ALWAYS THE MAID: Actress Viola Davis won numerous acting honors but also faced criticism for her role as Aibileen Clark in "The Help." (Image: Dreamworks/Touchstone Pictures)
“When they called my name, I had this feeling I could hear half of America going, ‘Oh no! Oh come on, why her? Again!’ ” Those opening lines of Meryl Streep’s acceptance speech at the Academy Awards this past Sunday verbalized my sentiments exactly, and I’m sure the sentiments of many others. Though Streep is an excellent actor, I was disappointed that Viola Davis, the gifted actor who played Aibileen Clark in The Help, wasn’t chosen as this year’s Best Actress by the committee handing out those coveted Oscars.
While I know I wasn’t alone in my disappointment, I’m sure there were also African Americans who were actually relieved that Davis did not win. That’s just how strong the displeasure among many African Americans was regarding Davis’ role as a ’60s-era Jackson, Mississippi-based maid in The Help. Based on the bestselling novel by Kathryn Stockett, The Help was a source of controversy almost from the beginning, with the African American community up in arms about the movie and Ms. Davis’ decision to play a maid. In an impromptu Facebook survey of my friends, I found mostly mixed emotions about The Help. “African American actors, as well as other actors of color must be selective in the roles they choose to play,” said one friend. “They must really know the purpose behind the film, the targeted audience, and avoid stereotypical roles.” Her view seems to represent the opinion of many.
FROM PAGE TO SCREEN: The film adaptation of Kathryn Stockett's bestseller, 'The Help,' features Emma Stone as Skeeter, Octavia Spencer as Minny, and Viola Davis as Aibileen.
The general consensus, as seen in the news media, is that African Americans are weary of seeing Black actors in subservient roles, as well as the lack of quality leading roles and films that offer a broader view of the African American experience. It didn’t matter that Ms. Davis did a superb job in her portrayal of Aibileen, personalizing the character through knowledge of her family’s heritage of domestic workers. Many people simply were ambivalent about the notion of another Black actor playing a stereotype. Ms. Davis, however, saw the importance of her role when she toldFresh Air host Terry Gross, “You’re only reduced to a cliché if you don’t humanize a character. A character can’t be a stereotype based on the character’s occupation.”
Ms. Davis makes a good point, but even she has acknowledged the dearth of quality roles for Black actors. This has led to the enduring perception that the Academy Awards voting committee, which a recent Los Angeles Times report observed is 94 percent White and 77 percent male, is naturally disinterested in seeing non-White actors in substantial leading roles that transcend standard stereotypes.
I confess that I had my own reservations about seeing The Help initially, having grown tired of movies with Black domestic servants raising white people’s children while often neglecting the needs of their own families. I had seen enough of it, and even heard many real-life stories about it from my own family. Many, if not most, of our ancestors in the 1960s and prior — from the North to the South and everywhere in between — cooked, cleaned, sewed, chauffeured, handled the interests of, and had a part in raising the children of white families. Most of us don’t want to be reminded, preferring instead to highlight past and current achievements of many highly accomplished African Americans in our community. So was this movie a proverbial push back in line and one of “knowing one’s place,” as the Old South would remind us? Or could it be a realistic portrayal of a not-so-distant time in American history?
Another issue raised by the film is this: Should Black people continue to be angry about Hollywood’s shortsightedness when it comes to making films that authentically reflect African American life? Or, should we simply be grateful and celebrate whenever African American actors do their jobs well, no matter the roles they’re given to play?
In an appearance on ABC’s The View, Ms. Davis talked about her initial reluctance to take on the role. “You knew there was going to be a backlash from the African American community,” she told Barbara Walters and the other ladies. “It is a story set in 1962 about maids who are not educated, and I thought that people would look at that and they wouldn’t see the work.”
