LeBron James is one of the greatest basketball players and greatest athletes of all time. But as long as he has had the professional spotlight he has been more about his team and community’s success than any of his individual accomplishments. Many have wondered what makes him such a team first star.
(from left), Willie McGee (Avery S. Wills, Jr.), LeBron James (Marquis “Mookie” Cook), Lil Dru Joyce III (Caleb McLaughlin), Sian Cotton (Khalil Everage) and Romeo Travis (Sterling “Scoot” Henderson), in Shooting Stars, directed by Chris Robinson.
Well it started with his first team as a young kid turned high school phenomenon from Akron, Ohio. Shooting Stars is a new film on NBCUniversal’s peacock platform that tells the story of LeBron James’ first team and formation into the superstar we know today. UrbanFaith sat down with the director of Shooting Stars, Chris Robinson to talk about what it was like to tell the story of the young LeBron James and his teammates. The full interview is above, more on the film is below.
The film is rated PG-13 for strong language suggestive and alcohol references . The film does not necessarily reflect the views of UrbanFaith. Viewer discretion is advised.
It’s not how you start the game. It’s how you finish.
Based on the book by LeBron James and the Pulitzer Prize winning author of Friday Night Lights, Buzz Bissinger, Shooting Stars is the inspiring origin story of a basketball superhero, revealing how LeBron James and his childhood friends become the #1 high school team in the country, launching James’s breathtaking career as a four-time NBA Champion, two-time Olympic Gold Medalist and the NBA’s all-time leading scorer.
Starring: Marquis “Mookie” Cook, Wood Harris, Caleb McLaughlin, Khalil Everage, Avery S. Willis, Jr., Sterling “Scoot” Henderson, Dermot Mulroney, Natalie Paul, Diane Howard, Algee Smith, Katlyn Nichol Director: Chris Robinson Executive Producer: Gretel Twombly Producers: Rachel Winter, p.g.a., Spencer Beighley p.g.a, LeBron James, Maverick Carter, Jamal Henderson, Terence Winter Screenplay by: Frank E. Flowers and Tony Rettenmaier & Juel Taylor, based on the book by LeBron James & Buzz Bissinger
Bishop Marvin Sapp is a pastor, musician, author, artist and now filmmaker. He’s working on learning how to cook. He has over a dozen Grammy nominations, Stellar Awards, BET Awards and more as a Gospel Artist. He is the co-founder and pastor of two churches in Grand Rapids, MI and Fort Worth, TX. He is the Bishop serving over 100 congregations. He is a gifted preacher, speaker and leader. He most recently released a film with TVOne telling his testimony and was an executive producer and star of the film. To put it lightly, Marvin Sapp is a busy man of God. But it is his love for people, his incredible testimonies, and his heartfelt authenticity that have helped him be a vessel for the Holy Spirit for decades. UrbanFaith sat down with this legendary Gospel artist and minister and talked about everything from film to football and ministry to mental health. The full interview is above, more about Bishop Sapp is below.
Bishop Marvin L. Sapp is a passionate orator and biblical teacher, who desires to be a living epistle glorifying our Lord and Savior Jesus Christ both in word and in deed who is the Co-Founder of Lighthouse Full Life Center Church in Grand Rapids, Michigan and the Senior Pastor of The Chosen Vessel Cathedral in Fort Worth, Texas as well as a Metropolitan Bishop that oversees more than 100 churches in the Central Deanery of Global United Fellowship.
Bishop Sapp is a multiplatinum selling artist who has enjoyed a decorated music career receiving 13 Grammy nominations, 24 Stellar Awards, 2 Soul Train Music Awards, 2 BET Awards, 4 Dove Awards, 8 BMI songwriter’s awards for sales, Black Music Honors Gospel Music Icon Award along with many other accolades and honors from national, regional, and local institutions.
FREE AT LAST?: In ‘Runaway Slave,’ pastor and activist C.L. Bryant and other African American conservatives reject liberal politics and ask whether big government entitlements are a new form of slavery.
