ball up court against the Washington Bullets during an NBA basketball game circa 1975 at the Capital Centre in Landover, Maryland.

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Nate Archibald, 1975

Before journeying to Sacramento in 1985, the franchise was known as the Kansas City Kings, with royal blue, red and white uniforms and a logo that’s been updated to fit the team’s new purple, black and gray color scheme. If the Kings threw it back with jerseys to the Kansas City days, Nike would definitely have to make rookie point guard De’Aaron Fox a visor.

San Antonio Spurs

George Gervin of the San Antonio Spurs shoots a free throw against the Washington Bullets during an NBA basketball game circa 1980 at the Capital Centre in Landover, Maryland.

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George Gervin, 1980

The San Antonio Spurs still wear the old-school gray jerseys with the letter U in “Spurs” illustrated as a cowboy boot spur. Another subtle throwback could come through the reissue of the black 1980s Spurs jerseys that feature “SAN ANTONIO” on the front in white trim. These are definitely not too flashy for the modest Kawhi Leonard.

Utah Jazz

Karl Malone (No. 32) and John Stockton of the Utah Jazz talk during a game against the Sacramento Kings circa 1997 at Arco Arena in Sacramento, California.

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Karl Malone and John Stockton, 1997

Karl Malone, John Stockton and the Utah Jazz took back-to-back L’s in the 1997 and 1998 NBA Finals to Michael Jordan and the Chicago Bulls — but they did it in style, with purple road uniforms adorned by a Utah mountain. Too bad Gordon Hayward never got to wear this jersey before dipping out to Boston this summer in free agency.

Martin Lawrence’s ‘Martin,’ 20 years later The sitcom’s legacy is as hilarious as it is complicated

The finale of Martin aired in May 1997 as its five-season run limped to the finish line. Its demise was affected by a set of circumstances — allegations of sexual harassment, an emergency cruise storyline, a restraining order — that included Tisha Campbell walking off the Detroit set in November 1996. Core fans often omit mentioning the final season in discussions of the show, even decades later. The pain and discontent of the fifth season goes hand in hand with why Martin held such a prominent place in African-American culture during the 1990s to begin with.


Martin premiered on Fox in August 1992. Its main premise: the daily exploits of its five main characters, Martin (Martin Lawrence); his girlfriend, Gina (Campbell); her best friend, Pam (Tichina Arnold); and Martin’s two best friends, Thomas Ford (Tommy) and Carl Anthony Payne II (Cole). Its two principals, Lawrence and Campbell, had a long-established rapport.

“Martin, I’ve known him for years,” Campbell said on a December 1993 episode of Regis & Kathie Lee. “He would always say, ‘You gon’ play my girlfriend.’ I was like, ‘Yeah, sure. Right, Martin.’ But he made [good on] his promise.”

Both graduated from the school of Spike Lee classics — Campbell co-starred in 1988’s School Daze, and Lawrence appeared alongside his mentor and legendary comedian Robin Harris a year later in Do The Right Thing. Campbell and Lawrence even shared the same screen in Reggie Hudlin’s 1990 masterpiece House Party: Lawrence as Bilal, the DJ with the bad breath, and Campbell as Sidney, Christopher “Kid” Reid’s love interest. They also both appeared in Hudlin’s Boomerang in 1992. The energy of the late ’80s and early ’90s, in terms of what Hudlin and Lee were producing, directly translated into stars of those movies becoming stars of film and network television. Fox capitalized on the emergence of young black talent.

Before Fox News became the conservative conglomerate it is today, its programming model operated (and still operates) on a different wavelength. The network found success and relevancy in the swelling influence of the hip-hop generation. James Murdoch helped launch the highly respected hip-hop label Rawkus Records before selling it to his father, Rupert Murdoch — an associate of President Donald Trump’s, and the most powerful man at 21st Century Fox and News Corp. — in 1996. Shows such as In Living Color, Living Single, New York Undercover and Martin were instrumental in making Fox the massive fourth network in the ’90s.