Seeing the work for what it was, I appreciated the film’s artistry. After counting the few films of Davis’ I had seen, I read her filmography of 40 films to date, including titles like Law Abiding Citizen and Antwone Fisher, but also Tyler Perry’s Madea Goes to Jail. I wondered about the attention or lack thereof, garnered from Davis’ previous roles, like the characters she played as the BBF (i.e., Black Best Friend) opposite Julia Roberts in Eat, Pray, Love and Diane Lane in Nights in Rodanthe, providing a shoulder to cry on and mother wit, to boot. And let’s not forget Doubt, where Davis earned Oscar and Golden Globe award nominations for Best Supporting Actress. In that film, Davis played opposite Meryl Streep (again!), who was nominated for Best Actress. Surely, we all saw those movies. Didn’t we?
In that Facebook poll I conducted, some of my friends stated that African American directors should correct the problem of limited film choices for Black actors by creating films with great Black characters. While that’s an understandable sentiment, do we need to be reminded that it takes ambitious amounts of funding and the blessing of countless (usually White) Hollywood decision makers to get any type of movie made today? Hollywood finances what the majority of moviegoers will pay for (notwithstanding the bootleg copies of released films that probably sell exponentially above the few actual ticket sales at the box office). If Hollywood won’t fund the films we want to see, we get angry with directors like Spike Lee, John Singleton, and the Hughes Brothers for neglecting to make them (as if these directors owe us.) How many times have you heard people in our community complain about the latest gangsta film featuring do-wrong black characters? Rarely.
When Hattie McDaniel became the first African American actor awarded the coveted Oscar for her 1939 portrayal of Mammy in Gone With the Wind, we applauded even as she poignantly expressed her hope that she would “always be a credit to my race and to the motion picture industry.” Was anyone complaining then? Fast forward some 70 years later and many of us are complaining, as Tavis Smiley did on his PBS show, about Davis’ nomination.
During his interview with Davis and her Help costar Octavia Spencer (who went on to win the Oscar for Best Supporting Actress), Smiley remarked: “There’s something that sticks in my craw about celebrating Hattie McDaniel so many years ago for playing a maid … [and] here we are all these years later … and I want you to win … but I’m ambivalent about what you’re winning for.” The actress shot back: “That very mindset … that a lot of African Americans have is absolutely destroying the Black artist.”
As Hollywood continues to finance movies it deems profitable, we may continue to see characters like Aibilene Clark and the young, white, savior-esque character, Skeeter. And know that the majority of the Academy is White and male.
Whether refusing to support Black artists will contribute to their ultimate destruction, as Davis contends, is up for debate. But while you stand your ground waiting for Hollywood to showcase those artists in more desirable roles, think about supporting them in the meantime. Honor their attempts to make strides in a nearly impenetrable industry that still gives crumbs to Black and other minority actors, compared to the whole slices of cake the majority often receives.
GOOD GIRL GONE BAD BOY: Rihanna and Chris Brown perform during a 2008 concert. In 2009 Brown brutally assaulted Rihanna, his then girlfriend, on the eve of the Grammy Awards. (Photo: Lucas Jackson/Newscom).
As a woman who is closer to 40 than to 30, I’m a bit annoyed at myself that I’m writing about R&B and pop sensations Chris Breezy, aka Chris Brown, and his kinda former girlfriend RiRi, aka Rihanna, who just celebrated her 24th birthday.
But as a woman who has loved wrong more than once and has lived to tell about it, I feel I ought to offer my thoughts in the frenzied Internet discourse that has erupted following the recent musical collaborations of the abuser and the victim of his abuse. In case you are not an Internet fiend as I am or don’t have the music of Chris Brown and Rihanna on your iPod playlist, let me update you.
On Monday, Rihanna’s birthday, she, without the official backing of her music label, released via Twitter a remix to her sadomasochistic song “Birthday Cake” which features Chris Brown on the vocals. On the very same day, Chris Brown tweeted his remix to his song “Turn Up the Music,” featuring Rihanna without the official backing of his label. This would be oh-so twenty-something cute if Chris Brown would have not have assaulted Rihanna right around this time of the year three years ago on the eve of the Grammy Awards. And if their music reunion is not enough, it has been reported that the two are seeing secretly seeing each other again and have been for some time.