The title of the new film Runaway Slave might lead some to dismiss it as just another dramatization of a commonly rehearsed chapter of black history in America. But when one discovers that the film is actually a documentary about a politically liberal African American pastor’s conversion into the conservative political movement, the title suddenly takes on a much more provocative tone. On one level, Reverend C.L. Bryant’s Runaway Slave is a coming-of-age narrative about his shift from being a pastor and NAACP Chapter President to being a prominent defender of small government, free markets, and personal responsibility. On another level, however, it is a clear rebuke of what the filmmakers perceive as the black community’s enslavement to the Democratic Party and progressive politics. Bryant wants us to understand that the black community is not a political monolith, and that our moral and economic concerns might be better addressed by the Republican Party’s conservative platform.
A press release for the movie leaves no doubt about the film’s point of view. After announcing that the movie comes to us “from the creators of Tea Party: The Documentary Film,” it goes on to describe the film’s general premise:
Rev. Bryant takes viewers on an historic journey across America that traces the footsteps of runaway slaves who escaped to freedom along routes that became known as the Underground Railroad. But in the film, he also travels a “new underground railroad” upon which Black Conservatives are speaking out against big government policies which have established a “new plantation” where “overseers” like the NAACP and so-called “civil rights” leaders keep the Black community 95 percent beholden to one political party.
And interviews from such noted conservative figures as Glenn Beck, Herman Cain, Star Parker, and the late Andrew Breitbart help the film draw clear ideological lines in the sand. Fans of 2016: Obama’s America, another controversial conservative documentary released this year, will find much here to “amen” to as well.
The great achievement of Runaway Slave is its geographically and ideologically diverse portrait of black conservatism. Bryant talks with financial conservatives like Marvin Rodgers, a Rock Hill, South Carolina, an aspiring politician who emphasizes the “pocketbook politics” of supporting small businesses and encouraging entrepreneurship. He speaks with academics like the economist Thomas Sowell, conservative school-reform advocates, right-to-life activists, and small business owners. Interestingly, everyone but the Wall Street and country club conservatives are present. Their omission is noteworthy — precious few black conservatives are a part of the proverbial 1 percent. Nevertheless, by interviewing grassroots activists and organizations in nearly every region of the country, Bryant convincingly demonstrates that black conservatism is a national thread within the African American political tradition.
The film sets forth a conventionally conservative view of government: lower taxes; less government regulation; strong defense of property rights. Additionally, participants construe the government as a presumptuous behemoth that presents itself as the “Daddy,” “Slave Master,” and “God” of American citizens. In this framework, reducing the size of the public sector becomes an article of faith, not simply a political position.
Two dynamics merit mentioning here. First, deep appreciation for our nation’s originating documents — the Declaration of Independence, the Constitution, etc. — sits alongside profound disappointment with the current state of government. If our origins are laudable and our contemporary moment is lamentable, as the movie claims, then we must conclude that we lost our national footing somewhere along the way. The documentary avoids conceptual clarity about how this moment of decline happened, when it happened, and who is responsible for it. Progressives and Socialists — two distinct traditions which are conflated in the film — are blamed for leading America astray, but the accusation is too vague to persuade anyone who is not already a true believer.
Secondly, the attacks on government are general — there is no exploration of the merits and demerits of Social Security, Medicare, and the GI Bill, for instance, programs that are popular across the political spectrum. Instead, the viewer encounters Government as a monstrosity that overtaxes, overregulates, and overreaches at every turn.
Runaway Slave is also noteworthy for its conservative form of American civil religion. Many Americans are familiar with more progressive forms of civil religion — Dr. King’s “I Have A Dream” speech on the steps of the Lincoln Memorial or Abraham Lincoln’s second Inaugural Address, for example. But there is another side to American exceptionalism. U.S. congressman Allen West of Florida alludes to this tradition when citing Matthew 5 to position America as “a city set on a hill.” America, in this view, is the country where you reap what you sow. A land where hard work, education, and the hand of Providence guides families upward on the ladder of social mobility. It’s not difficult to see how many of these cultural values have become inseparable from the American brand of Christianity.
