Earth, Wind & Fire among this year’s Kennedy Center honorees From ‘Sweet Sweetback’ to ‘September,’ they built a soundtrack for the black experience

The holiday season is five months away, but Earth, Wind & Fire received an early gift Thursday. The Kennedy Center in Washington, D.C., announced that the group will be one of the marquee recipients at the 42nd Annual Kennedy Center Honors later this year.

Standing alongside Earth, Wind & Fire on the prestigious night in the nation’s capital will be actress Sally Field; singer Linda Ronstadt; conductor, pianist and composer Michael Tilson Thomas; and the founders of the revolutionary children’s television show Sesame Street, the first TV program to receive the award.

The Honors recognize contributions to American culture through the performing arts. A gala performance toasting this year’s winners will be held at the Kennedy Center on Dec. 8 and aired on CBS a week later.

It’s EWF, though, that will give the night an unmistakable groove. The group, formed in Chicago in 1969, spanned genres from soul and Afropop to disco. Its lead singer, driving force and all-around musical savant, Maurice White, died in 2016. Surviving members Philip Bailey, Verdine White and Ralph Johnson will be on hand to accept the honor.

Earth, Wind & Fire’s earliest success can be traced back to the ’70s, when the group helped ignite the blaxploitation era by creating the soundtrack for Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song. From there, the group, which included up to 10 different musicians during its prime and hoisted six Grammys, carved out its own musical lane and identity during a culturally rich decade that helped shape the sound of black music. Its biggest records include “Reasons,” “Sing A Song,” “Would You Mind,” “After the Love Has Gone,” “Shining Star,” “Boogie Wonderland,” their cover of the Beatles’ “Got to Get You Into My Life” and arguably its two biggest cultural touchstones in “Let’s Groove” and the 1978 dance classic “September.”

From left to right: Verdine White, Ralph Johnson and Philip Bailey of Earth, Wind & Fire attend the 37th Annual Kennedy Center Honors in Washington, D.C., on Dec. 7, 2014, to honor Al Green.

Photo by Kris Connor/Getty Images

“My principle for producing,” White told Billboard in 1979 after the runaway success of “September,” “is to pay attention to the roots of America, which is doo-wop music.”

Forty years later, Earth, Wind & Fire’s music is still at the root of love, peace and the black experience in America. They’ve performed for Presidents Bill Clinton and Barack Obama and inspired Prince, Michael Jackson and Stevie Wonder with their aesthetic execution. The band’s legacy continues to pump heartily through hip-hop, their music having been sampled by the likes of Drake, Kanye West, Timbaland & Magoo, Cam’ron, Yo-Yo and Ice Cube, Mac Miller, Missy Elliott, Jay-Z and countless others.

In his 2014 biography, Bailey reflected on the process of recording the group’s 1975 triple-platinum album That’s the Way of the World. He dubbed it “a spiritual experience” and said that “when Maurice [White] played us the finished mix … I thought we sounded like angels. … It was as if God had been guiding us.”

When the Kennedy Center commemorates the band later this year, it will be further proof that Earth, Wind & Fire’s journey isn’t done yet.

Grammys: From Cardi B to Drake, a night of come-ups, curves and side-eyes What’s next? That’s the real question

No. Question.

Best acceptance speech goes to Drake. In a surprise appearance, he picked up a trophy for best rap song (“God’s Plan”) in person. He also delivered some strong words to the Recording Academy (formerly the National Association of Recording Arts and Sciences, or NARAS) about past Grammy snubs.

“We play in an opinion-based sport, not a factual-based sport. It is not the NBA.” — Drake

“Know we play in an opinion-based sport, not a factual-based sport,” Drake said. “It is not the NBA. … This is a business where sometimes it is up to a bunch of people that might not understand what a mixed-race kid from Canada has to say … or a brother from Houston … my brother Travis. You’ve already won if you have people who are singing your songs word for word, if you are a hero in your hometown. If there’s people who have regular jobs who are coming out in the rain, in the snow, spending their hard-earned money to buy tickets to come to your shows, you don’t need this right here, I promise you. You already won.” Nice. He was, though, like so many, cut off before completing his remarks.

In the days before the beleaguered show, which inched up in ratings last night, there was a lot of social conversation about how the Grammys are not and have not historically been welcoming to black people and people of color.

So when it was reported by The New York Times just days before Sunday’s telecast of the Grammy Awards at Los Angeles’ Staples Center that three of hip-hop’s biggest superstars — Kendrick Lamar, Drake and Childish Gambino — had turned down the opportunity to perform at this year’s show (Ariana Grande and Taylor Swift chose not to attend as well), the message was quite conspicuous, especially on the heels of recent Super Bowl halftime performance anxieties.

Photo by Kevin Mazur/Getty Images for The Recording Academy

“When they don’t take home the big prize, the regard of the academy, and what the Grammys represent, continues to be less meaningful to the hip-hop community, which is sad,” Grammys producer Ken Ehrlich told the Times. Indeed, a hip-hop act has not won the much-coveted album of the year trophy since Outkast for their brilliant 2003 double album Speakerboxxx/The Love Below. In the 61-year run of the Recording Academy’s celebration of musical excellence, the prestigious album of the year has been won by black artists only 12 times, and, while he is no doubt a beloved genius, Stevie Wonder is single-handedly responsible for three of those wins: Innervisions (1974), Fulfillingness’ First Finale (1975) and Songs in the Key of Life (1977). So yes, there was much drama heading into the ceremony.

What we soon discovered, among other revelations, was that 15-time Grammy winner Alicia Keys should be given the perpetual reins to host the aging music awards show, much in the same way Billy Crystal did for the Oscars. She was that good, folks. Also: Chloe x Halle, the sister duo who gave a pitch-perfect tribute to Donny Hathaway and Roberta Flack with “Where Is the Love,” have a transformative cover album within them. Beyoncé and Jay-Z were nowhere to be found at music’s biggest night to collect their award for best urban contemporary album for Everything Is Love. Yet, while there were some grand moments in black excellence, the Grammys still have serious work to do.


A moment of Michelle Obama magic

Photo by Kevin Mazur/Getty Images for The Recording Academy

“From the Motown records I wore out on the South Side …” That’s how she began. Forever first lady Michelle Obama’s surprise appearance at the Grammys was so surreal that even the other legendary women who stood alongside her — Lady Gaga, Jada Pinkett Smith, Keys and Jennifer Lopez — were overwhelmed.