But for Chris Brown and Rihanna fans, their reunion, whether in public or private or both, is probably not a complete surprise. Although a restraining order was filed against Brown following the assault, last year the restraining order was reduced per her request, and the two began following each other on Twitter as well. And in her 2010 collaboration with rapper Eminem in “Love the Way You Lie” Rihanna co-signs on the dichotomy of pleasure and pain in an abusive relationship.
So what does a woman hopefully old enough to know better make of all us? The sometimes repentant celebrity gossipmonger in me is like, “That’s so juicy!” And to get people talking (and buying) may be their ultimate goal in these collaborations. But I don’t think that is all there is to it.
The woman who knows what is it like to choose someone who is not good for you is dismayed to see a young girl go through this life lesson so very publicly. To be clear, lest my parents read this somehow, no man has never, evah, evah laid his hands on me. But I have dated men that I knew were not the best choices — in spite of what others may have thought.
I’m not a star and so I’m not obligated to spill all of the details of my missteps, but I will reveal this: until the pain is greater than the pleasure of dating the bad boy, there is very little that can be done. I just hope that those who love Rihanna will pray that she be released from the seemingly magnetic force that is attracting her to Chris Brown before he shows his bad side again.
And it is not the first time that Rihanna reunited with Chris Brown. In an interview with ABC’s Diane Sawyer, Rihanna revealed why she went back to him AFTER the incident in February 2009. “It’s completely normal to go back. It’s not right. I learned the hard way, but again, this is what I want people to know,” she said. “When I realized that my selfish decision for love could result in some young girl getting killed, I could not be easy with that part. I couldn’t be held responsible for going back.”
And it’s not that I think Chris Brown is the devil or anything, but he was wrong and more plainly horrifically abusive. And while three years have gone by since the altercation, I’m not sufficiently convinced that Brown is truly repentant for his actions or even fully aware of the gravity of those actions. In spite of the incident, I wanted to root for Chris Brown because he’s cute, can sing, and can dance like Michael Jackson. But his meltdown on Good Morning America, where he reportedly broke a window at the television studio, ripped off his shirt and walked the streets of New York like some escaped animal after being asked a question about the Rihanna incident did not convey maturity or anger management. (He was ordered to take anger management classes following the incident.)
The truth of the matter is sometimes it takes a few bumps on the head — literally and figuratively — and counseling before you finally and truly understand that love does not inflict harm. A thorough examination of 1 Corinthians 13 wouldn’t hurt either. Hopefully, Rihanna and other women — both young and old — will learn this lesson soon enough to celebrate more birthdays.
DANGEROUS LOVE: Whitney Houston in 1997 with then-husband Bobby Brown. (Photo: Kathy Hutchins/Newscom)
Over the past week, we have been riveted by the tragedy of Whitney Houston’s untimely death. Accounts of drug use and a fallen icon have flooded the media. Yet, little has been said about how her self-professed faith may have contributed to both her downfall and eventual escape from an unhealthy marriage relationship.
In her last major interview with Oprah Winfrey in 2009, Whitney states that she stayed in the marriage, endured abuse and humiliation, and engaged in self-destructive behaviors in her effort to be a “good” Christian wife. No matter what happened, she felt she had to remain because as she quotes, “What God has brought together, let no man put asunder.”
Yet, Whitney’s statements about letting, indeed inviting, her husband “to take control of her life,” and that a wife must do whatever her husband says is not a new concept. In fact, the concept of women being required, as a matter of faith and faithfulness, “to submit” to their husbands in all things is the pervasive normative gospel preached in churches across racial, denominational, and geographical lines. Ephesians 5:22-24, which outlines a wife’s duty to submit, is often taught without context or nuance. Rarely is the verse above it, which says to “submit to one another,” discussed. Moreover, the last verses of the chapter, which make it clear that a man wouldn’t hate or hurt his own body, do not get much airplay in the church either.