After watching the documentary, the viewer is left to wonder: what distinguishes conservative visions of government from the liberal visions? Reverend Bryant is not endorsing a libertarian or anarchist view of society. Despite his impassioned pleas about escaping from the plantation, there is no sign that he wants to destroy the master’s house. That is to say, Runaway Slave does not explicitly or implicitly advocate dismantling our social insurance system, ending subsidies to large agribusiness corporations, or stopping the Supplemental Nutrition Assistance Program (formerly known as food stamps).
Generally speaking, political realities temper the policy visions of liberals and conservatives. Bryant documents a deep commitment to liberty within the American political tradition. Rightly so. But there is little — if any — mention of our political tradition of equality, a complementary thread in our tapestry. The argument of the film would be strengthened if it directly addressed, for instance, the policy trade-offs that Presidents Nixon (expanding food stamps, starting the Environmental Protection Agency) and Bush (Medicare prescription drug program, comprehensive immigration reform proposal) made between liberty and equality. That oversight notwithstanding, Runaway Slave is one of the most expansive treatments of black conservatism currently available, and is therefore worth watching and discussing.
View the theatrical trailer below, and visit the Runaway Slave website for information on where to see the film in your area.
SHINING STARS: Whitney Houston and Jordin Sparks star as a mother and daughter in ‘Sparkle,’ the remake of the 1976 classic about the highs and lows of a family singing group during the Motown era.
Sparkle hits movie theaters this weekend with a star-studded cast of black actors and entertainers. Based on the 1976 classic, this remake is a cautionary tale that chronicles the story of three sisters in their rise to fame as they navigate the twists and turns of the music industry.
American Idol-winner Jordin Sparks, in her film debut, plays the lead role of Sparkle, while pop star Cee Lo Green, actors Derrick Luke and Carmen Ejogo, and comedian Mike Epps appear in supporting roles. But there’s no doubt that throughout the film, all eyes will be on the late Whitney Houston, who plays the mother of the aspiring girl group.
In the film, the three sisters (Sparks, Ejogo, and Teka Sumpter) move up the record charts as they sing and dance in high fashion. In their search for fame, the girls are swept away by mesmerizing men, challenged by the demands of life, and overcome by the dreams that almost tear their family apart.
It’s quite ironic, then, that this is the last project Whitney Houston completed before her untimely death on February 11, the night before the Grammy Awards. At 48 years old, Whitney accidentally drowned in her hotel bathtub. The coroner’s report later revealed that cocaine was a contributing factor in her death.
After her tragic passing, the world reflected on Whitney’s life and how we watched her grow up to fulfill her dreams. Much like the girls in the movie, she was beautiful, rich, and famous. She had it all, and yet there was immense sorrow which ultimately led to her demise. Until her final days, she continued to smile, pursue her dreams, and to profess her love for Christ. And she continued to sing!
Singing, of course, will be a highlight in Sparkle, which features songs from the original film written by the great Curtis Mayfield as well as new compositions by R. Kelly. The movie was preceded by a soundtrack release which includes Whitney’s final musical recordings. In what is sure to be a highlight of the film, she sweetly sings “His Eye is on a Sparrow,” a song that encourages us to sing even in the midst of suffering and sorrow. And even in her absence, Whitney’s performance emanates with hope.
Yet I wonder, what is a proper response when singing and dream chasing is the catalyst for sadness? The painful reality is there are almost too many parallels between Whitney’s life and the lives of the girls in the movie. I wonder what kind of responses that will elicit in the theaters this weekend. As we sit and watch, I wonder if we will “Celebrate” as she and Jordin encourage us to do in their recently released single from the soundtrack. I wonder if we will shed a tear at the new images of Whitney, her gentle grace, or the sound of her voice as she lifts her hands to worship God during the church scene. Will we pause and reflect?
