John Wall scored 30 points, Bradley Beal added 22 and the Washington Wizards handed Brooklyn its sixth straight loss, beating the Nets 102-88
Bishop Marvin Sapp needed prayer. His congregation and fans immediately responded to his plea, joining him. His wife of 17 years was battling stage 4 colon cancer. MaLinda Sapp died on Sept. 9, 2010. Sapp raised their three children while preserving her legacy and continuing to maintain a life of victory, peace and healing. Facing the death of his beloved wife and relying on his faith to persevere, he continued maintaining victory in peace and healing.
On of his greatest accomplishments in life was becoming a father to his children, Marvin II, Mikaila and Madisson.
“I’ve been blessed to be nominated for every award known to man,” he said. “And that’s been rare in this field of gospel music. But being a dad, to me it’s the greatest reward ever. Honestly, that actually means more to me than anything else.”
Sapp’s father and mother divorced when he was 9 years old.
“It was a real challenge,” he said. “So I made a commitment when Marvin [II] was born that I was going to try to be the best father that I could possibly be, because I didn’t have a father. The challenge with it was that I was learning on the fly, because I didn’t have a real example where the father is supposed to be about, what a father is supposed to be like. So thanks be to God, I had people around me that mentored me from afar …”
Sapp’s children attend historically black universities. Marvin II attends Howard University in Washington, D.C., and Mikaila and Madisson attend Alabama A&M.
“My kids went to predominantly white schools,” he said. “So they made up their minds to go to universities where they could see young people that looked like them. They’re doing very well. Both of my daughters are on the dean’s list, and I don’t know if I get to necessarily take credit for that aspect. Their mother was a wiz when it came to school and stuff.”
Sapp balances life through prioritizing.
“Before I’m anything else I’m a father. After being a father, I am a pastor [Lighthouse Full Life Center Church]. After being a pastor, I am a recording artist. After being a recording artist, I do all my other entrepreneurial responsibilities, from my day care to my full-service bar, be it a mani-pedi, a salon to a restaurant to all the real estate properties that we own, apartments and houses. What I’ve learned for me is that if I keep everything in proper order, it allows me to be able to be successful in each of those areas.”
A gospel music award-winning artist, Sapp transcends generations and first crossed over from gospel to secular in January 2007 when his hit song “Never Would’ve Made It” was released.
“I just think that my relevance is solely based upon me tapping into the culture as it pertains to where they were, and what they feel,” Sapp said. “When I wrote ‘Never Would’ve Made It’ … the reason why the song is timeless is because everybody has had a never-would’ve-made-it moment. And kids connect to it. Adults connect to it. Grandparents connect to it. So the message is universal … ”
The tune spent 46 weeks at the top of American gospel radio charts and became the longest-running No. 1 radio single of any format. The song topped The Associated Press list of Best Songs of 2008. The record-breaking tune was the first song by a gospel artist to sell more than 1 million ringtones.
He’s also a strong believer that “nobody can tell your story better than you.”
“If you get it out before other people, you’re going to win,” he said. “So, my goal has always been to just be as open and honest and transparent as I possibly can be. And it’s caused me to win, across musical genres as well as across age groups.”
Sapp is a testament to steadfastness in faith and remaining relevant in an ever-changing music landscape nearly three decades after he launched his career. In April, he won two Stellar Gospel Music Awards, bringing his total to 24. His latest CD, Close, has been atop the Billboard charts since it was released in September 2017. He is also featured on the Snoop Dogg Presents Bible of Love album.
One bit of important advice Sapp received was from Bishop T.D. Jakes.
“I did a concert at the Potter’s House [Jakes’ church in Dallas] maybe some eight years ago. And afterwards I had the opportunity to sit down and talk to Bishop Jakes. After the concert, we went downstairs and he said, ‘Marvin, in this season, you have to learn how to friend up. What you need to do is you need to start trying to hang around people that’s not at your level but who have accomplished what you desire to accomplish. Connect with them …’ ”
Sapp recently lost more than 50 pounds through changing his diet and beginning to exercise while reclaiming his health.