But Obama was instantly drowned out by applause from the crowd. “All right, you all, all right, we got a show to do,” she said with a smile. And yet the statement of women’s strength was just the beginning. Viewers witnessed a record 31 wins by women recording artists and a sharp acceptance speech by best new artist Dua Lipa, who took a dig at outgoing academy president Neil Portnow, who once stated that female artists should “step up” during last year’s ceremony. Calling it an honor “to be nominated alongside so many incredible female artists this year,” she jabbed, “I guess this year we really stepped up.” Ouch.

It’s Cardi’s world

Cardi B continued her fairy-tale run, snatching up rap album of the year for her boss platinum debut Invasion of Privacy, thanking her daughter, Kulture, as well as her husband, Offset of the Migos. “I’m sorry,” the Bronx, New York, rap queen said, before joking, “I just, oh, the nerves are so bad. Maybe I need to start smoking weed.” Cardi B became the first solo woman to ever win the category and brought the house down with her piano-driven, chest-beating 808 anthem “Money.” Rocking immaculate black peacock feathers and surrounded by an army of flapper-era dancers, Cardi earned a well-deserved standing ovation for her 1920s-inspired nod to Josephine Baker.

But Cardi B’s big night was nearly overshadowed by a tweet from Ariana Grande, who posted the word “trash” along with some stinging expletives as the rapper beat out the singer’s ex-boyfriend, greatly missed late hip-hop star Mac Miller. Grande, who won her first Grammy for best pop vocal album, quickly deleted the tweet. Cardi B, however, responded on Instagram.

Lady Gaga turns it up to 11

The first award of the night went to an emotional Lady Gaga, whose “Shallow” duet with actor Bradley Cooper won best pop duo or group performance.

Photo by Emma McIntyre/Getty Images for The Recording Academy

And then music’s most earnest ham, clad in a glittery jumpsuit, transformed “Shallow” into a ’70s arena rock workout.

But can you play?

Photo by Lester Cohen/Getty Images for The Recording Academy

Janelle Monáe came out strapped … with a guitar. Within her lustful “Make Me Feel” were echoes of the Purple One, Prince. Yet Monáe was not alone in her throwback musician bliss. Singer-songwriter Shawn Mendes started out on piano and then switched to guitar. A confident Ne-Yo tickled the ivories as well during an otherwise train wreck of a Motown tribute (more on that later). Post Malone strummed an acoustic guitar on his somber “Stay” before joining the Red Hot Chili Peppers as if he’s already counting down to the moment he’s done playing on the hip-hop side of the tracks. But there was another artist who flexed the most impressive talent of the entire night.

A star is born

Photo by Lester Cohen/Getty Images for The Recording Academy

Imagine Lalah Hathaway jamming with Prince Rogers Nelson while wearing cooler-than-cool shades. That’s the best way to describe the music of singer-songwriter-multi-instrumentalist and all-around badass H.E.R. The enigmatic newcomer not only won two awards, including best rhythm and blues album for her self-titled EP, she gave perhaps the night’s most dynamic show with the empowering “Hard Place.” Her seemingly effortless soulful vocals were backed by her cracking band — and violinists. And H.E.R. even shredded a translucent guitar, bringing the crowd to its feet.

Childish Gambino has the last laugh

Childish Gambino was a Grammys no-show. But that didn’t stop the renaissance man from taking home two of the biggest awards of the night for “This Is America,” his surreal and sneering indictment of gun violence and institutional racism. Childish Gambino, who ironically appeared in a Grammy ad for Google’s Playmoji, became the first hip-hop star to win record of the year and song of the year.

Dolly, Diana and Aretha

Three of music’s most revered figures received well-deserved tributes. For country music crossover goddess Dolly Parton, who was joined onstage by Miley Cyrus, Katy Perry, Little Big Town and the night’s other big winner, Kacey Musgraves, it was yet another reminder that beyond her bubbly, self-effacing image, Parton is a brilliant songwriting machine defying genres. Just check out her string of classics, including “Jolene,” “Here You Come Again,” “9 to 5” and her 1974 gem “I Will Always Love You,” which was given new life when Whitney Houston’s definitive cover became one of the best-selling singles of all time.

Photo by Emma McIntyre/Getty Images for The Recording Academy

An always regal Diana Ross, floating through in a flowing red dress while celebrating her 75th birthday, moved the audience after a too-cute introduction by her 9-year-old grandson, Raif-Henok Emmanuel Kendrick. “Young people like me can look up to her for her independence, confidence and willingness to be her unique self,” he said, beaming. “She has shown the world that nothing is beyond our reach. So, ladies and gentlemen, please welcome my grandmommy, Diana Ross.”

And that was an understatement. Ross launched into “The Best Years of My Life” and her solo signature classic “Reach Out and Touch (Somebody’s Hand),” imploring the crowd to “don’t be lazy” and to stand up. With 70 hit singles and a string of leading feature film roles — including her haunting, Oscar-nominated 1972 portrayal of Billie Holiday in Lady Sings the Blues — Ross is the template for Houston, Janet Jackson, Lil Kim, Rihanna, Nicki Minaj and Beyoncé.

Finally, the late, great Aretha Franklin was celebrated with a rousing tribute by powerhouses Yolanda Adams, Andra Day and Fantasia for a once-in-a-lifetime performance of “(You Make Me Feel Like) A Natural Woman.” Some viewers balked at the idea of Franklin receiving just one song as tribute. “I’m sorry,” said one poster. “Aretha Franklin is one of the most if NOT the most decorated, talented, influential artists in the history of music. The Grammys gave her a ONE song tribute. Trash #Grammys.” Mood.

Berry Gordy Weeps

When it was first announced that Lopez would be taking part in a Motown tribute, the news was met with bewilderment and jokes from the Black Twitter contingent. But to the astonishment of viewers, Jenny From the Block wasn’t merely a supporting player in an already questionable production, she was the star garnering more stage time than the aforementioned Ne-Yo and Smokey Robinson. JLo proved it is indeed possible to lip-sync off-key as she stumbled through such Motown hits as “Dancing in the Street,” “My Girl” and “Please Mr. Postman.”

Free 21 Savage!

Fifteen-time Grammy winner Alicia Keys should be given the perpetual reins to host the aging music award show. She was that good.

