How many of you remember the song Trade Winds? Some of us might hear Randy Crawford in our heads as we look at the words; some of you younger ladies might hear The Winans.
Here I stand looking, looking around me
While all around me, what do I see?
Unhappy faces behind a painted smile
Heartache and loneliness dressed up in modern style
Unhappy people livin’ in sin and shame
Reflections of myself, life is no easy game
We’re caught in the trade winds, the trade winds of our time.
Randy Crawford (pictured above) released her version of Trade Winds in 1981. The song was also covered by Roberta Flack and Lou Rawls. (Photo courtesy of israbox.com)
There’s no indication that this song was intended to be a “Christian” song, but I hear the call of God in it as surely as I hear His call to Moses at the burning bush, or His call for justice and unity through Dr. King’s Dream. As each of these men were, we are now today living in a time that is ripe for action because it is rife with opposition to the word and will of God.
When I look all around me, I, too see so many things. When I look out my back door, I see young men sending up smoky tendrils of hopelessness as they puff their lives away with cigarettes, both legal and illegal. When I look out my front door, I see women and families going through the mundane routines of life, and when we say “hello” I see the fixed glaze of people who have resigned themselves to a certain existence. When I look across the pews in my church, I see people who raise their hands in worship but who sometimes seem uncomfortable extending their hand in fellowship. I also see those who are fervently seeking God for how to make a difference in the world around them. I hope to see more of those people.
When I look at Christian websites and media, I see us catering to the temporal, fleshly part of ourselves by showcasing the talented, the beautiful, and the up-and-coming, rather than the needy, the lonely, and the down-and-out. Do we have anything to say to those who need a friend, to those whose marriages are sinking fast, whose children are God knows where doing God knows what with God knows whom? Is there a Word stored in our hearts that can penetrate the weary and sin-sick soul of that mother of three in prison for the second time? Or can we only repeat what we read in the pages of our Essence magazine, recite lines we heard in the latest Tyler Perry flick, quote language from Michelle Obama’s last public appearance, or maybe cite one of those “sayings” we heard our stylist borrow from her mother during our last visit to the salon? Sisters, we need to give more because our times demand more. Nothing short of the gospel will bring a change.
When we look around the media and read other women’s explanations for why we are still sleeping with our boyfriends – or girlfriends for that matter – do we not hear God’s call to to act? Does His Spirit, whom the Bible tells us knows the mind of God, not remind us that He is holy yet forgiving? A Washington, DC minister, in response to the issue of many Christian singles being sexually active, is described in Essence magazine as encouraging black Christian women to “embrace both sides of their nature [sexual and sanctified] by recognizing all people are sexual and many church practices are from a different time.” Do we have a response to that? Can we tell anyone that God designed sex to be experienced between a husband and wife and that if we are experiencing it some other way, our experience is contrary to what He wants for us? Does anyone have the courage to further explain that if a woman is not now living up to that standard, God forgives and can empower her to live according to His will going forward? And when we are chided for being out of touch can we brave enough to echo 1 Thessalonians 4:8 – “anyone who refuses to live by these rules [regarding sexual sin] is not disobeying human teaching but is rejecting God”? Or are we joining the chorus of other voices excusing sexual misconduct based on arguments citing the “complexity” of our lives?
Sisters, when we look around at the women in our families, the women with whom we work and play, and we see slumped shoulders too accustomed to carrying the weight of their worlds, do we know how to tell them of God’s sufficiency for their struggle, and that they can rest in His strength? Or do we simply become the company that misery loves by telling them to “be strong and keep it moving”? Where is the demonstration of the remedy we carry within us? What has happened to the power of the gospel we say we believe? Could it be that we are speaking one of those “other gospels” that has the power to manipulate but is powerless to change us? Our brothers, sisters, children, bosses, preachers, doctors, celebrities, and politicians need to know Jesus. They need His strength, wisdom, compassion, and grace. We are in a unique position to lead them to Him. We have been at the bottom of this country’s social, economic, political, and ecclesiastical structures forever. We know the sting of gender and the stigma of color, but our weaknesses qualify us to be vessels through which His power can flow. It’s time for us to live boldly in that power so that people can see the difference it makes in their lives to know and trust God.
“She must be loosed from her bands and set to work” – Anna Julia Cooper, A Voice from the South (Photo courtesy of cooperproject.org)
If we need inspiration, we can look back a couple hundred years or a couple thousand years. Anna Julia Cooper of the post-reconstruction era black clubwomen’s movement put in perspective our need to rise:
Now the fundamental agency under God in the regeneration, the re-training of the race,…must be the black woman. With all the wrongs and neglects of her past, with all the weakness, the debasement, the moral thralldom of her present, the black woman of today stands mute and wondering at the Herculean task devolving around her. But the cycles wait for her. No other hand can move the lever. She must be loosed from her bands and set to work.