“I kind of lost myself over the last eight years. I stepped on the scale and I was like, ‘My God, 310 pounds.’ I never would have thought that I was that big. So I changed my diet, found this app that taught me how to count calories, and I started going to the gym every day.”
Sapp often uses sports as his way to connect to hope, faith and victory.
His favorite player, LeBron James, had left the Cleveland Cavaliers in that same year for the Miami Heat, seeking a victorious situation in his own life: an NBA championship.
“I don’t necessarily have a favorite team,” Sapp said. “I’m like, wherever LeBron is. I used to fly to Miami like four or five, six times a month just to go to the games. I would get up in the morning and tell the kids, ‘Hey, I’m going go to Miami and going to the game. I see y’all tomorrow.’ I take my kids to, like, all the Christmas games. I honestly did think that LeBron was going to L.A.”
That time for Sapp is one example of how religion and sports intersect. The two held an unlikely and possibly unnoticed bond: desire for victory.
With the victory Sapp has embodied, there is nothing in his life he would change.
“I think that the challenges of life, the hills and valleys, they are the things that make you who you are,” he said. “I look at my life and I’ve gone through some crazy stuff over the last eight years. I know what it’s done for me. It caused me to really have a more deeper relationship with God, and to trust him like never before.”
First, there was a breakout television series, followed by two movies and the release of a brand-new album. For singer and actor Trevor Jackson, there couldn’t be a better year.
Jackson, 21, is best known for his roles as Zurich in Burning Sands, Aaron Jackson in Freeform’s Grown-ish and Youngblood Priest in the remake of the 1972 black cult classic SuperFly, which hits theaters Wednesday. This isn’t too shabby for someone who thought of walking away from acting before his role in the television drama series American Crime.
“I was going to quit acting before American Crime because I was trying to focus on my music,” Jackson said. “I didn’t want to do it anymore. My mom was just like, ‘Go,’ and I went and fell in love with it again. Everybody who was on set — Tim Hutton, Andre 3000, Regina King — I was awestruck and inspired by these people. It kind of made me fall back in love with the process.”
His role in SuperFly deepened his passion for acting.
“Priest was a character that was interesting,” Jackson said. “I was trying to find the person that I was afraid of but I also thought was extremely cool. The experience was amazing. I think the coolest thing was working with such amazing people. You got Joel Silver, who has done so many classic films. Director X is a legendary director, and all the actors. They’re all so good at their jobs. It was a blessing to be doing what I love around people that I love.”
Music remains a passion. Jackson signed with his first record label at 15 and released his latest LP, Rough Drafts, Pt. 1, in March. He hopes to continue acting and singing for as long as he can.
“I want to continue balancing,” Jackson said. “I can’t live without either. Even when I was shooting Grown-ish, I recorded most of this album. We would get off around 7 and I’d come home and record. They’ve both saved me. When I wasn’t working, acting and wasn’t getting hired, I was doing music. Whenever one wasn’t happening, the other one was always there. They’re both very close to my heart.”
What was one of the craziest moments you’ve had on set?
I think the craziest moment was when I made Halle [Bailey] cry on set of Grown-ish. She’s vegan and we had tacos. There were beef tacos, chicken tacos and vegan tacos. She was eating a vegan taco, and I’m like, ‘Oh, you know that’s the wrong meat. They had the wrong names on the tacos.’ She started crying. Everyone was like, ‘Oh my gosh, Trevor. You’re such an a-hole!’ I’m like, ‘I’m sorry! I was just kidding.’ My job is big brother on set. My job is to torture them.
When did you feel like you made it in the industry?
I don’t think I can ever have that moment because I’m always trying to outdo myself. I don’t look to the left or right of me to see if I’ve made it or not. I always kind of look inward. I feel like I’ll never feel like that.
Have you ever been starstruck?
Perfect time to ask me this. I freaking met Tom Hardy at CinemaCon. He and Denzel [Washington] are like my top two favorite actors of all time. I met him, I yelled at him. It was me and Jason [Mitchell]; he loves him too. He was having a conversation, and we came up behind him and were like, ‘Dude we’re sorry but we freaking love you. You’re a legend.’ I’m pretty sure he was wondering who we were, but we took like three pictures. Then I met Matthew McConaughey on the plane and I was like what’s happening with my life? He took my clothes off the plane and asked whose bag it was, then carried my bag off the plane. I can always say Matthew McConaughey carried my luggage. I met Will Ferrell too. These are all people I admire and love totally and am inspired by daily. That was too much.