This kind of uncritical, a-contextual acceptance of a half-developed theology leads many women to unconditional obedience to a man regardless of how he treats her, much like Whitney Houston. It rebuffs and chastises women who critically analyze its meaning much like slaves were chastised for questioning the ever popular scripture of slave masters, “slaves obey your masters,” (Col. 3:22). Both the Ephesians 5:22-24 and Colossians 3:22 texts are biblical since they do appear in the Bible. But both have the potential to be misused to oppress and disenfranchise whole groups of people. They’ve also been used to maintain the status quo of unjust power structures in society.
Moreover, in 2011, CBS News reported on a Glamour/Harris poll that found that “30 percent of women who have been in a relationship have been abused. Of that 30 percent, 62 percent were hit, 33 percent were choked or strangled, and 11 percent feared their partner would kill them. Even more shocking, another 30 percent of the women said they had experienced behaviors by their partners that can be categorized as abusive, whether they be emotional or physical.”
With this kind of data, it seems incomprehensible that the church would continue to simply preach the gospel of female submission without critical reflection and further context. It is also sad that we do not give equal attention to stressing that violence has no place in any dating or marital relationship. Finally, since 83 percent of Americans categorize themselves as Christians, according to ABCNEWS/Beliefnet, this is relevant to a huge portion of our population.
Yet, Whitney’s is not just a cautionary tale of how one’s theological premise can lead them to accept abuse, disrespect, humiliation, infidelity, and neglect. In the end, it was her faith that gave her the strength to finally realize that the God she believed in did not want her to continually make herself and her talent small, so that her husband could feel big.
AMAZING GRACE: Houston was baptized in the River Jordan near the Sea of Galilee during a Holy Land pilgrimage in May 2003. (Photo: Ygal Levi/Newscom)
Whitney recounts her mother’s prodding her, telling her that the life she was living with drugs, abuse, and chaos with then-husband Bobby Brown was not God’s best for her. According to Houston, her mother, a strong Christian, reminded her of God’s presence and power to bring her out. Whitney says in the 2009 interview, “I began to pray. I said, ‘God, if you will give me one day of strength, I will leave [this house and marriage].” And one day, she did. Much like Tina Turner left her husband, Ike Turner, with only the clothes on her back, Whitney Houston left her home and husband with only a change of clothing.
The transformative power of her faith can be seen in her public discussions. When asked by Diane Sawyer in 2002 what she was addicted to, Whitney rattled off a number of drugs and added that she was “addicted to making love [to Bobby Brown].” But when Oprah asked Whitney in 2009 who she loved, the singer said, “I love the Lord!” And it was that part of her faith that had her on the way to a professional comeback and personal redemption.
In the end, Whitney Houston did not conquer every challenge that haunted her. And none of this excuses the decisions she ultimately made for her life. She owned that. But to understand her life, it is critical that we analyze the thinking and theology that animated her decision-making and helped lead her to such a tragic place.
In the Christian tradition, good theology illuminates, liberates, and pushes us to be our best selves. Bad theology takes bits and pieces of scripture out of context and threatens any who has the audacity to ask questions or to critically analyze the paradigm put forth by those in power.
Whitney’s story is the story of millions of women. It is a cautionary tale that reiterates the importance of thinking critically even about matters of faith. It also invites remembrance of the core tenant of the faith, “For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life,” (John 3:16). A God who does not want anyone to perish in the afterlife surely does not condone them perishing at the hands of another in this one.
While casually scanning what’s new in gospel music releases on iTunes, I came across a gem. THR3E, Theory Hazit’s latest release, sounds like something you’d listen to back in ’95 while sitting on the porch of a Brownstone in Brooklyn. It’s a classic. I’ve yet to hear this sound from the Christian rap scene, so I made it my mission to find this guy and introduce him to you.
Stephanie LaFlora: What message were you trying to communicate with this album?
Theory Hazit: I was really just trying to define, or let everybody know that we’re human and that in order to do anything you need the Holy Spirit. It’s about being in a fallen world; we live in a messed-up world.
LaFlora: So were you in a dark place?