Fox saw the allure of Lawrence — the heir apparent to Richard Pryor and Eddie Murphy. He was an energetic and explicit comedian with big-screen experience whose routine worked just as well in intimate settings, as shown by his stint as host of HBO’s popular and influential Def Comedy Jam. Lawrence, though, questioned the network’s commitment to providing opportunities to entertainers of color. “Fox should reflect the diversity of black life instead of putting out the same show with different titles,” he said. “I’ve never met Rupert Murdoch or Lucie Salhany [Fox’s chairman]. I bet Tom and Roseanne Arnold know the heads of the company they work for.”

“It was a show that came wholly from the African-American experience that was a hit. It proved that unadulterated blackness could be mainstream.”

Martin premiered when African-American life and culture was under the microscope: It was a post-Rodney King and L.A. riots America. The show’s crux was hip, youthful blackness: Martin and Gina, the former a radio DJ at Detroit’s fictional WZUP and the latter an advertising account executive. “Its biggest legacy is the fact that it was a show that came wholly from the African-American experience that was a hit,” said former music and entertainment journalist Cheo Hodari Coker. He’s now the showrunner for Netflix’s Luke Cage. “It proved that unadulterated blackness could be mainstream.”

The show was a success from its start, averaging north of 11 million viewers in its first season. The New York Times praised the show’s quirkiness and its willingness to embrace social issues in episodes such as season one’s Dead Men Don’t Flush, which featured a dead white man — in this case, a plumber — being found dead in a black man’s apartment. After calling 911, the show’s fab five are forced to pass a qualifying quiz to prove they’re white. “Nothing makes my day more right,” Martin jokes, “than waking up white.” The charade nearly worked, too, as the crew correctly guessed white people’s favorite pie (apple) and named two Barry Manilow songs (“Copacabana (At the Copa)” and “Mandy”). The masquerade flatlines, however, when Cole incorrectly (and hilariously) answers “hot sauce” when responding to what white people put on sandwiches. Martin, John J. O’Connor wrote in November 1992, could “still blossom into something considerably more than a conventional sitcom.” And that “whatever happens, Martin Lawrence is obviously going places.”

Martin earned a following of diehard critics and fans alike. Some painted Lawrence’s pop culture dynamo as buffoonish — Bill Cosby slammed his stint as Def Comedy Jam host as a “minstrel show.” In a numbing sense of prophecy, Lawrence shot back at Cosby, saying, “For all his clean, wholesome, Jell-O pudding, I-ain’t-never-done-no-wrong image, they still didn’t let his a– buy NBC, now, did they?” The Los Angeles Times slammed the 1993 season two episode Whoop There It Ain’t for perpetuating stereotypes of black male sexuality. Newsweek deemed Lawrence’s character a “sex-obsessed homeboy shucking his way to nowhere.”

Yet many more saw the brainchild of creators Lawrence, John Bowman and Topper Carew as over-the-top comical. Episodes such as Hollywood Swinging (which featured Tommy Davidson as “Varnell Hill”), or Feast or Famine (a battle-of-the-sexes Thanksgiving episode) were not only hilarious but also made Martin, Gina, Tommy, Pam and Cole representatives of young black companionship and friendship in the ’90s. And Martin and Gina were the cool and relatable couple. “Having a steady relationship, getting with the right woman, is something I’ll always believe in,” he told VIBE in April 1994. “The one thing I’m most proud of with Martin is that it shows a black man loving and respecting his black woman.”

The many scenes and catchphrases considered classic are diverse, though many are from seasons two and three, the series’ apex. Suspicious Minds revolves around the mystery of Martin’s missing CD player, which causes him to channel his inner Nino Brown to interrogate his friends in hilarious, but ultimately unsuccessful, fashion. Season two standout Guard Your Grill finds Martin challenging professional boxer Tommy “Hitman” Hearns to a fight for Gina’s love. Many call out The Romantic Weekend from season three, more popularly known as Chilligan’s Island — the couples retreat episode that Martin finds on the back of a cereal box. The episode birthed the classic phrase “That ain’t no damn puppy!”