If you weren’t acting or singing, what would you be doing?
I’d be surfing. I’d probably be a pro surfer, skateboarder or playing basketball. That’s how my life is. If I wake up one day and I want to pursue that, that’s what I’ll do. I always try to follow what God puts in my heart to do or achieve, and I don’t stop until I do that. I wanted to be a veterinarian when I was younger. That dream kind of died, but it can come back around.
What’s the last show you binge-watched?
Ozark. It’s probably one of the greatest shows I ever watched.
Which pro athlete would you never want to trade places with?
The ones that I don’t know their names.
What’s your current fashion obsession?
I love silk shirts. They don’t have to be real silk, as long as they look silky and feel silky. They can be 10 bucks. If they look right and feel right, I’ll wear it.
What songs are at the top of your playlists these days?
There’s a song called ‘Tequila’ by Dan + Shay and another called ‘The Long Way Around’ [by Brett Eldredge]. These are all country songs. I love country. It’s my favorite kind of music.
What is the most embarrassing music you have to admit you listen to?
I’m not gonna lie, when Hannah Montana first came out, I was an advocate. I loved it!
What are you looking forward to achieving this year?
I want SuperFly to do very, very well. I want the album to do well, and hopefully a great season two of Grown-ish. And I want to start filming another movie by the end of the year, whatever it may be.
If you could go to dinner with one person, dead or alive, who would it be?
I can only pick one? I have more than one, and it would be Prince and Michael Jackson. If I had three, I’d put Martin Luther King Jr. in there.
What’s the best piece of advice you’ve ever received?
Keep God first and all things will be added unto you.
It was a missed shot, not just the most revered game-winner of Michael Jordan’s career, that made the Air Jordan 14 iconic. It began with the final play in Game 5 of the 1998 NBA Finals between the Chicago Bulls and Utah Jazz. With 0.8 seconds remaining on the clock and the Bulls trailing 83-81, head coach Phil Jackson drew up a play to get the ball into the hands of the greatest of all time. A 2-pointer would tie the game and force overtime. Yet, with Chicago leading the series 3-1, a make from beyond the 3-point arc would mean a victory and a championship. Of course, Jordan was going for the win.
The referee handed the ball to the inbounder, Ron Harper, which triggered His Airness to employ an explosive burst from the free-throw line to the sideline. Harper tossed the ball in, and a swift, one-motion move became a 35-foot, off-balance heave. The potential game-winning 3 fell about a foot short, as Jordan landed back on the hardwood in a pair of his signature Air Jordan 13s.
The air ball extended the series to a Game 6 at the Delta Center in Salt Lake City, where Jordan wouldn’t miss in crunch time this time around. With 5.2 seconds left in the game, Jordan put a helluva (albeit controversial) move on his defender, Utah’s Bryon Russell, and drained a 20-foot jump shot from the top of the key to give the Bulls an 87-86 lead that would deliver their sixth championship in eight seasons. By January 1999, Jordan would retire for the second time in his career, making the heroic Game 6 jumper his final shot as a member of the Bulls. (Jordan came out of retirement in 2001 to play two seasons for the Washington Wizards.) The ending of the ‘98 Finals also cemented a legacy for the shoes he wore in that moment: a pair of Air Jordan 14s, which have since taken on the nickname “Last Shot.” Had Jordan hit the 3-pointer to win it all in Game 5, the 13s, not the 14s, would’ve become “Last Shot” Air Jordans. But both the basketball and sneaker gods had other plans. In honor of the 20-year anniversary of Game 6, here are six facts about the timeless “Last Shot” Air Jordan 14s.