There were no loud shout-outs or words of encouragement for the British-born Atlanta native from his fellow rappers. 21 Savage is still being held by U.S. Immigration and Customs Enforcement officials for failing to depart under the terms of his nonimmigrant visa. Travis Scott made no mention of his collaborator during his performance of “Stop Trying to Be God” and the riotous “No Bystanders.” Post Malone, who partly owes the immense success and the swagger of his career-making single “rockstar” to 21 Savage, apparently wore a 21 Savage T-shirt but was also silent. The first mention of 21 Savage was made by Swedish “This Is America” producer Ludwig Göransson, who warmly stated, “He should be here.”

And album of the year goes to …

Country singer-songwriter Musgraves, whose Golden Hour picked up the top prize. No diss to Musgraves, a talented voice who will shine for years to come. But for the Grammys, it was yet another telling reminder that black art continues to be overlooked in the most coveted categories.

Tell the Grammys f— that 0 for 8 s—, Jay-Z rhymed on “Apes—” in response to the academy nominating his brilliant 4:44 for eight awards in 2018. He left with no statuettes.

The last black act to win album of the year was celebrated jazz pianist Herbie Hancock in 2008, and that was for the star-studded Joni Mitchell tribute album River. Since then, Swift has won the trophy twice, Adele beat out Beyoncé’s monumental 2016 Lemonade and Bruno Mars won in 2018 for 24K Magic, his love letter to Teddy Riley’s new jack swing. It’s a frustration that Prince knew all too well: His genre-busting 1987 double album Sign o’ the Times lost to U2’s The Joshua Tree.

“I don’t go to awards shows anymore,” Prince said in a 1990 Rolling Stone interview. “I’m not saying I’m better than anybody else. But you’ll be sitting there at the Grammys, and U2 will beat you. And you say to yourself, ‘Wait a minute. I can play that kind of music, too. … I know how to do that, you dig? But you will not do ‘Housequake.’ ”

Grammys … do better.

Our list of 24 can’t-miss books for holiday gifting From a photographic history of hip-hop to magical fantasy to sports activism, it’s all here

Searching for the perfect present for the reader in your family? Or maybe it’s time for some self-gifting (we won’t judge, we promise). From essays to young adult novels to photography and poetry, The Undefeated has you covered. Here’s a collection of some of the most intriguing, well-crafted and engaging books of 2018.

FICTION

The Poet X by Elizabeth Acevedo (YA)

Don’t believe anyone who tells you slam poetry is dead, because they clearly missed the memo about Elizabeth Acevedo, an award-winning, fire-spitting Afro-Latino poet who has penned an entire novel in verse. Acevedo won the National Book Award for young people’s literature with a coming of age story about Xiomara Batista. Xiomara lives in Harlem, and as she begins to form her own opinions — about religion, about street harassment, about what it means to become a woman — she collects her thoughts in verse and finds a home in her school’s slam poetry club.


Children of Blood and Bone by Tomi Adeyemi (YA)

If you find yourself hooked after reading Tomi Adeyemi’s debut fantasy novel, fear not. She’s got two more coming, all about strong-willed Zélie Adebola and her adventures as she tries to bring magic back to her fictive country of Orïsha, where power has been consolidated by an evil, magic-hating king. The stakes are high: If Zélie fails, Orïsha will lose its magic forever. There’s no shortage of black fantasy fans (remember when Buzzfeed imagined if Hogwarts were an HBCU?), and now young readers have another set of books to add to their collections, right alongside Harry Potter, Shadowshaper and the Bartimaeus trilogy. Adeyemi weaves a story that tackles colorism, class and racism with West African mythology and Yoruba traditions.


My Sister, The Serial Killer by Oyinkan Braithwaite

Oyinkan Braithwaite’s debut novel crackles with dark humor as she traces the story of sibling rivalry between Nigerian good girl Korede and her maybe-sociopath murderer of a sister, Ayoola. Ayoola’s boyfriends keep turning up dead, and poor, put-upon Korede keeps finding ways to keep her sister free. That is, until Korede’s crush expresses an interest in her sister and Korede is faced with a choice.


A Lucky Man by Jamel Brinkley

Jamel Brinkley’s debut collection of nine short stories is a meditation on modern masculinity, told from the perspectives of various black men in New York, mostly in the Bronx and Brooklyn. The National Book Award finalist focuses on how ideas about what it means to be a man are passed down through generations, and what it takes to define oneself as notions about sex and gender continue to evolve.


The Talented Ribkins by Ladee Hubbard

Ladee Hubbard has introduced a new framework for thinking about W.E.B. Du Bois, the Talented Tenth and obligations to fellow black people in struggle against white supremacy: a fantastical crime novel about a black family with ridiculously random superpowers (one of the Ribkins can see colors that remain obscured to others, while another can scale walls like a spider). The protagonist is 72-year-old Johnny, who has gotten himself in way too deep with a mobster. The Talented Ribkins, which won the Hurston/Wright Legacy Award for debut fiction, is an inventive layer cake of humor, intrigue and insights about race.


Dread Nation by Justina Ireland (YA)

Remember the head-scratching reaction you had the first time you heard about Abraham Lincoln, Vampire Hunter? Well, get over it, because literature about a Civil War-era America complicated by the existence of the undead is most definitely a thing. Enter Jane McKeene, the protagonist of Justina Ireland’s bone-chilling account of an America in which the many who died at Gettysburg became, well, not so dead. Jane has been sent to Miss Preston’s School of Combat in Baltimore, where she learns how to wield a scythe, which is definitely a subversive take on the real-life Miss Porter’s, where women like Jacqueline Kennedy-Onassis learned to be the sort of woman who knows when and how to use an asparagus server. In this America, black and Native people are still doing the bidding of power-wielding whites, except now that bidding includes slaying zombies. Just imagine the troubles that can arise when an entire underclass of people is armed with very sharp weapons.


An American Marriage by Tayari Jones

Tayari Jones, whose novel made this year’s National Book Award long list, trains her lens on the very personal implications of unjust policing and mass incarceration. Her leading lady, Celestial, is married to a man who has been wrongfully imprisoned. While both Jesmyn Ward’s Sing, Unburied, Sing and American Marriage examine the implications of what it means to be a black woman with a partner imprisoned in the American South, the avenues they take vary wildly. Ward’s focus is on the poor, while Jones takes a look at what imprisonment means for a well-to-do middle-class couple who never envisioned this life for themselves, and the romantic compromise Celestial makes in order to cope.


Wild Beauty by Ntozake Shange

A collection of poems old and new, in English and Spanish, Wild Beauty is the last published work of the late poet, dancer and playwright. Ntozake Shange died in October at 70. She’d suffered a series of strokes in 2004, but as she recovered, she kept writing. Wild Beauty offers one last bittersweet opportunity to connect with an American treasure.