On-camera, in-character power struggles define the show’s legacy as well. Martin vs. Pam became a battle of wits. Martin vs. Ms. Geri was a recurring heavyweight clash. And Gina vs. Mama Payne became the in-law relationship from hell. At Martin’s height, cameos — by Snoop Dogg, Christopher “Kid” Reid, Salt-N-Pepa, former Philadelphia Eagles quarterback Randall Cunningham, Jodeci (who had no clue Martin would interrupt their performance), Biggie Smalls, Sherman Hemsley, OutKast, Tommy Davidson, David Alan Grier and more — were a regular fixture. Yet, while the show percolated on the strength of guest stars and the chemistry of its main characters, Martin was, in many ways, a one-man band. Lawrence played nine characters: Jerome, Dragonfly Jones, Roscoe, Bob From Marketing, Elroy Preston, Otis the security guard, Sheneneh, King Beef and Mama Payne.

By nearly any metric, whether cultural impact or relevance, Martin’s first four seasons rank as some of the finest television comedy ever produced. Its stature is eye to eye with shows such as The Jeffersons, Fresh Prince, The Cosby Show or A Different World. By the start of its fifth season, however, the empire was crumbling. Allegations of sexual harassment from Campbell made headlines in November 1996. Her lawsuit, in which she named Lawrence, stated that Campbell (herself a sexual assault survivor) had grown increasingly uncomfortable on set.

The lawsuit stated that Lawrence’s advances had increased as the seasons progressed. There were rumors that the tension ramped up especially when Campbell became engaged to fellow actor Duane Martin. It all started coming out: from fits of rage in which he threatened to fire the cast during season two to the charge that Lawrence would grope and simulate sexual acts before crew members when they weren’t rehearsing or filming to Campbell pleading with the show’s writers to cease writing bedroom scenes by season five. Campbell alleged that HBO executives Chris Albrecht and Christopher Schwartz and HBO Independent Productions had long-standing knowledge of the abuse, yet neglected to take action.

Lawrence denied all claims. “Martin has long been Tisha’s champion and protector,” his January 1997 statement read, “and is thus deeply hurt by these allegations.” But the public fracture of his and Campbell’s actual and scripted relationship was part of a string of bizarre situations for Lawrence, one of America’s top comic actors who was flourishing in the wake of Bad Boys and A Thin Line Between Love and Hate.

In August 1996, he was arrested for carrying a loaded handgun in a suitcase at Hollywood Burbank Airport. Months before, he was detained by police for wandering into traffic and screaming curses in a Sherman Oaks, California, neighborhood. While no charges were filed in either case, the energy around Lawrence was overshadowing his talent. Fox Entertainment President Peter Roth attempted to quell the swelling controversy around the network’s star. “The show is called Martin, and he has proved he is capable of handling the show. Whatever is happening off the set is not affecting the show.” But it did, of course, affect the show. How could it not?

Martin thrived on the intimacy of his and Campbell’s on-camera relationship, and even more so the unbreakable bond between its main five characters. Martin could no longer deliver on its promise. Martin was no longer entertaining to watch. Campbell functioned as Lawrence’s rock — no matter the antics of the character of “Martin,” “Gina” was there to reel him in. While Campbell helped fill living rooms with laughter — like when her head was stuck in between the Nefertiti 2000 headboard in season four’s Headin’ For Trouble — stress ate at her so much she reportedly had to be hospitalized. Campbell did eventually return to the close out the series — with very specific stipulations. Most notably, she and Lawrence were to never appear in the same scene together.