Jordan only wore the 14s in three games
Jordan opened the 1998 Finals on the road in Game 1 against the Jazz in the “Bred” Air Jordan 13s. He began Game 2 in an all-black pair of player-exclusive, low-top 13s (which would never release at retail) before switching back to the traditional mid-top version of the shoe after halftime. In Games 3, 5 and 6, he’d don the Air Jordan 14. Because, if you remember, in Game 5 he returned to the 13 by breaking out the “Playoffs” colorway. By the time of his debut with the Wizards in ‘01, he’d be rocking the “College Blue” Air Jordan 17s.
The shoe was inspired by Michael Jordan’s Ferrari
On Oct. 27, 1998, a few days before the commercial release of the sneakers that debuted on the court months earlier in the Finals, The Associated Press reported that designer Tinker Hatfield was influenced by the luxury cars Jordan owned, particularly his Ferrari 550 Maranello, when crafting the Air Jordan 14. “He told us directly that we should be looking at automobiles,” Hatfield, Nike’s vice president for design and special projects, told The Associated Press. “He actually suggested that I come out and look at his Ferrari, just to be inspired by it.” Hatfield’s clean and simple design of the 14 includes an air-intake pocket similar to what was found on a Maranello in the late ’90s, as well as the same type of paint and bumper materials implemented in high-end vehicles of that era. The shoes dropped at retail for $150 a pair on Halloween 1998 in a “Candy Cane” white-and-red colorway. The “Last Shot” black-and-red model that Jordan wore in the ‘98 Finals wouldn’t hit stores until March 1999.
The shoe was awarded a landmark patent
According to The Associated Press, the United States Patent and Trademark Office presented Nike with patent No. 400,000 in the governmental agency’s then-(ironically)-23-year history for the sports car-inspired elements incorporated into the Air Jordan 14. A news conference was held to celebrate the occasion.
The 14 quickly became a top 100 sneaker
In December 1998, less than two months after the Air Jordan 14 went on sale, Dallas-based shoe retailer Footaction (acquired by Foot Locker in 2004) unveiled a list of the top 100 athletic shoes of all time. At No. 82 sat the 14, which checked in ahead of notable sneakers such as the Air Jordan 8, the Converse Jack Purcell and the Adidas Powerphase. It’s a testament to how much of an impact the shoes — and the epic shot the greatest of all time made in them — had in the early days of their release, without Jordan even playing in the NBA. It didn’t take long for the 14 to reach cult classic status.
The shoe falsely became associated with gang-related activity
“Nike has learned from local police departments and school administrators that the Roman numeral ‘XIV’ on this year’s Air Jordan is coincidentally associated by some with a gang based in Northern California. Michael Jordan, the Jordan Brand and Nike condemn violence and vigorously assert that any Jordan brand product and, specifically, the Air Jordan XIV has no connection to any gang or gang-related activity and is intended for use as a basketball product.”
This is an excerpt from a statement released on March 26, 1999, denying any link between the shoe and the Norteños street gangs, which use the No. 14 and Roman numerals XIV as a representation of the 14th letter in the alphabet, “N,” to pay tribute to the Mexican-American organization of prison gangs known as Nuestra Familia.
The 20-year anniversary of Game 6 marks the 14’s third retro
Since the shoe’s original release in 1999, the “Last Shot” Air Jordan 15 has been retroed on three separate occasions: in 2005 for $130, in 2011 for $160 and on Wednesday, in celebration of 20 years since Jordan’s jumper, for $190, as part of Nike’s Art of a Champion collection. Moral of the story: Every sneakerhead’s closet deserves a pair of the Last Shots.
WASHINGTON (AP) President Donald Trump said Friday he may pardon the late heavyweight boxing champion Muhammad Ali, who doesn’t seem to need one. And for futures acts of clemency, he may seek recommendations from pro football players and other athletes who have protested racial injustice by kneeling during the national anthem.
Cheryl Reeve believes her Minnesota Lynx epitomize what a champion should be. They aren’t just tremendous basketball players, they’re leaders in their communities, whether in Minnesota or the nation’s capital. And that is more important to Reeve and her players than being fêted on the South Lawn of the White House.
The Lynx did not receive an invite to the White House after winning the 2017 WNBA championship. The team, which plays the Washington Mystics on Thursday, came to D.C. a day early to work with Samaritan’s Feet Shoes of Hope to distribute shoes to children from low-income families as part of their championship celebration.