You see Sparkle causes us to consider important questions. What happens when we get exactly what we want? Will we hold on to our family, faith, and friendships? Will we hold fast to our dreams at all costs? And what happens to us — our identity — when those dreams are lost or deferred? How will we respond when our dreams are fulfilled? Will we sparkle? Will we shine like a light, or will our lights flicker and go out like an ember in the darkness?
Whatever the case may be, Sparkle opens tomorrow, August 17, in theaters everywhere. So grab your girlfriends, get a date, and head to a cineplex near you. And then let us know what you think.
CRIME SCENE: Police cars and emergency vehicles gather around the Century 16 Theatre in Aurora, Colorado, where early this morning a gunman opened fire on moviegoers during a midnight showing of “The Dark Knight Rises.” (Photo: Jonathan Castner/Newscom)
“A lone gunman dressed in riot gear burst into a movie theater in Aurora, Colo., at a midnight showing of the Batman film ‘The Dark Knight Rises’ and methodically began shooting patrons, killing at least 12 people and injuring at least 50,” ABC News reported this morning.
The outpouring of prayer has been swift. President Obama, speaking from a campaign event in Fort Meyers, Florida, asked for a moment of silence and prayed that the Lord bring would bring the people of Aurora “comfort and healing in hard days to come.” He also promised to “stand by our neighbors in Colorado during this extraordinarily difficult time” and expressed heartbreak on behalf of “the entire American family.” The president didn’t hesitate to call the shooter’s violent rampage “evil.” But he also said the tragedy provides us with an opportunity to reflect on “what makes life worth living.”
“If there’s anything to take away from this tragedy it’s the reminder that life is very fragile. Our time here is limited and it is precious. And what matters at the end of the day is not the small things, it’s not the trivial things, which so often consume us and our daily lives. Ultimately, it’s how we choose to treat one another and how we love one another,” said President Obama.
Both Religion News Service and The Huffington Post published round-ups of tweets from faith leaders regarding the tragedy. Charisma magazine followed with condolences from politicians, including House Speaker John Boehner (R-Ohio), who said, “Confronted with incomprehensible evil, Americans pull together and embrace our national family more tightly. I join President Obama, and every American, in sending my thoughts and prayers to the victims of this awful tragedy. We will all stand with them, as one nation, in the days ahead.”
At The Atlantic, Conor Friedersdorf referred to a 2000 Atlantic article about how police in Colorado and elsewhere have changed their training and protocol for mass shootings in public places. Before Columbine, first responders “never rushed in,” but now, “they are being taught to enter a building if they are the first to arrive at the scene, to chase the gunman, and to kill or disable him as quickly as possible.” Sadly, in Aurora, they were too late for 62 people or more.
“It is time we acknowledge US has a domestic terrorism problem with carnage multiplied by easy access to firearms,” tweeted Mercer University ethicist David Gushee.
The city of Aurora is holding a “dark night prayer vigil” at the Aurora municipal building tonight at 7:00 pm, said Colorado Community Church pastor Robert Gelinas on his Facebook page.
Let’s join all these voices in praying for the Aurora community, the families of those who’ve died, the survivors whose lives are forever changed, and for an end to domestic terrorism.
The great achievement of Runaway Slave is its geographically and ideologically diverse portrait of black conservatism. Bryant talks with financial conservatives like Marvin Rodgers, a Rock Hill, South Carolina, an aspiring politician who emphasizes the “pocketbook politics” of supporting small businesses and encouraging entrepreneurship. He speaks with academics like the economist Thomas Sowell, conservative school-reform advocates, right-to-life activists, and small business owners. Interestingly, everyone but the Wall Street and country club conservatives are present. Their omission is noteworthy — precious few black conservatives are a part of the proverbial 1 percent. Nevertheless, by interviewing grassroots activists and organizations in nearly every region of the country, Bryant convincingly demonstrates that black conservatism is a national thread within the African American political tradition.
Singing, of course, will be a highlight in Sparkle, which features songs from the original film written by the great Curtis Mayfield as well as new compositions by R. Kelly. The movie was preceded by a soundtrack release which includes Whitney’s final musical recordings. In what is sure to be a highlight of the film, she sweetly sings “