Heads of the Colored People by Nafissa Thompson-Spires

The theme that unites Nafissa Thompson-Spires’ debut short story collection is one with which many black Americans can identify: being The Only. As in, The Only Black Kid in Private School, or The Only Black Professor, or The Only Black Woman in Yoga Class. In this collection, which made this year’s National Book Award long list, Thompson-Spires conducts a narrative thought experiment, illustrating the world as it’s processed through a variety of Onlys who are carrying around the burden of being representatives for an entire race of people. Lest you think Thompson-Spires has gone too far, never forget the existence of an embarrassingly uncomfortable real-life account of a white woman who projected all of her insecurities onto the only black woman in her yoga class, and then wrote an essay about it. In the world of Thomson-Spires’ characters, readers are encouraged to think about the world from the perspective of The Only, and not the voyeur.

NON-FICTION

Becoming Kareem: Growing Up On and Off the Court by Kareem Abdul-Jabbar and Raymond Obstfeld

Anyone who’s enjoyed Kareem Abdul-Jabbar’s foray into cultural criticism as a contributor to The Hollywood Reporter knows that his brain is brimming with trenchant observations. Becoming Kareem offers much of the same, though instead of looking at the entertainment industry, Abdul-Jabbar turns inward to explain his evolution as an athlete, activist and thinker. It’s a worthy addition for anyone who wants an insider’s account of processing where you fit when you’re young, black and blazingly talented and your country is erupting with change.


American Prison: A Reporter’s Undercover Journey into the Business of Punishment by Shane Bauer

Shane Bauer, a journalist for Mother Jones, famously spent four months working undercover as a guard in a private prison in Winnfield, Louisiana. Bauer elaborates on his experiences in Winnfield and shapes them with historical context to explain how we arrived at mass incarceration as we currently know it. Bauer shines much-needed sunlight on a crisis that readers of The New Jim Crow and watchers of 13th will find familiar: a system profiting off the warehousing and mistreatment of millions of Americans, a disproportionate number of whom are black and brown.


Things That Make White People Uncomfortable by Michael Bennett and Dave Zirin

If you’re an athlete writing about the intersection of sports, social issues and race, you’d be hard-pressed to find a more well-suited co-author than Dave Zirin, the sports columnist at The Nation. Here, the Philadelphia Eagles defensive lineman melds the personal with the political — one chapter is called “The NCAA Will Give You PTSD.” The through line is a commitment to standing up for the little guy, even when the little guy happens to be 250-plus pounds. It’s a stirring and smart trip through Michael Bennett’s musings on race and power.


White Fragility: Why It’s So Hard for White People to Talk about Racism by Robin DiAngelo

There’s no time in American history when this book hasn’t been needed, but, boy, is it ever timely now. Robin DiAngelo’s explanations for why we’re so stymied when it comes to discussing race is refreshing, fact-based and patient. While it’s a book that contains helpful information for everyone, White Fragility is an ideal starting place for white people who want to be allies in anti-racism but feel intimidated about where to begin.


Well-Read Black Girl: Finding Our Stories, Discovering Ourselves edited by Glory Edim

The founder of the popular Brooklyn, New York-based book club (now in its third year of existence) has released a book of essays written by literary luminaries including Jesmyn Ward, Lynn Nottage, Jacqueline Woodson, Rebecca Walker and Barbara Smith. Every woman answers the question: When did you first see yourself in literature? Thanks to Glory Edim’s work, black women and girls have a reliable space online, and in print, where they know they’ll always be seen.


The Revolt of the Black Athlete by Harry Edwards

If there’s a book that synthesizes and gives historical context to the wave of social activism that’s swept through modern sports, it’s this one. First published in 1968, it has been resurrected, with a new introduction and afterword for a 50th anniversary edition. Harry Edwards traces the history of black athletes from Emancipation onward, explaining how race has always influenced how black athletes have been received and even used in the U.S. government’s efforts at soft power diplomacy overseas. Through Edwards’ eyes, we see the awakening of black athletes to their own power not as a surprise but as an inevitability.


Ali: A Life by Jonathan Eig

Jonathan Eig conducted more than 500 interviews to report this comprehensive tome on the life of The Champ, and he writes with as much style and verve as Muhammad Ali brought to the ring. Eig provides sweeping context for Ali’s participation in and significance to social movements, from the fight for civil rights to protests against the Vietnam War. Rather than shy away from Ali’s internal contradictions, Eig runs at them head-on, which makes Ali more compelling than any of the more hagiographic attempts to capture his life. Ali is the winner of the 2018 PEN/ESPN Award for Literary Sports Writing. (Disclosure: Eig has also contributed to The Undefeated.)


How to Be Less Stupid About Race: On Racism, White Supremacy, and the Racial Divide by Crystal M. Fleming

You may know sociologist Crystal Fleming from her flame-throwing Twitter feed. In her second book, the Stony Brook University professor tackles an obstacle that hampers a lot of writing about race in America: moving past Race 101. Because our country isn’t operating from an agreed-upon foundation of established historical facts — for instance, every discussion of Confederate monuments must include a basic explanation of the Lost Cause and why it’s bunk. Therefore, our national discussions don’t move forward so much as stall on a treadmill powered by history textbooks that label enslaved Africans as “immigrants.” Fleming offers readers an easily digestible, well-researched primer, as well as a useful series of steps for “becoming racially literate.” In the words of Biggie: “If you don’t know, now you know.” No excuses!


There Will Be No Miracles Here by Casey Gerald

Moving up the class ladder isn’t an impossible feat, but it’s certainly a difficult one. In this memoir, Casey Gerald writes of growing up in Dallas with his sister and learning to survive on their mother’s disability checks. Football provided opportunities for Gerald; he played at Yale while studying political science. The same sport left his grandfather’s body broken. With elegant, captivating prose, Gerald traces a multigenerational story of race, class and privilege and what it means to grasp at limited opportunities for all they are worth, with one’s faith guiding the way.


This Will Be My Undoing: Living at the Intersection of Black, Female, and Feminist in (White) America by Morgan Jerkins

If Lena Dunham is any indication, it’s almost never a good idea to label one person as the voice of a generation. However, Morgan Jerkins is definitely a voice, and she’s one worth taking seriously. In her debut essay collection, Jerkins tackles what it means to be living as a black woman in America today with an authoritativeness that’s rare and impressive for a woman with years to go before her 30th birthday. In bringing a relatable voice to discussing the alienation many black women encounter, both within the feminist movement and in society at large, Jerkins has announced herself as a vital social critic with plenty to say.