The team arrived Tuesday and distributed shoes and socks from Nike, Jordan Brand and DTLR on Wednesday at Payne Elementary, a school where 30 percent of the students are homeless. Members of the team also hit the blacktops to go over basketball drills with the kids and then returned inside to be celebrated in the school’s auditorium. The Lynx ended the event with a photo op with the 2017 WNBA Finals trophy.
“I want to say thank you to these players for being such amazing athletes, incredible role models and choosing to be here today to show how champions act,” Reeve said as the team stood on the stage to be recognized.
Asked how this post-Finals celebration stacked up with her other experiences, four-time WNBA champion Maya Moore spoke fondly of being invited to the White House under the Barack Obama administration after winning titles in 2011, 2013 and 2015.
But she said spending the afternoon playing basketball and giving out new Jordans to more than 300 elementary school students made this celebration stand out.
“I’m so ridiculously blessed to have so many memories at the White House, so many great ones,” Moore said Wednesday while standing on the blacktop. “This will probably be more unique. We made some great memories with these kids. … We’ll definitely remember this.”
Asked about President Donald Trump’s decision to not invite the Lynx to the White House or whether they would have gone if invited, most of the players said they wanted to focus on the kids and the positivity of Wednesday’s community service.
Trump disinvited the 2018 Super Bowl champion Philadelphia Eagles to the White House this week and rescinded an invitation to the 2017 NBA champion Golden State Warriors last fall. Three leagues with predominantly black workforces — NBA, NFL and WNBA — have been spurned while leagues with majority-white workforces, the NHL and MLB, have been celebrated at the White House.
“Obviously, it does [bother me that the president is targeting black athletes],” Lynx guard Seimone Augustus said. “The NBA, the NFL, they’ve all been very vocal. The players — LeBron [James], Steph [Curry] and all of them — have been doing their job as far as letting people know their stance on the situation. And we’re going to continue to do our part. We’ve been doing this since last year with the anthem, but today just was a day where we felt like it was more important for us as a team, as a unit, to do something way more special than whatever is going on with the chaos of the White House and the invites and all that stuff.”
In July 2016, the Lynx stepped into the social activism spotlight when they came out with black-and-white warm-up shirts that read “Change starts with us. Justice & accountability.” On the backs of the shirts were the phrase “Black Lives Matter”; the names Alton Sterling and Philando Castile, two black men killed by police; and the Dallas Police Department emblem (five officers were shot to death during a protest after Sterling and Castile were killed).
"This is a human issue & we need to speak up for change, together." -Maya pic.twitter.com/tyfl65Ag81
— Minnesota Lynx (@minnesotalynx) July 9, 2016
The Lynx players also linked arms during the national anthem, while the Los Angeles Sparks went to the locker room before Game 1 of the 2017 WNBA Finals.
Like Vikings, Lynx link arms for National Anthem at the Barn. Sparks left arena, returned after anthem. Some boos. pic.twitter.com/KilDJwqBVa
— Tim Nelson (@timnelson_mpr) September 24, 2017
Asked about the disparity in teams visiting the White House, Reeve said:
“I think it’s a confusing message. I don’t really want to take a deep dive into the diversity piece. I think it’s plain for people to see. And I think for us, we say we’re not going to let anyone steal our joy. At the end of the day, we don’t need the White House to celebrate our championship. This was an incredibly meaningful day and a way to commemorate it and showing how champions act, and what we’re about and what our league is about.”
Maya Moore was drawn to 4-year-old Liliana Sikakane way before Twitter caught on to the little girl who was inspired by a billboard starring the Minnesota Lynx star forward outside of Target Center.
The billboard and poster, which showcases Moore re-enacting the famous Michael Jordan “Wings” poster from 1989, is part of an ad campaign that came spit-shined with a commercial featuring the four-time WNBA champion.
Getting Twins tickets in mid-May with her family, Liliana was drawn to the mural as the family walked past the arena, and asked her father, Justice Sikakane: “Do girls get to play basketball too?”
Fighting back the feels, dad took a photo of Liliana posing in front of Moore’s billboard and purchased Lynx tickets on the spot to what would be Liliana’s first WNBA game, an epic battle between the Lynx and Los Angeles Sparks on May 20.