Theory: Yes, I would say it was a dark place. You know, searching; trying to come up out of a dark place and shine a light in a dark place. Exposing some dark things and bringing it to the light for people to see, reminding people that it’s still here and you can’t ignore it.
LaFlora: You do that a lot. I saw your video for the song “Concealed Sorrow.” It packs a pretty powerful and equally controversial message about homosexuality among Christians. Did you get good feedback from that?
Watch “Concealed Sorrow” video below:
Theory: I got a lot of good feedback and a lot of negative feedback, but not the type of negative feedback that you would think. The good feedback was cool. “Christian rapper makes song about something that’s not addressed all the time or that the church usually ignores.” The negative feedback is that it was on some gay websites, and they were looking at it like me defending them in the wrong way.
LaFlora: What were you trying to communicate with that song?
Theory: I was trying to communicate that we need to address that issue in love instead of waving our fingers like “OH, THAT’S AN ABOMMINATION!” We definitely need to address it in love because it’s still a struggle; no matter what sin it is, they need help too.
LaFlora: Your sound is one of the most crossover sounds that I’ve heard. Why Christian rap?
Listen to a “Old D3rty Hazit” from his new album below:
Theory: I believe it’s a calling. I grew up in the church and I strayed away from the church and I always prayed regardless of my situation, but I know Christian rap helps me in my walk. It helps other people as well. How other people receive it encourages me. Plus, I can’t really sing. (Laughs)
LaFlora: Do you think Christian rap has a suitable platform?
Theory: I think it does. I might catch some flack for this but I don’t think it should be called “Christian” rap.
LaFlora: What would you prefer that we call it?
Theory: I really don’t care, honestly. I understand why things are labeled; it’s for other people to identify. I totally get that, but I’m not the one to put a stamp on it because I give songs to the Christian market and I give songs to the general market and it’s the same stuff — they both dig it. I have Muslims saying they like it and people supporting me at my own church. If it were up to me I wouldn’t put any label on it. It’s hip-hop music; its just music to me. You don’t call Mos Def or Talib Kwali Muslim rap. They just do rap.
LaFlora: How do you measure success?
Theory: By being consistent. If there’s a demand for what you do, just put your material out there, and if people like it and demand it more … I measure it based on that. The opportunity for God to use you like that … God choosing you. I’ve been getting messages asking me how many records I’ve sold or how did the numbers do for my newest album and I told them I don’t know! I don’t know because I don’t care! The only time I’d be concerned about record sales is if I ran a music label. As far as being an artist, I just want to get out there and do what I do and come back home. (Laughs)
LaFlora: Do you feel like you’ve had the exposure that you want?
Theory: Honestly, I’m going to be real human right now and say I don’t think so. I think everything had its time. I think Extra Credit got really good exposure. It actually put me on the map. All the other stuff that I’ve done in between that album and this album, except for Lord Fire, didn’t really do anything. I felt like I was just making music and not really investing enough time into my projects or into my writing in order to be better exposed. And on top of that, people weren’t really doing what they were supposed to as far as getting the music out there. I just put it in other people’s hands hoping for it to do something. I think it will come in time as I continue to invest quality time into a project. Just make something really dope. It’s really all on me. It’s my fault that I’m not out there.
LaFlora: How does the gospel music industry respond to you? There are a couple of Christian rappers that are getting more exposure than in the past, like Mali Music, D.A. Truth, and people like that. How do you fit into that puzzle?
Theory: I don’t think I fit in that at all. Well, I think I do, but there’s a group of people that don’t think I belong there.
LaFlora: Why not?
Theory: I have no idea. Maybe it’s because I need to have a particular Scripture-based album? Maybe that’s what it is. Ultimately, I know what it is. I know that it’s God’s plan. I feel like I am one of the guys that are a bridge for rappers that are Christians and Christians that are rappers. I’m the in-between guy; I wouldn’t call it lukewarm, I’m just trying to bring cats together. I’m trying to do a song with D.A. Truth and then mess around and have him on a Dert beat. Dert is known for his work for The Tunnel Rap, and they were Christian rappers but they talked a lot about situations and how to handle them and not line for line out of the New Testament.