Heavy by Kiese Laymon

For anyone who misses Gawker and Kiese Laymon’s presence there, Heavy is a long-awaited essay collection from one of the country’s most thoughtful and incisive writers on race. In Heavy, Laymon contemplates his upbringing in Mississippi and his relationships with the women in his life, especially his mother and grandmother. The #MeToo movement has brought new visibility to the ubiquity of sexual abuse in our culture for women, but many male victims still grapple with shame when it comes to publicly discussing their experiences. Here, Laymon writes with elegance and fearlessness about his own experiences with sexual abuse and, in doing so, helps lift its taboo.


Becoming by Michelle Obama

The former FLOTUS created a storm with the initial wave of revelations contained in her memoir. Michelle Obama discusses the loneliness she felt after a miscarriage and reveals that her children were conceived with the assistance of in vitro fertilization. In doing so, she helps remove the stigma from episodes that occur in many women’s lives but remain taboo. Obama gained the trust of a nation by being charming, down-to-earth and candid. In Becoming, Obama takes advantage of an opportunity to fill in the many blanks of her life and open herself to those who felt they already knew her while making the case for why the Obamas are the ultimate American family.


Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry by Imani Perry

How is it possible that someone with as much name recognition as Lorraine Hansberry could also be considered a hidden figure? Well, because most of us never learned much about her aside from the fact that she wrote A Raisin in the Sun. Imani Perry gives Hansberry her due in this deeply researched biography, fleshing out her life as a writer, thinker and activist whose contributions to American society go far beyond one play. In Perry’s hands, Hansberry comes alive as self-possessed, nervy and extremely witty — a woman whose personal heroes included Toussaint L’Ouverture, the leader of the Haitian Revolution, and Hannibal, the North African general.


Contact High: A Visual History of Hip-Hop by Vikki Tobak

Contact High traces hip-hop’s evolution from 1979 to 2012 by giving readers a behind-the-scenes look at the industry through the contact sheets of the photographers documenting it. Not only does Vikki Tobak provide insight into what goes into a great image by providing the shots that normally remain unpublished, she’s also assembled compelling stories from some of hip-hop’s greatest voices, including RZA, Fab 5 Freddy, Questlove, Young Guru and DJ Premier. Contact High tells the stories of some of hip-hop’s most enduring images, from Jay-Z’s first photo shoot to the Stankonia album cover to XXL’s 1998 assemblage of talent for the photo A Great Day in Hip-Hop.


Not All Dead White Men: Classics and Misogyny in the Digital Age by Donna Zuckerberg

Why should we be paying attention to how the classics are being discussed online? Because a significant segment of the population is, and they’re using their interpretations of texts such as Ovid’s Ars Amatoria, Xenophon’s Oeconomicus and Herodotus’ The Histories as the intellectual underpinnings for arguments about the supposed superiority of Western civilization, of whiteness and of men. Donna Zuckerberg explains how the alt-right, incels and other online communities are forming their own theories based on ancient texts. It’s impossible to bust myths about the classics if you’re unfamiliar with them or the arguments their interpreters are using as weapons. For those who haven’t thought about the ancient philosophers since high school Latin, Zuckerberg makes everything clear.

We honor heroes of all sorts on this Memorial Day Celebrate and commemorate the things that bring us together

As we approach the end of the Memorial Day holiday, words from Louise Erdrich’s Future Home of the Living God do a mad dance in my head: “This is how the world ends, I think, everything crazy yet people [are] doing normal things.”

And so the routines and rituals of late spring in America unfold as the garment of a civil and functional society unravels and our naked differences and grievances are exposed.

Today, as always, we honor our war dead and then divert our attention to our sports heroes, their slap shots, dunks and high-speed turns. Against the backdrop of mounting income inequality, we rush to the malls to take advantage of holiday bargains. Against the backdrop of a volcano erupting in Hawaii and molten rhetoric being spewed by tweets from Washington, we turn our eyes to the blockbuster movies from Hollywood. With their superheroes and their bombs bursting in air, the movies announce the approach of summer in America just as much as Memorial Day’s trumpets playing taps at military cemeteries, the line dances at street block parties and beach parties do.

Normal things in a crazy world.

Indeed, for much of this year, America has been reviewing and revisiting 1968, a wrenching and crazy year in America and around the world: a time of war, riots, and political upheaval and assassinations.

It was a time for doing normal and sometimes frivolous things too, including watching Batman on TV, dancing to Sly Stone’s music and cheering the World Series-winning Detroit Tigers, an integrated team in a racially torn city.

Fifty years ago, our society and its most essential institutions were gravely threatened. But the world did not come to an end. People, some with black-gloved clenched fists at the Summer Olympics, held up the sky with their hands.

We didn’t know it then, but there were heroes everywhere.

And it was doing the normal things in a time of boundless craziness that kept the people sane, gave them strength, crazy and silly as it sometimes seemed. Remember that today.

We honor our war dead. We sip chilly brews. We watch superhero movies. We dance to Imagine Dragons, whatever it takes to fortify us for the long fight ahead: lifting our corners of the sky.

Happy Memorial Day.

Hakeem Olajuwon’s five most impressive Ramadan performances The Hall of Famer played Jordan, Barkley, Robinson and Ewing while fasting, but how did he fare?

When sunset strikes, all around the world Muslims are dunking samosas in chutney like Giannis Antetokounmpo posterizing Aron Baynes. In fact, during this year’s holy month of Ramadan, when Muslims abstain from food and drink from sunrise to sunset, fasts are being broken and thirst quenched just in time for the Splash Brothers to tantalize us with how wet they are.

Despite the challenge of fasting this year during some of the longest days of summer, Ramadan continues to be a festive time for Muslims who sacrifice their appetites in hopes of becoming closer to the divine. Just as Stephen Curry battles through a knee injury to achieve his ultimate goal of another NBA championship, so too are Muslims pushing through this trying month.

For many Muslim fans of the NBA, Ramadan is also a reminder of when their two worlds collided in the shape of Hall of Famer Hakeem Olajuwon. In the mid-1990s, Muslims in America were misunderstood in much the same way they are today, conflated in popular imagination with terrorists rather than seen as ordinary American citizens. But then Olajuwon challenged himself to observe fasts while playing during the month of Ramadan and raised awareness of another aspect of what a Muslim could be. He wasn’t just The Dream. To many Muslim-Americans, he was the epitome of the American Dream.