It was the perfect way to answer and feed Liliana’s curiosity.
“The funny thing is, actually, my godmother, Cheri Williams, saw Liliana taking the picture with her dad,” Moore told The Undefeated from the team bus as the Lynx traveled to Washington, D.C. for Thursday’s matchup with the Washington Mystics. “So, literally, I first saw, or heard about it, through my godmother. My god dad, Reggie, said, ‘This cute little girl was taking your picture in front of your mural. We found it on Twitter. Isn’t this precious?’ I said, ‘Oh my gosh, that’s so amazing. Just to see her, as a 4-year-old, standing in front of my mural, to be able to have access to it like that, to see it, be inspired by it, to emulate it.”
Of course, the picture Sikakane posted broke Twitter, and Nike wondered: ‘Why didn’t we think of that?’
— Justice P. Sikakane, Sr (@justicesikakane) May 20, 2018
Moore was moved by Liliana’s youthful exuberance because she saw herself. Growing up, Moore had the original poster featuring Jordan on her wall. Countless times, Moore replicated that same pose.
“I had MJ’s Wings poster in my room and I just really have such vivid memories of that poster and just the power and simplicity of it,” Moore said. The MJ poster was shot in 1989 by photographer Gary Nolton with the William Blake quote, “No bird soars too high if he soars with his own wings.”
“It’s hard to put into words what that image really meant to me growing up … just being inspired to play and to just be myself and enjoy the game,” said Moore, who averaged 18.3 points and 5.3 rebounds per game during the Lynx’s 2017 WNBA championship run. “Now, being the first female to recreate that image, I don’t think I really understand, probably, even the weight of what that means for, not just little girls, but everyone to see that image.”
Liliana’s photo caught everybody’s attention – including the Lynx, who coordinated a meet-and-greet with Liliana and Moore on May 31, 11 days after Liliana attended the team’s home-opener against the Sparks to witness the team receive its championship rings and raise a fourth banner in the arena.
“It’s just such an organically inspiring story,” said Moore, who has been with Nike’s Jordan Brand since she entered the WNBA in 2011. “Just to spend time with her and to see her excitement and her recognizing that I was the person from, you know, this side of the building and I was the person from the game and, just to see her excitement and to create those memories with her. Even though she’s 4, she probably doesn’t obviously know what’s going on, but just for her to have those memories and those seeds planted in her that, what the possibilities are, so … it really made my day and it’s really one of those moments that makes me want to continue doing what I’m doing, as more than a basketball player.”
Moore, this week’s Undefeated Athlete of the Week, recognizes that the gesture is bigger than a photo op for Liliana — and for other girls and boys who may never see her play or attend a Lynx game.
“Because I’m an African-American female, I think it speaks so much louder to really our country and what we’re about and what we can be as a people that if you have an opportunity to work hard and reach the top of your craft, you should be celebrated and honored and recognized,” Moore said.
Moore said that even though she has had many encounters with Jordan, she hasn’t had the opportunity to tell him what his “Wings” poster has meant to her. She’s open to a similar meet-and-greet with the GOAT to have that conversation.
“You know what? One of the best things about being on the [Jordan] Brand is being able to have that Jordan family. But one of the hardest things is not being able to see everyone as much, especially MJ, because I’m either almost playing year-round or he’s obviously busy, so the next time we are face to face, I would love to tell him that story because it really didn’t pop into my head until I was on the set filming the Wings commercial that I realized, ‘Wow, this is like me living out a childhood dream that I didn’t know I had,’ ” Moore said.
In a few years, 4-year-old Liliana will attest to that.
It’s the hair that tells you everything you need to know.
Last week, Crown Publishing released the cover image of Michelle Obama’s forthcoming memoir, Becoming.
The cover image fits squarely within the genre of first lady memoirs released since Betty Ford’s The Times of My Life in 1978. In a closely cropped portrait, the smiling first lady looks directly into the camera, inviting you to take a peek into her life and her journey to 1600 Pennsylvania Ave.