Tommy Ford’s death in 2016 was a reminder that while the show is eternal, physical energies are not. Today, Lawrence, Campbell and the rest of the cast speak glowingly of one another and of their creation’s staying power. New and young fans canonize Martin. Even basketball star LeBron James, who was 12 when it went off the air, occasionally features clips of the show on his popular Instagram Stories and dropped $5,000 on a “Jerome”-themed Halloween costume. Big Sean saluted the sitcom via the video for his 2015 hit “Play No Games.” And Chance the Rapper, born eight months after Martin’s series premiere, used his career-defining verse on Kanye West’s “Ultralight Beam” to feature a brief but direct homage to the show: Treat the demons just like Pam/ I mean I f— with your friends, but damn, Gina.

What Martin did was remain true to itself in an era when black creativity served as a necessary lifeline for black America: its music, its movies, its television programs and its literature. And it did so in Detroit, a city critical to the African-American experience. The unfiltered honesty of its jokes, its dilemmas — and its shortcomings — are its flawed and labyrinthine bookmarks. It’s impossible to discuss the show without its awful ending. It’s impossible to not discuss Martin’s countless memories and laughs.

What Martin accomplished was no different from what In Living Single or The Fresh Prince of Bel Air accomplished — it just pushed the line further. It irked some and won the allegiance of others. “Martin really was one of the first mainstreamings of hip-hop culture and black culture, which really is the rage now because of Atlanta, because of Queen Sugar and because of Power,” said Coker. “It proved there was a place for it, and the place was in the mainstream, not in the margins.”

Ray Allen talks about his passion for teaching others about the Holocaust The activist and 10-time All-Star was sworn in to the U.S. Holocaust Memorial Museum Council

After former NBA 3-point legend Ray Allen retired in November 2016, the two-time NBA champ picked up something he’d started more than three decades ago: to study, raise awareness, connect cultural lines and advocate for Holocaust history.

It all started at the University of Connecticut in 1993, when a young Allen developed a curiosity about the Holocaust. He began to frequent the U.S. Holocaust Memorial Museum in Washington, D.C., and his education there fueled a full-on passion project. Now he has chosen to lead by example. He encourages those close to him, and anyone who will listen, to learn about Holocaust education through his dedication to the cause.

And now the 41-year-old former shooting guard is on the governing board of the museum where he first found his cause. Officially sworn in Tuesday four months after being appointed to the position by President Barack Obama, Allen raised his right hand and took the council member’s oath in a ceremony at the museum during Days of Remembrance, the nation’s annual commemoration of the Holocaust.

“I am proud to serve in this role and to continue to share the important messages and lessons we all need to remember from the Holocaust,” Allen said in a statement. “I want to inspire people to break down stereotypes, and treat one another — regardless of race, religion or anything else — like family. It’s more important now than ever.”

Allen wants to show others that cultural relevancy is shared between groups and discussion should not be limited to a single issue. He has visited the museum many times, each time bringing a different friend, teammate or coach.

Ray Allen is sworn into the board of directors for the U.S. Holocaust Memorial Museum.

U.S. Holocaust Memorial Museum

The museum is a living memorial to the Holocaust. According to its website, it inspires citizens and leaders worldwide to confront hatred, prevent genocide and promote human dignity.

Allen was selected fifth overall in the 1996 NBA draft by Milwaukee, where he stayed until 2003. He went on to play for the Seattle SuperSonics, Boston Celtics and Miami Heat, winning championships in 2008 with Boston and in 2013 with Miami. He polished his game and became the NBA’s all-time leader in 3-point field goals. The 2000 Olympic gold medalist also once took his game to the big screen, starring in the 1998 Spike Lee film He Got Game. Also a 10-time NBA All-Star, he founded the Ray of Hope Foundation in 1996. The nonprofit organization’s mission is to “assist with sports-related, community-based programs and provide avenues of opportunity through which our youth can hope to realize their full potential,” according to its website.

Allen spoke to The Undefeated about his journey into Holocaust history and education and why he’s now on the U.S. Holocaust Memorial Museum Council.


How did you first become interested in the Holocaust?

It started in ’93 when I was in college. I knew about the Holocaust, but I didn’t actually understand the players. Everything was like a shock to my system to understand this could take place and people didn’t really do anything about it.