Olajuwon told The Undefeated’s Marc J. Spears last year, “As for fasting, it is a spiritual mindset that gives you the stamina required to play. Through Allah’s mercy, I always felt stronger and more energetic during Ramadan.”

Even his former teammates marveled at Olajuwon’s ability to play during the month. “There are 48 minutes to a game and for you to play 42 minutes of that 48 and not even be able to take a sip of water, that is just phenomenal,” Robert Horry once said.

But the story of Olajuwon’s greatness during Ramadan may not be so simple. A closer look through the archives of the Houston Chronicle shows that Olajuwon’s observance of Ramadan evolved during his time in the league.

During Ramadan in March 1992, Olajuwon was sidelined while being “embroiled in hostilities with the Rockets.” Things got so bad between the team and their star player that season, he at one point demanded a trade. At the time, Olajuwon was not fasting on game days, so he was grateful for the opportunity to complete his fasts despite being suspended from the team:

“They have suspended me, so I’m not making any money.

“But fasting is priceless.”

Islam’s lunar calendar means Ramadan shifts up about 11 days every year. This year it takes place through May and June, whereas when Olajuwon played the holy month took place between March (early on in his career) and November (by the end of his career). When Olajuwon began fasting for Ramadan during the 1993 season, he told reporters, “I cannot do it on game days. So what I have to do is make up for the days I miss after the season.”

Olajuwon’s decision to not fast during game days early in his career was not an abdication of his religious responsibility, as Muslims who are traveling, as Olajuwon often was, can choose to make up their fasts at a later time.

But Olajuwon’s perspective on fasting shifted after a conversation with fellow Muslim NBA star Mahmoud Abdul-Rauf. Olajuwon recalled the conversation with Abdul-Rauf to the Chronicle’s Michael Murphy: “We were discussing one day the excitement and the motivation to go all the way,” Olajuwon said. “When you are on the road, you are allowed to make it up. But to go all the way instead of delaying it to make it up [is exciting].”

So, beginning in February 1995, Olajuwon began fasting during game days. Incredibly, he was named NBA Player of the Month that month. He also fasted on game days during the holy month in 1996 and 1997. Olajuwon missed Ramadan in 1998 while recovering from knee surgery, and the lockout-shortened season in 1999 did not have any games during Ramadan. In 1999, Olajuwon did not return to the Rockets’ lineup until after Ramadan ended because of an injury.

In 2000, Olajuwon was playing significantly fewer minutes than in his prime, but he did fast during his last season with the Rockets. He also observed Ramadan the following year while playing limited minutes with the Toronto Raptors.

But not all of Olajuwon’s performances while fasting were created equal. Most of the games in which Olajuwon observed the fast tipped off after sunset, when he was allowed to break the fast. Which meant that at least during the game, he could drink water and have a light snack if necessary. With less food in his body, he claimed, he would experience less back pain. And rather than spending the day leading up to road games ordering room service, Olajuwon felt lighter and more energetic after a small snack to break the fast before tipoff of those night games. He once told the Los Angeles Times that other NBA stars should try it. “If they only knew,” he says, “they would be fasting.” Last summer, Celtics star Jaylen Brown, who “declined to share what religion he identifies with,” seemed to take his advice.

Spiritually centered, and sufficiently nourished, Olajuwon feasted on opposing teams at night after breaking his fast during the three Ramadans he observed between 1995-97. For example, after his first game-day fast on Feb. 2, 1995, Olajuwon dropped 41 points in a win over the Utah Jazz. On Jan. 30, 1997, Olajuwon tallied 48 points and 10 rebounds while playing 46 minutes in a close loss to the Denver Nuggets. When asked about how fasting on game days affected his performance, Olajuwon told the Houston Chronicle near the end of Ramadan in 1995: “But really, it doesn’t affect me except on day games.”

That wasn’t modesty. Indeed, his most impressive Ramadan performances were the handful of times he had to play in nationally televised games on Sunday afternoons while fasting. Playing against Michael Jordan, Patrick Ewing, Charles Barkley and David Robinson already posed enough of a challenge, but Olajuwon went head-to-head against his generation’s greatest players without even the opportunity to hydrate until hours after the final buzzer.

Olajuwon was not superhuman while battling the league’s best under these conditions, going 2-3 in the five Sunday afternoon games he played while fasting in his prime. But his resilience and determination did show millions of fans, Muslim and non-Muslim alike, just how super a human could be.

’94-’95 stats Regular season Ramadan
Games played 72 15
Minutes 39.6 39.7
Points 27.8 29
Rebounds 10.8 10
Assists 3.5 3.9
Steals 1.8 1.7
Blocks 3.4 3.3
’95-’96 stats Regular season Ramadan
Games played 72 13
Minutes 38.8 40.5
Points 26.9 26.1
Rebounds 10.9 9.7
Assists 3.6 2.8
Steals 1.6 1.1
Blocks 2.9 2.8
’96-’97 stats Regular season Ramadan
Games played 78 14
Minutes 36.6 37.3
Points 23.2 25.4
Rebounds 9.2 8.3
Assists 3.0 3.4
Steals 1.5 2.1
Blocks 2.2 2.1

*LeBron James led the NBA in minutes per game in 2017-2018, averaging 36.9 minutes per game

Hakeem’s top five Ramadan performances

We ranked Olajuwon’s greatest performances while fasting in his prime. Whether it was bad luck or divine intervention, four of the five matchups came against future Hall of Famers. He put up some monster stat lines, but also suffered humbling defeats. I mean, he took an L to Rony Seikaly.

Getty Images; AP

No. 5: Rockets @ Magic (L, 90-103)
Feb. 2, 1997

Hakeem Olajuwon: 33 mins, 17 pts, 8 rebs, 4 asts, 3 blks; Rony Seikaly: 39 mins, 29 pts, 7 rebs, 1 asts, 1 stl, 1 blk

Olajuwon’s final game in which he fasted during his prime is definitely one he’d like to forget. Opposing center Seikaly was so dominant, he had the Chronicle’s Eddie Sefkoe writing: “If you didn’t know better, you would have sworn the Orlando Magic had Shaquille O’Neal again.” Seikaly, who is better known these days as a house music DJ than a basketball player, outscored Olajuwon by a dozen points. Although the Rockets were without an injured Barkley, they still expected better against a middle-of-the-road Orlando team that was dealing with injuries of its own.

If it’s any consolation, Seikaly would later refer to Olajuwon as his toughest matchup in the league: “He would shake you around and you were all shook up.”