What are these bands that bind us? Consider the strongest one. Our color, rather than being a prism reflecting the beauty, power, and tenderness of Jesus, has become a cord that ties us to people and ideologies which oppose Jesus and His teaching. Christ has become subject to color. Thus have we forfeited the very source of our true power. When faced with opposing positions we almost always choose the one with color at its foundation. Consider poverty. Policies targeting poverty are almost universally based on ties to color. We’ve heard the reasoning that blacks are in poverty primarily because they are black. Yes, color-based discrimination is a factor, but the Bible also speaks of several other reasons people end up in poverty, not the least of which is their relationship to, or rebellion against, God. We rarely acknowledge any of the biblical reasons; yet we without fail heartily embrace the solutions which put race at the heart of a problem. Similarly, if a person whom we hold in high regard ascribes to ideas directly opposed to the word of God, we often vocally support him/her, justifying ourselves by pointing out the need for blacks to advance in society. In these ways and many others, color is our governing allegiance, relegating the supremacy of Christ to the back of the bus.
Our color alone can’t save anyone, relieve anyone’s suffering, or provide a solution to their generational bondage. But our color nailed to His cross and taken up as our cross allows us to enter into the fellowship of His suffering through the shame and rejection that comes because of our color. And if we are partakers with Him in suffering, we are also beneficiaries of His resurrection power. It’s time we brought this power to bear on the entrenched problems of our communities and our world. Sisters, let us be loosed from this band and set to work. Let us no longer stand mute wondering at the task before us. The voices of the white and black feminists, the white female conservatives, and the new black atheists are being heard. Now it’s our turn. Let the voice of the black Christian woman rise as we contend for the faith that has been given to us once for all time.
I have a confession to make. You might want to sit down for this: I am a young Black woman and I enjoyed the filmThink Like A Man.
Whew. Feels good to get it off my chest.
I’ll be honest, when I first heard that there was a film slated for 2012 based on the book, I did the obligatory eye roll and didn’t expect much. The past few times I made the grudging trek to the theatre to see movies with predominately Black cast — primarily so that I could keep my membership in the Black community — I was mildly disappointed. I say mildly because I have sadly grown to expect very little from Black movies. In real life, I find my community to include a wealth of comedic talent, natural artistic abilities, an eye for concepts that are abstract and often complex, and yet … on screen it seems that we often fall flat.
Nevertheless, Think Like a Man (TLAM) was everything you wanted a romantic comedy to be. It was witty, keen, and resonated for me as a young unmarried woman in her late 20s. I kept whispering to my best friend, “This is hilarious … This is so on point … This is so true!” He agreed.
But of course, EVERYONE doesn’t agree. Rahiel Tesfamariam, the founder and editor of Urban Cusp (a website I deeply respect), posited that TLAM served up “patriarchy with a smile.” Rahiel writes:
… Harvey, Tyler Perry, T.D. Jakes and countless others are making millions branding themselves as cultural gurus who understand the plight of black women.
Only a patriarchal mind set would constantly paint women with stereotypical, pathological brushstrokes and serve it up as digestible truth. As if real-world paternalism wasn’t enough, we can also have it to look forward to in black cinema.
She goes on to outline the four stereotypes of Black women found in the movie: the single mother, the promiscuous Jezebel, the never-satisfied control freak, and the emasculating powerful executive.
The problem here, though, is the article forgets the purpose of a romantic comedy. Have you ever seen a good rom-com where the women and men in the movie don’t have some serious flaw? That’s the whole point! Let’s break down these alleged stereotypes:
1. Single Mother – I’m not sure if “single mother” is a stereotype or if it’s a reality for many women, of all races. I’d be more inclined to believe that Regina Hall’s character was a stereotype if she were irresponsible, unable to care for her child, and dependent on welfare. But she wasn’t. She was the mother of one child who balanced healthy friendships, relationships, and a career. She was a single mother you’d be proud of!
2. Promiscuous Jezebel – Meagan Good’s character, Maya, just doesn’t fit this stereotype. She’s only shown sleeping with one man prior to her onscreen counterpart, Zeke. If anybody was seen as promiscuous, it was the man she was sleeping with who failed to remember her name and left the morning after. Was she more trusting than she should have been? Possibly. Promiscuous. Not sure on that one.