It did something to my soul to be more cognizant of people around me. Care more about the next person. In ’98, I was playing for the Milwaukee Bucks and my owner at the time, I came to D.C. to visit him. We were having a meeting in the summer and I had time to kill, and he suggested I come to the museum.

And I took a two-hour tour, just got in and out ’cause we had a flight to catch. And, again, I was blown away. I thought, This is a place that everybody should go to. It’s just like one of those things that every kid should go to, every person that [if] you’re in D.C., you should come through this museum. And now, since then, the African-American museum had been built, and I believe the same thing about that museum. Both can teach the same lessons.

The one feedback I got from a lot of people: ‘What about slavery?’ I said, ‘This is slavery. This is slavery. There’s so many different acts of genocide and oppression in the history of the world.’ And I said, ‘The Holocaust is a lesson that we all need to learn so it doesn’t happen again.’ So, I took, from that day forward — every year, whatever team I played on — I would bring them to this museum.

Like, we set in this hall, 7:30, 8 o’clock at night after having gone through the museum and people just kind of in reflection of what they’d just seen, this experience, all the atrocities, and it humbled a lot of people. So it put us in a frame of mind that we started understanding that we play games for a living. People are so tied into what we do, and they make it seem like it’s such an enormous event to watch a basketball game and to follow an athlete, but this seems like this is more important. It touched a lot of people.

And so, from then on and forward I’ve brought my family here. People just know I always come here. It’s an important teaching tool, and we can never forget the moments that shape up, shape our country and where we come from.

Now that you’ve been educated more on this atrocity and the history of blacks here in America, how closely intersected do you think we are?

Well, for the longest time I’ve had like this … despair. I don’t know if that’s the right word, but I’ll go with that for now, in relation to Memphis. I had this gut-wrenching feeling every time I went to Memphis. Before I even went there I felt that way. So the very first time I went there, I was troubled. And I went to the Lorraine Motel — like, I just left the hotel and I walked down the street, went to the Lorraine Motel because I needed to see where MLK was killed.

Ray Allen tours the museum back in 2008.

U.S. Holocaust Memorial Museum

And so, the whole time it’s like looking at history and trying to understand history and how it played out in my life, even though I didn’t live in that era. Everything he did affected me up to this point where I’m able to play in the NBA and eat at restaurants, walk down main streets of cities, make the money I’m making.

Like, this motel is so symbolic for a lot of my life. So the oppression, the racism, the bigotry, what went on during the civil rights movement was everything similar to what happened during the Holocaust, you know, starting back in the ’30s and the ’40s. Between the Jewish people and black people, we’ve been heavily oppressed.

One thing that I would love to see, and you start to see it now, more with the building of the African-American museum, is the black culture coming together so we can tell our story. For many years, it was almost like our country wouldn’t accept the bad things it did to black people. The oppression, the racism, just all the negative issues that we’ve dealt with as people, we’re still recovering.

So, I think between both museums, there’re opportunities for all of us to learn that each one of us were equal, and you can’t create somebody less than a human. And it’s here in D.C.; they’re examples for every child. The bully starts off in a small fashion, but he could grow into a dictator. All we had to do is walk into one of these museums and you see what the bullies did. How they controlled societies, controlled people, and it gets ugly.

How has visiting the Holocaust museum been inspiring for you?

You see the names of people who’ve fought, who survived under extreme circumstances. What would I have done in each of these situations, would I have been tough? You get to see great examples of people who are extremely tough, who defied the odds, who survived countless horrors.

Ray Allen tours the Holocaust Museum with his family. Mr. Allen was recently appointed to the Museum Council.

U.S. Holocaust Memorial Museum

Not being able to eat, not being clothed properly — it teaches you to live stronger and not be such a complainer and a worry wart. But then the people who did, they lived to tell their story, and that’s one of the only reasons why we have this building we’re sitting in, because people told the story.