There’s a predictable homogeneity to the styling of the portraits of Ford, Rosalynn Carter, Nancy Reagan, Barbara Bush, Hillary Clinton and Laura Bush. All of them feature the immovable hairshell that had come to typify political wife coifs: a wash-and-set preserved with an Aquanet halo of formality, fortified against the threat of a stiff breeze.
And then there’s Michelle.
The cover picture on Becoming places Obama within the tradition of American first ladies while also projecting her individuality. Her hair is styled in soft, beachy waves that are swept away from her face. It looks unpretentious, inviting and approachable, but it is still done. No one wakes up like that.
And, unlike her predecessors, Obama’s hair looks as though it would be right at home if you sat her in front of a wind machine. That is to say, it would actually move. Obama confidently bares a shoulder in a jersey top, the sort of thing one might don for a stroll along the boardwalk or while on vacation in a small town in Spain. All of it offers subtle visual nods to the casual, modern accessibility Obama brought to “The People’s House” during her tenure in the East Wing. The flowing nature of her hair and top are suggestive of the kineticism that came to define Obama: her love of dance and fitness, her willingness to infuse workout gear into official White House photographic dispatches.
The covers of these first lady memoirs serve as artifacts. They’re products of their time that tell us something about what we expect of America’s First Hostess. They capture ideas about famous femininity that exist outside of the Hollywood red carpet but that are still removed from everyday American life.
There were those who found Obama’s mere existence in the role of first lady offensive. She was not occupying the White House as a maid or a cook, a gardener or a florist, all honorable positions to be sure but ones defined by their roles in service to the presidency, an office that, before her husband’s arrival, had been 100 percent white. While Obama’s race was always integral to understanding the backlash against her, said backlash wasn’t always couched in explicitly racist terms. Instead, for instance, there were public debates about whether Obama violated some unwritten rule of decorum by baring her arms so much. Obama always operated within the parameters of protocol set for the first lady, she just did so as a round-the-way girl who grew up in a small apartment on the South Side of Chicago.
Aware that the presence of additional melanin and enslaved ancestors would set her apart, Obama tried to define the role of first lady instead of letting it define her. She broadened the swath of people who allowed themselves to feel a sense of pride and kinship in the White House and its occupants. They, too, sang America.
There’s no more better illustration of this approach to embracing one’s role as a symbol than Obama’s official portrait. Oh, sure, it follows the rules of official portraiture in that it is a likeness, created with paint and a canvas, of the first lady. It hangs in the National Portrait Gallery in Washington, D.C. But Amy Sherald’s portrait looks more like a two-dimensional illustration than those of her predecessors. It is a work of geometry and simplicity, devoid of the florid brushstrokes that have come to typify such portraits. Instead of being depicted somewhere in the White House, Obama is seated against a pale blue background. The entire portrait has a desaturated quality. In contrast to Obama’s trademark openness, her likeness is unsmiling, distant. It suggests there’s still some mystery to Obama. There are elements of Obama that few have seen, and she prefers to keep them to herself.
You have to go back to Eleanor Roosevelt, depicted with pencil and book in hand, to find another radical departure from the form. Roosevelt is depicted atop versions of her various selves, laughing or deep in thought. Her hands show up knitting, removing her glasses and removing her wedding ring. Roosevelt’s portrait is one of a woman who contained multitudes and wanted everyone to know it.
Obama’s portrait, like Roosevelt’s, suggests a woman who understands the significance of semiotics. So does her book cover.
The portrait is one thing, but then there’s the title. “Becoming,” of course, carries multiple meanings. It can refer to Obama’s process of growing into herself and getting comfortable with the spotlight of being America’s first black first lady. Obama has alluded to that process in her Instagram feed as the book’s Nov. 13 release date draws nearer. The posts, accompanied by detailed captions explaining their relevance, suggest an evolution.
But “becoming” also offers a graceful pushback against those who continually insulted her looks because they found the presence of her brown skin in the White House to be an affront. As an adjective, rather than a verb, becoming is an assertion of beauty, like fetching or comely. To be becoming is to have found a look that suits you, and it’s clear from her book cover that Michelle Obama has found one that suits her.
Actress and breast cancer survivor Vanessa Bell Calloway knows how important it is to get the word out about breast health.