LaFlora: Perhaps, the industry does prefer more overtly scriptural lyrics, but you seem to enjoy doing you. How do you maintain your momentum?
Theory: It’s a desire; it’s a passion. If you love to draw, you’ll probably be drawing until you die. It’s really a passion I have. I love to do it. I love the challenge of making you like something.
Whitney Houston funeral guest shows his program to journalists (photo by Christine A. Scheller).
Whitney Houston’s family achieved the near-impossible for themselves and for her. They managed to hold a private “home-going service” for the superstar, and did so, in part, by graciously broadcasting that service to the world.
The setting was an unlikely one, dotted as the neighborhood is with abandoned and half-built buildings. An exceptional, appropriate silence prevailed throughout a wide perimeter around the church. Local gangs reportedly even called a truce in Houston’s honor.
When I spoke to Rev. Howard in preparation for my reporting, he expressed concern that fans would forget that, although Houston was a public figure, her untimely death is fundamentally a family tragedy.
“If people have any kind of dignity and compassion, if they truly love Whitney Houston in the best sense of the word, they won’t go clamoring at the church, knowing they have no invitation,” Howard had said.
Perhaps fans did, in fact, love her enough to stay away, because there were no crowds—only a couple hundred journalists, a significant police presence, and handfuls of fans keeping vigil several blocks away as limousines and luxury cars came and went.
The Rev. Dr. DeForest “Buster” Soaries, pastor of First Baptist Church of Lincoln Gardens, New Jersey, has known the Houston family for decades. He shared his memories of the woman he called “Nippy” at CNN.com and provided commentary for the network with Soledad O’Brien, Piers Morgan, and the Rev. Jesse Jackson as the service got underway.
When I spoke to Rev. Soaries Friday evening, he said his ministry to grieving families is informed by his own painful experience of having lost his father suddenly when he was only 24 years old. Because of his father’s stature as a minister in their community, other clergymen came to visit him and his family in the days after his father’s death. None sought to comfort or pray with him, he said. Instead they tried to influence who would preach the funeral. When the time came, minister after minister got up to speak until Soaries passed a note to the emcee saying the family would leave if these men didn’t stop their “foolishness.”
“It was clear to me that their presentations had nothing to do with my dad, nothing to do with the family, and everything to do with them seeing the church full of people, and this big crowd. They were motivated to perform rather than serve,” said Soaries.
Roberta Flack and N.J. Gov. Chris Christie pass a sign that flashed "We Will Always Love You" and "Whitney Houston" as they leave her funeral (photo by Christine A. Scheller).
Perhaps because they’ve dealt with sycophants for so long, the Houston family seemed to give the microphone only to those who would focus on their “Nippy” and her faith in God.
“You paid a tremendous price in life,” Bishop T.D. Jakes told Houston’s family as he began his remarks. “You shared her with the world and we want to take a moment and say thank you.” Yes, thank you so much.
Academy Award-winning actor Kevin Costner said he fought for Houston to play the leading role in her first film, The Bodyguard, and talked about the insecurities that both made Houston great and contributed to her decline. He said insecurities like hers are not unique among the famous.
Media mogul Tyler Perry said there were two constants in his friend’s life: “a grace that carried” and her love for the Lord. Quoting from the Apostle Paul, he said neither the height of her fame nor the depth of her struggle could separate her from God’s love.
“What then say you to these things?” said Perry. “If God be for you who can be against you? God was for her and she is resting, singing with the angels.”
Soaries said it’s important to focus on the positive aspects of a deceased’s person’s life because “there is some redemptive value in every life” and because doing so “helps counter negative feelings and the negative imagery of the dead body.”
This week a reporter told Soaries that sources who knew Houston kept saying, “Weeping may last for a night, but joy comes in the morning.”
“That’s poetry and, for some, it takes years for the morning to come,” he said. “There’s nothing in the Bible, either in verse or theology that suggests we get over death. Death is too unnatural. What the Bible promises is that God will help us get through it.”