How do you feel being the guy to encourage Holocaust history education?

I think anything that’s for the good is definitely worth the conversation. And we have to be careful that we get caught up in, like, how the message delivered. Just pay attention to the message. It happens to be me talking about it, walking in and out of the museum. Taking a picture, putting it on Instagram and educating people about certain things. I want people to look at something that I post, or something that I say, and then for themselves say, ‘You know what, I should go see that for myself.’

Are your kids old enough to understand the work that you’re doing with the Holocaust Museum?

Yeah, we’ve sat in this room, listened to all the survivors tell their stories, and they were sad. They just asked questions, like, ‘Why would somebody do something like this?’

I have a 24-year-old, 12, 10, 7, and 5-year-old boys. The world is so small. They have access to everything. I try not to hide the world from them. Because it’s happening right in front of us. I try to just let them experience everything, and then talk to them about it and see how they feel, get them thinking from a spirited perspective. I want my children to be very aware of the world that they’re walking into.

How do you think we can integrate more cultural history that’s not our own into our community?

It’s just education, it’s just reading. Programs that are put in place that allow kids to read. And read something different. Something that involves your life or something that involves somebody else’s life that teaches you about the world that we live in or we come from.

But it’s important that the parents set a mandate to what kids continue to learn. We just can’t rely on our teachers at school to teach our kids.

What do you see going forward in your journey?

Well, in two weeks I’m going to Poland, so I’m going to Auschwitz. I’ll be firsthand at a concentration camp. I get to walk those grounds and feel exactly everything that I’m knowing, that I’ve seen personally in this museum and heard from survivors and watched in movies. Just to continue to have the conversation and talk to people I know about it. It’s one thing to post stuff on Instagram about things that I have.

What was the hardest thing about visiting the Holocaust Museum?

It was a lot. I saw a rail car that was bent because they took the bodies of the dead and they burned them on it, and the flames were so hot it just kind of, twisted. Imagine that temperature that’s twisting steel like that. Walk into a room and seeing hair. Walk into a room and seeing shoes. These are actually real people’s items. Like, it’s real. It’s not a prop. This is not even small, like, half of what the inventory is that they have.

How did your teammates respond after their first visit? Were they grateful for you bringing them here?

The fact that I had the access to be able to get people here, that’s one of the blessings of our reach when you play in NBA, to be able to do things with so many people and show them different places they would’ve never seen otherwise. Each one, teach one. When you do something, great, you take people with you so you could share your experiences.

Locker Room Lawyer, Episode 15: Colin Kaepernick’s NFL job search After a season of social activism, the former 49ers quarterback is looking for a new team

In this week’s edition of Locker Room Lawyer, Clinton Yates and Domonique Foxworth take the case of San Francisco 49ers NFL quarterback Colin Kaepernick to The Undefeated courtroom.

Kaepernick is still not on an NFL roster. Why? Probably not because he can’t play. Last week, a report said that, according to one NFL general manager, teams were staying away from him because they didn’t like his politics and specifically were worried about the president of the United States potentially tweeting about them.

Typically, Domonique defends the players, but in this case, he can understand why a team might think Kaepernick is not necessarily a player worth the headache. Spike Lee wants the New York Jets to pick up the quarterback and finds the whole situation fishy. Might be time for a documentary.

Instagram Photo

Check out the video, and if you have any professional athlete in mind (past or present) who needs the Locker Room Lawyer’s representation, feel free to email us at allday@theundefeated.com with episode ideas. Also, check out our weekly All Day Podcast, as well as Domonique and Clinton every Sunday on The Morning Roast.