In 2016, she shared her story of survival on Ebony.com. She caught the disease early, opted for a mastectomy and she’s been cancer-free since.
Now Calloway has teamed up with the Susan G. Komen organization and the Ad Council for a national campaign, Know Your Girls. Her role includes a voice-over for the campaign’s video public service announcements.
“I’m so happy to be a part of this important campaign because as a breast cancer survivor, I understand firsthand how important it is to know your girls literally and figuratively. Being in tuned with your girls can save your life. Know Your Girls can also mean know your real-life girlfriends and as a community of women help remind each other about the importance of breast health,” said Calloway.
The Know Your Girls announcements include singer Alicia Keys’ hit song “You Don’t Know My Name.” Other featured celebrities include celebrity stylist June Ambrose, actress and comedian Regina Hall, E! News co-anchor Zuri Hall, 2 Dope Queens co-creator and actress Jessica Williams, singer-songwriter, producer and actress Michelle Williams, and comedian and actress Kym Whitley; as well as digital creators Black Moms Blog, Ebony from Team2Moms, Glamtwinz: Kelsey and Kendra Murrell, Jade Kendle, Tianne King, Megan “Megz” Lytle and Jayla Watson.
The campaign is a response to dismal numbers concerning black women. Black women in the U.S. are 40 percent more likely to die from breast cancer than white women, according to the Ad Council. A recent study found that while 92 percent of black women agree breast health is important, only 25 percent have recently discussed breast health with their family, friends, or colleagues and only 17 percent have taken steps to understand their risk for breast cancer.
Black women are more likely to be diagnosed with breast cancer at a younger age, at later stages of the disease, and with more aggressive forms of the disease, which limits the options for treatment. The Know Your Girls campaign encourages black women between the ages of 30 and 55 to treat their breasts with the same attentiveness and understanding they share with the women in their lives.
“The Know Your Girls campaign introduces breast cancer education through a celebration of the powerful sisterhood between black women,” said Lisa Sherman, president and CEO of the Ad Council. “Instead of focusing on fear, the campaign provides tools and information that can help black women feel ownership around their breast health and encourages the sharing of those resources and messages with the women who support them throughout their lives.”
Besides the digital announcements, the campaign includes TV, radio, print and out-of-home ads that direct women to KnowYourGirls.org. The website features resources that help women navigate breast cancer risk factors, recognize changes in their breasts, and how to prepare to have a conversation with a doctor.
The introductory campaign video, created by creative agency Translation, features vignettes of a woman at key moments throughout her life. At each occasion, she is surrounded by her girls, the friends and family who have been a source of support and strength. At the end, the woman reveals that the “girls” who have been with her in every single moment of her life, her breasts, are the ones she might know the least.
“The staggering breast cancer mortality rates amongst women of color — amongst black women — is unacceptable,” said Steve Stoute, founder and CEO of Translation. “Breast cancer has touched so many of our loved ones, our peers, and our neighbors, including my wife, who lost her dear sister to this crippling disease. Creating a healthy dialogue between women of color, their fears, and their breasts is a critical step towards eradication.”
Komen has set a “Bold Goal” to reduce the current 40,000 annual breast cancer deaths in the U.S. by 50 percent by 2026. Closing the gap in health disparities is crucial to achieving that goal.
Through its African American Health Equity Initiative, Komen is aiming to reduce the mortality gap between black women and white women by 25 percent by focusing first on the 10 metro areas where mortality rates and late-stage diagnosis of black women are highest. The Know Your Girls campaign will target: Memphis, Tennessee; St. Louis; Long Beach/Los Angeles Metro Area; Dallas/Fort Worth/Arlington Metro Area; Virginia Beach, Virginia; Atlanta; Chicago; Houston; Washington, D.C.; and Philadelphia. In some cities, the disparity in breast cancer mortality rate between black and white women is as high as 74 percent.
“As a breast cancer survivor who lost her mother to breast cancer, I understand all too well the pain and heartbreak of this disease,” said Paula Schneider, president and CEO of Susan G. Komen. “We hope this campaign empowers black women to learn about breast cancer risk and the resources available to take action.”