As embarrassing as this loss was, a week later it was just a footnote in Olajuwon’s amazing career. On Sunday, Feb. 9, Olajuwon celebrated the Eid holiday, which marks the end of Ramadan, at the All-Star Game in Cleveland, where at halftime he was officially named to the NBA’s 50 Greatest Players list.

Bill Baptist/NBAE via Getty Images

No. 4: Rockets @ Spurs (L, 79-93)
Feb. 18, 1996

Hakeem Olajuwon: 40 mins, 18 pts, 10 rebs, 2 asts, 1 stl, 7 blks; David Robinson: 42 mins, 25 pts, 12 rebs, 5 asts, 2 stls, 7 blks

A Rockets loss during Ramadan meant endless speculation as to how Olajuwon’s insistence on fasting affected his play and the team’s performance. After blowing a 15-point lead late in the third quarter against David Robinson and the San Antonio Spurs in a nationally televised game on a Sunday afternoon, Clyde Drexler said after the game: “We all played like we had been fasting.”

Olajuwon led the Rockets with 18 points, along with 10 rebounds and 7 blocks in 40 minutes of playing time without so much as a sip of water. Robinson matched his seven blocks and added 25 points and 12 rebounds to give his team the edge.

After the game, the Chronicle’s Dale Robertson wrote that “to deny Ramadan depletes his strength and endurance is to ignore the obvious.” The next day, on the second game of a back-to-back, after playing 40 minutes while fasting on Sunday, Olajuwon broke his fast on the final day of Ramadan and laced up to battle the Sacramento Kings on Monday night. He played 46 minutes and scored 40 points, including the first six points of overtime, to lead his team to a victory.

Jed Jacobsohn/ALLSPORT

No. 3: Rockets @ Knicks (L, 117-122)
Feb. 19, 1995

Hakeem Olajuwon: 43 mins, 27 pts, 9 rebs, 3 asts, 3 stls, 4 blks; Patrick Ewing: 39 mins, 31 pts, 9 rebs, 5 asts, 2 stls

After losing to the Rockets in the NBA Finals in 1994, the New York Knicks were hungry for revenge. Olajuwon, on the other hand, was just hungry. During a nationally televised Sunday afternoon game in Madison Square Garden, Olajuwon lost the battle against Patrick Ewing. Despite being on the court for 43 minutes and contributing 23 points, Olajuwon was no match for Ewing, who scored 31. After the game, Olajuwon lamented: “I couldn’t challenge a lot of the shots. I had a burning in my chest all day from not being able to drink and didn’t play the kind of game that would allow us to win.”

Although Olajuwon admitted that fasting during daytime games can have a debilitating effect on his performance, he also stated: “I feel like the sacrifices I’m making now will make me stronger mentally when there is much more on the line.”

Maybe it is no coincidence, then, that the Rockets capped off this season with their second NBA championship in a row.

Bill Baptist/NBAE via Getty Images

No. 2: Rockets @ Suns (W, 124-100)
Feb. 5, 1995

Hakeem Olajuwon: 39 mins, 28 pts, 11 rebs, 3 asts, 3 blks; Charles Barkley: 41 mins, 24 pts, 11 rebs, 7 asts, 2 stls

Olajuwon began fasting on game days during Ramadan in 1995. After breaking his second fast of Ramadan, Olajuwon played his first game of the holy month and dropped 41 points on Karl Malone, John Stockton and the Utah Jazz in a rout. He followed that game with a nationally televised showdown on Sunday afternoon against Barkley and the red-hot Phoenix Suns. Playing one of the NBA’s best teams, Olajuwon could not drink during the game, but that didn’t stop him. He led the Rockets with 28 points and 11 rebounds in 39 minutes. And despite Barkley’s 24 points, 11 rebounds and 7 assists, the Suns were no match for the Rockets.

Olajuwon followed up this performance with a third straight win, earning him NBA Player of the Week honors. An incredible feat for a player adjusting to fasting on game days for the first time.

Getty Images

No. 1: Rockets vs. Bulls (W, 102-86)
Jan. 19, 1997

Hakeem Olajuwon: 39 mins, 32 pts, 16 rebs, 4 asts, 4 stls, 5 blks; Michael Jordan: 43 mins, 26 pts, 14 rebs, 5 asts, 1 stl, 1 blk

On the second day of Ramadan in 1997, Olajuwon and the Rockets visited the Bulls in Chicago and got blown out in a night game against Michael Jordan and the defending NBA champions. Despite posting 29 points and 8 rebounds, no other Rocket scored in double digits, and the team then set its sights on a rematch between the last two NBA champions that was going to be nationally televised in the afternoon on Jan. 19. With Olajuwon fasting, you couldn’t blame many for thinking that Jordan was going to feast on the Rockets. Despite being without Barkley, the Rockets responded. Olajuwon played 39 minutes and led his team with 32 points and 16 rebounds. Although Jordan had 26 points and 14 rebounds, he could not find his shooting rhythm, and the Bulls collapsed after the Rockets went on a 19-0 run in the fourth quarter.

After the game, Rudy Tomjanovich said, “If this doesn’t quiet down the questions about it [Ramadan], I don’t know what will.”

The ‘He Got Game’ Air Jordan 13s starred in Spike Lee’s film — and became one of the most famous ever In a freakishly authentic bit of product placement, Ray Allen and Denzel Washington gave the Jordan Brand’s first shoe a backstory

This is the first of two stories celebrating the 20-year anniversary of basketball cult classic He Got Game. The film, directed by Spike Lee and starring Ray Allen and Denzel Washington, hit theaters on May 1, 1998.

His IMDb page features nearly two dozen television and film credits. His résumé boasts a master of fine arts and expertise in classical acting, with 25 stage appearances, including Broadway. But in airports, on trains, pretty much whenever he travels, Avery Glymph is still recognized for a 30-second scene from his decades-old film debut.

In 1997, Glymph received a call from his agent about an audition. It was something called He Got Game, written and to be directed by Spike Lee. The project would star Denzel Washington as Jake Shuttlesworth, the father of the No. 1 high school basketball recruit in the nation, Jesus Shuttlesworth, who would be portrayed by the then-NBA youngster Ray Allen. Glymph originally read for the part of Sip, one of Jesus’ teammates at Abraham Lincoln High School in the Coney Island area of Brooklyn, New York.