Behind the design of Spike Lee’s custom anti-Trump Air Jordan 1s The legendary sneakerhead commissioned Brooklyn muralist Danielle Mastrion

From the pair of Air Jordans Michael Vick wore in games on turf during a Pro Bowl season, to LeBron James’ first signature Nike sneaker, which eventually led to a billion-dollar endorsement deal and retro release, to Tinker Hatfield’s vision to design a sneaker based upon Michael Jordan’s catlike persona — every shoe has a story that deserves to be told. In an effort to ensure that these sneaker tales live on, The Undefeated presents a recurring series, “Sneaker Stories,” which begins with the story of a pair of shoes filmmaker, actor and sneakerhead Spike Lee had customized as a representation of his protest of President Donald Trump. On Lee’s 60th birthday, we tell this story through the artist behind the sneakers, Brooklyn’s own Danielle Mastrion aka @daniellebknyc.


“He went to the same high school that my mom went to,” answers Danielle Mastrion.

The question? What was it like, you know, meeting Spike Lee? For many people, this fun fact would be a footnote. An interesting tidbit, but nothing too special, right? Not for Mastrion, 34, who’s always felt a special connection to legendary filmmaker and actor Lee,who celebrates his 60th birthday today. In Mastrion’s mind, the two are kindred creative spirits for the simple fact that Brooklyn, New York — the place reflected in much of their work — is for both of them, home.

“I’m a native New Yorker, but I’m a Brooklyn girl, through and through,” said Mastrion, a muralist and painter, “and there’s a lot of Brooklyn love that comes with growing up watching Spike Lee movies. I always felt that he really represented, and captured the borough. He’s always been a huge creative influence — besides being an incredible storyteller and producer. I felt like I was meeting one of my lifelong idols.”

So, how did Mastrion, after years of living and working in Brooklyn, finally get to meet one of the borough’s most beloved sons? Their artistic genius crossed paths in February when she customized five pairs of Air Jordans for Lee, whose character Mars Blackmon from his 1986 debut feature She’s Gotta Have It became Michael Jordan’s quirky companion in one of the most popular ad campaigns in sneaker history. (In 2006, Lee received his own line of “Spiz’ike” Air Jordans.)

Lee wanted the shoes to reflect his protest of Trump. He wanted the words “Repel Agent Orange” and “Resist” on them.

The first four pairs Mastrion designed for Lee weren’t for the man himself. As filming for his upcoming Netflix series She’s Gotta Have It, which is based upon the film, drew to a close, Lee wanted a unique way to show his appreciation to the four main characters of the series. He wanted to gift each actor a pair of sneakers. But not just any sneakers.

So, Lee commissioned one of the show’s writers, Lemon Andersen, with the job of finding an artist capable of customizing sneakers up to his standards of dopeness. Andersen deferred to New York artist AVone, aka Anthony Vasquez, who recommended Mastrion. Andersen scheduled a time for her to pick up four pairs of “White Cement” Retro Air Jordan IVs, which Lee wanted completed ASAP. So, time was time ticking for Mastrion. She had 24 hours.

“I think it was a last-minute idea, so I had to move quickly,” said Mastrion, who customized her first pair of sneakers several years ago in a live-painting sneaker competition at the Brooklyn Hip-Hop Festival, which she won. Since then, she’d occasionally done customs through private commissions, but not for anyone quite as famous as Lee.

“They asked me to custom-paint each sneaker with the characters’ names and the She’s Gotta Have It logo. My idea for them was to kind of go back to the late ’80s, early ’90s … the aesthetic from the old A Tribe Called Quest albums, that kind of typography. It has the kind of tribal feel. And then it has a little bit of old-school graffiti.”

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The next day, Mastrion hand-delivered the boxes to Lee at the studio in Greenpoint, Brooklyn. He opened them to the sight of each name of the main characters in She’s Gotta Have It — Nola Darling, Mars Blackmon, Greer Childs and Jamie Overstreet — fluidly freestyled on the outside of each pair’s right shoe in vibrant red, green, pink, blue turquoise and yellow. On the toe of each left shoe was the She’s Gotta Have It logo.

“When he opened up the sneakers, I was very nervous, and a huge smile spread across his face,” Mastrion recalled. “It’s like he looked at them really seriously, and then just his face broke. I was so proud to do something creatively that he approved of. Because he’s been such a huge creative influence on me for so long.”