In regard to Houston’s long struggle with drug addiction, Soaries told Piers Morgan that she “was surrounded by an environment of temptation” growing up and “had access to all kinds of things.”
“I would not condemn [ex-husband] Bobby Brown for Whitney’s struggles,” he said.
“I’m surprised to hear all these secular people talk about demons,” Soaries told me. “Once you claim Whitney or anyone was struggling against demons, then you have to understand that it’s not her struggle. All of us, therefore, are struggling against the demons that attack our vulnerabilities. When we are incapable of dealing with demons, that’s when God and God’s emissaries take control, which means that death for a Christian is deliverance from the attack; it’s not surrender to the attack.”
Houston’s struggle wasn’t unlike the struggles of a person who can’t afford to buy food, but buys lottery tickets every week, he said. “It’s the same problem … It’s not that drugs used by a superstar are any worse than gambling for someone on food stamps. Something attacks our vulnerability and causes us to behave in self-destructive ways.”
This is what journalists call the "coffin shot": Whitney Houston's casket being carried out of New Hope Baptist Church after her funeral (photo by Christine A. Scheller).
Rev. Howard went further in his assessment of Houston’s decline. He believes that she, like so many exceptionally talented artists before her, succumbed to an “occupational hazard.”
“Talented people are somehow caught in a cycle of demand for their services without regard for their humanity,” said Howard. “I think it’s a dance between the artist’s temperament and their vanity or ego and their desire to remain on top in a very competitive business. I think there are people who are around them, who suck their blood, so to speak.”
I felt like one of those people yesterday, showing up as I did to photograph and report on her funeral. Around me journalists jockeyed for shots of her casket being loaded into a hearse and for the inside scoop on why Bobby Brown abruptly left soon after the funeral began. Like them I took the coffin shot and reported what sources inside were saying about Brown because that’s what the world wanted to see and know.
“What is the social madness? What is the social need that makes us virtually deadened to the family hurt and pain of this loss?” Howard asked. He would have liked to see Houston singing into her old age like Etta James (who died last month at 74 years old) did.
“[James] had her own struggles, but she managed somehow to pull out of this,” he said.
Perhaps the great lesson to be learned from Houston’s unlikely funeral is the one her family — rooted as it is in community, church, and gospel — taught us. Artists like her generously share their gifts with us. They don’t belong to us. They belong to the people who love and nurture them through the heights and the depths of their lives, and who send them home with grace when their battles are done.
GOODBYE: Flowers and memorial tributes were abundant outside New Hope Baptist Church in Newark, New Jersey, where Whitney Houston's funeral was held. (Photo: Dennis Van Tine/Newscom)
There is no doubt that God was glorified on Saturday afternoon at pop icon Whitney Houston’s emotional homegoing service. Rev. Marvin Winans preached to nearly 1 million online viewers via UStream and millions more on CNN. If you followed the Twitter feed, it was as if the entire world sat down together for one powerful church service, and it was utterly beautiful.
There were performances from gospel singers Kim Burrell, CeCe Winans, as well as Stevie Wonder, Alicia Keys, and R. Kelly.
Watch Stevie Wonder’s touching performance below:
Watch R. Kelly’s performance of the song he wrote for Whitney’s final album, “I Look to You”
One of the most interesting takeaways was the power of God’s public glorification. Twitter was flooded with an overwhelming sense of humility and genuine appreciation of life. Though some expressed concern about a hint of “prosperity gospel” preaching in Rev. Winans’ eulogy, for the most part the twitterverse and blogosphere seemed genuinely stirred by the presentation of God’s Word. Many people tweeted that they hadn’t been to church in a while and that they were grateful to hear the Word today. Others seemed proud, like they were watching their favorite team playing in the Super Bowl. God was #winning.
God’s presence is so real, so tangible that it can be delivered even via the Internet. But there’s something about corporate worship that brings believers and non-believers to their knees. I am grateful that Whitney’s family didn’t allow Hollywood to dictate the service, and I am certain today that God was pleased. To God be the glory.