“I remember going in and doing the scene,” said Glymph, now 44. “It was going well, and then at the end … Spike was kind of mulling it over, and his last question was, ‘You play ball, man?’ Kind of like, ‘Listen, do you really play ball?’ ”

Lee decided to go in a different direction, casting Travis Best, then a member of the Indiana Pacers, as Sip. But he still wanted Glymph in the film. So he gave him the role of an unnamed sneaker clerk who shares a brief, yet very much so important on-screen moment with Washington.

Jake Shuttlesworth has been released from prison and is desperate for some fresh footwear. Glymph’s character sells him a pair of new Air Jordan 13s. When the scene was shot, during the summer of the 1997 NBA Finals, when the Chicago Bulls won their fifth title in seven years, not even Michael Jordan had worn the unreleased sneakers in a game.

“I’d never seen a pair of shoes that hadn’t come out yet,” Glymph said. “I was all about Jordans, and to have those shoes in my hands, knowing I was like the first person to hold them, was kind of cool.” Back then, they were just the latest installment of Jordan’s signature line of sneakers. Twenty years later, they’re widely regarded as the He Got Game Air Jordan 13s. This is how the film, with the help of Lee, Washington, Allen — and don’t forget Glymph — solidified the shoe as one of the most recognizable in the sneaker culture pantheon.


On Halloween Night 1997, the Chicago Bulls’ season opener, Jordan broke out the Air Jordan 13s at the Fleet Center court in Boston. It’s a primarily white shoe, featuring a black midsole, toe box and tongue, with red accent. The Bulls fell to the Celtics, 92-85, but Jordan dazzled in his new kicks, with a team-high 30 points, six rebounds and four assists.

It was the debut shoe of the Jordan Brand, officially launched in September 1997, as an unprecedented partnership between Nike and one of the company’s star athletes. After signing an endorsement deal with Nike in 1984 — and becoming the greatest player of all time, with the most revered line of signature footwear on the planet — Jordan’s own brand was projected to yield more than $225 million in sales in the first year alone.

Hyped as “the lightest Air Jordan ever made,” the 13 became the first sneaker in Nike’s history to be designed on a computer, using Adobe Photoshop and Illustrator on an Apple Macintosh. “This shoe … wasn’t like anything before it. It was really quite a departure,” legendary Nike shoe designer Tinker Hatfield told The Undefeated in January 2017. “Sometimes, shoes are more evolutionary. They’re a little bit like the previous one. This one wasn’t like anything before it. Of course, that makes the sales … and marketing people nervous, but Michael wasn’t nervous at all. He felt like this design, though it was really different, was going to be successful for him as a player, but also in the marketplace.”

Nobody had the 13. But Spike had it. And Denzel had it. So I’m like, ‘How in the hell did you get the shoe, and I don’t have it?’ ” — Ray Allen

The Air Jordan 13 wasn’t available to the public until the 1997 holiday season. But, of course, Lee got his hands on a pair of the shoes long before then. They’d already made their way into He Got Game, which had wrapped principal photography days before Jordan and the Bulls faced the Celtics. Spike finessed early samples of the shoes for Allen and Washington to wear on camera based on a relationship with Nike and Jordan that dated to 1988, when he first appeared alongside Jordan in an iconic series of TV and print ads as Mars Blackmon, the Air Jordan-loving character he played in his 1986 film She’s Gotta Have It.

Even Allen, then a member of the Milwaukee Bucks and one of the first NBA players to be endorsed by Jordan Brand, was surprised by Lee’s sneaker pull. One of the perks of being a part of the original Team Jordan (along with Michael Finley, Derek Anderson, Eddie Jones and Vin Baker) was exclusive pairs of Jordans before they hit the market. But when Allen arrived in Brooklyn for production of He Got Game, there was no size 13 box of the newest shoe awaiting him.

Nobody had the 13,” Allen told The Undefeated at Nike’s New York headquarters in early April. “But Spike had it. And Denzel had it. So I’m like, ‘How in the hell did you get the shoe, and I don’t have it?’ ”

Glymph remembers the day he shot his only scene, and there they were. “When he brought out the shoes, Spike gave them to me, and gave me a little reading of how he wanted me to present them,” he said. “He pulled out these shiny new shoes and said, ‘These are the new Jordans.‘ ”

They rehearsed the sequence a few times before the camera started rolling. “I was doing the scene really well … I thought,” Glymph said. “Then Spike gave me direction … ‘Avery, you’re too happy.’ I toned it down a bit, and you can kind of see me playing it more cool.” But his nerves continued to get the best of him, making him forget to give the shoes as much camera time as the director requested. So Washington improvised. “The last time we did it,” Glymph continued, “Denzel actually holds up the shoe, to give it a nice little closeup. That was his professionalism … knowing what needed to be in the shot.”

The scene made the final cut of the film, which premiered on May 1, 1998. By then, the Bulls had reached the NBA postseason, and Jordan was sporting two different versions of the Air Jordan 13 — the “Playoffs” and “Bred” colorways. In June, he’d hit the winning shot in Game 6 of the 1998 NBA Finals to claim his sixth and final NBA championship of his career. But his heroics came in a pair of Air Jordan 14s. Save a game-winner against the Atlanta Hawks on Feb. 13, 1998, Jordan doesn’t have a signature moment in the “Black Toe” Air Jordan 13s.

But He Got Game made the kicks eternal. In spring 1998, the New York Daily News reported that Jordan took it upon himself to push back the Wednesday release date of one of the shoe’s models when he received word that kids were skipping school to cop pairs, which were sold at retail for $149.99. That’s how popular the 13s were then — and they remain so now. Jordan Brand brought back a retro version of the sneaker worn in He Got Game in a countdown pack (along with the Air Jordan 10) in 2008, and in 2013 for $170. The shoes will return for the third time in August for $190, in honor of the film’s anniversary.

“Every time I see these,” said Nick Young, one of the NBA’s biggest sneakerheads, while holding 2013 retros during an interview, “I think about Jesus and Denzel.”

His nerves continued to get the best of him, making him forget to give the shoes as much camera time as the director requested. So Denzel Washington improvised.

Allen finally got his pair. He wears them in the last scene, as Jesus sits in his college dorm room and reads a letter Jake sends from prison. “Your great-grandfather used to always tell me, ‘You keep trying on shoes, and sooner or later you gonna find a pair that fits you,’ ” Washington recites, staring into the camera. The line is appropriate — because the Air Jordan 13s fit perfectly in He Got Game.

“It was great product placement,” Allen said. “Because when the movie came out, everybody’s like, ‘Yo, Jesus got the new Js on his feet.’ ”