Mastrion passed Lee’s test. So the next pair she customized would be for his personal collection. After A Tribe Called Quest’s performance with Busta Rhymes at the 59th Annual Grammys on Feb. 12, Lee felt inspired by the shade Busta Rhymes bazooka’d toward President Donald Trump. “I just want to thank President Agent Orange for perpetuating all of the evil that you’ve been perpetuating throughout the United States,” Busta Rhymes said onstage that night. “I want to thank President Agent Orange for your unsuccessful attempt at the Muslim ban.”

For NBA All-Star Weekend in New Orleans, Lee needed a fresh pair of kicks. He discussed his ideas with Andersen, who relayed them to Mastrion. This time, she picked up a pair of “Black History Month” Retro Air Jordan 1s, in 9.5. Spike’s size.

Courtesy of Danielle Mastrion

Again, she had 24 hours to complete the request. Yet unlike the Jordans she did for the She’s Gotta Have It cast members, Mastrion didn’t freestyle Lee’s shoes. He knew exactly what he was looking for, and Andersen passed along the instructions through copy-and-pasted texts to Mastrion. Lee wanted the shoes to reflect his protest of Trump. He wanted the words “Repel Agent Orange” and “Resist” on them. In big, bold and clean letters.

“He gave me specific directions on the colors, on the lettering and the placement, so that he really oversaw the creation of sneakers. He had a very clear vision in his mind what he wanted them to represent. He gave me a lot of directions for those,” said Mastrion, who researched historical Cuban, German and Russian propaganda posters to ensure that she got the bold lettering just right.

The words, depicted on both sides of each shoe, were done with Posca, Molotow and Deco paint markers — “Repel Agent Orange” painted in red and “Resist” painted in white, both gone over with acrylic paint and brush, to complement the gold Nike Swooshes on the shoes.

When it comes to sneakers and politics, there’s been a long-held notion that the two should function on a separation-of-church-and-state basis. It’s a concept primarily driven by the infamous quote, supposedly from Michael Jordan: “Republicans buy sneakers, too.” This is something that he may or may not have even said, and if he did, it was a joke. But, in the past year, a few titans of the sneaker world have spoken out on social issues. Last summer, in the wake of the number of shooting deaths by law enforcement of African-Americans, Jordan said he could “no longer stay silent.” In late January, Nike CEO Mark Parker issued a statement on the company’s behalf condemning Trump’s Muslim and refugee immigration ban. A few weeks later, Lee felt the need to speak out through the artistry of his sneakers.

This is the time when people, especially artists, do need to be a little bit more outspoken.” — Danielle Mastrion

“I felt like his message was completely aligned with how I feel. I try not to mix politics up too much in my pieces,” Mastrion said. “I try to paint more inspirational figures, but I feel like this is the time when people, especially artists, do need to be a little bit more outspoken, so I didn’t mind doing the message at all.”

Instagram Photo

Mastrion had a quick second shoe delivery to Lee. During the interaction, Lee opened the shoes, told her she did a great job and gave her a hug. More praise, however, came on his Instagram account, where he posted a photo of him holding each shoe, with the message, “RESIST – REPEL AGENT ORANGE. DATS DA PUTIN TRUTH, RUTH. YA-DIG? SHO-NUFF. BY ANY MEANS NECESSARY.” At the end of the caption were four words that certainly made Mastrion smile: “Artwork by Danielle Mastrion.”

“I was so happy and thankful he did a post,” she said.

The next day, Lee posted on Instagram again. This time, it was a photo of him, as Mars Blackmon, and Michael Jordan from their old ad campaign days. In the caption was a fun fact about the greatest of all time that few people know. “Happy Birthday To The Greatest Of All Time, Michael Jordan. He was Born 54 Years Ago Today At Cumberland Hospital In Fort Greene, Brooklyn.” Lee, Mastrion and Jordan. All three connected — all children of Brooklyn.