3. Never Satisfied Control Freak – I’m having trouble with the premise that Gabrielle Union’s character fell into this stereotype. She wanted the man she was dating to improve his career and commit to her…. Where’s the control freak part? Furthermore, when attempting to remodel their apartment, she asked for his input prior to making any decisions and only proceeded after he passed the reins over to her. Yeah, calling her a control freak is quite a stretch here.
4. Emasculating Powerful Executive – Here is where I can concede that there was a possibility that Taraji Henson’s character, Lauren fell into a stereotype, just not the one that Rahiel pointed out. What stuck out for me wasn’t Taraji’s power role, it was her ridiculous expectations for a man. She expected him to have a certain kind of career, pedigree, and power. The sad part is, while this is a stereotype, it’s one that I see in real life, much too often.
I’d be more inclined to believe that men are stereotyped in the film more than the women. You have:
1. The Reckless Rebounder – Kevin Hart’s character, Cedric, is the recently separated man who leaves a good woman he loves and embarks on a tour to get back on the dating scene and do nonsense in strip clubs.
2. The Playa – Romano Malco’s character, Zeke, is the ultimate player who wines and dines women, sleeps with them, then disappears.
3. The Mama’s Boy – Terrence J’s character, Michael, plays the ultimate cliché, the adult male who can’t quite let go of his dependence on mama.
4. The Normal White Guy – Gary Owen’s character, Bennett, is the White friend who has it all together and is in a happy marriage.
Unfortunately, though, calling out TLAM’s stereotypes of men doesn’t appear to fit in Rahiel’s overall theme that Steve Harvey and the film’s producers are serving up patriarchal ideals.
One other criticism lobbed at TLAM, not only by Rahiel but by others, is the lack of a spiritual message or any discussion of faith. In her commentary at The Washington Post, Rahiel says:
Matters of faith have historically been so deeply embedded into the black American psyche that’s its practically dishonest to reflect black women navigating concerns about love, family and careers without any substantive “God talk”…. Maintaining centrality in the character’s lives by providentially coaching them through life’s most important decisions, Harvey symbolically played the role of God.
Wow. Considering Steve Harvey’s frequent and often Tebow-like references to God in his comedy and on his radio show, I’m sure he’d be offended by the statement. As a Christian, though, I understand why matters of faith may have been strategically left out of the movie. A good portion of the movie centers around the “90-Day Rule,” in which Harvey posits that women should not have sex with a man until after 90 days of dating, because a good man who respects you will stick around for that long to “get the cookie.” The Christian perspective as outlined by the Bible, however, is in direct conflict with this advice. Sex outside of marriage is simply not an option for committed Christian couples. Steve Harvey knows this. And there clearly are contradictions inherent in his “God talk” and “relationship guru” personas. I cannot defend him on that. But this film is a separate matter, and I think viewers should judge TLAM for what it is, not what we want it to be.
How exactly could a movie with such a heavy focus on Steve Harvey’s 90 Day Rule also expect its characters to rely heavily on spiritual themes or guidance? If the characters did that, then they’d toss the book and its advice in the trash, and we would never have had a premise for this hilarious film that gives us something relevant to talk about with our friends.
In short, expecting a movie that does not purport to represent Christian values and themes to include references to “matters of faith” is a bit odd.
Think Like A Man is a keen, entertaining film with characters that I recognize from my daily life, but I believe many people expected it to suck — and probably for good reason. Unfortunately, when you start with low expectations, there is opportunity for self-fulfilling prophecy to take hold. You assume the movie is going to have you up in arms, so you find a way for the movie to, well, have you up in arms.
Give it a chance, if only for the lively discussions afterward.
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.
There was a girl named Alicia who said her dad had abandoned her and her siblings years ago, but he showed up for her brother’s wedding. When there was a break in the festivities, she and her sister took him to see Courageous. They were sitting in the theater watching the film and her dad began to cry. During the film’s climatic church scene, where men are urged to declare their commitment to become better husbands, fathers, and leaders, Alicia’s dad stood up alone in front of the whole theater in response to the film’s virtual altar call. Soon, other men stood up in front of their seats. Alicia and her sister began to cry. That moment, she said, was the beginning of a needed healing process for her entire family.
In Panama, 700 police officers gathered from across their nation to watch Courageous because they had heard so much about it. When they left the theater, they couldn’t stop talking about how they could follow the film’s call to action and sign a resolution to be men of honor. They said they could change Panama if government servants like them would operate in integrity.
There was a soldier who had served in Afghanistan. He’d gotten hooked on a pain medication that caused him and his family to fall quickly into a downward spiral. He watched Courageous then called his wife and said, “I have to do the courageous thing to save my family, so I’m checking myself into rehab. I now have hope.”
A man had blocked out of his mind that he had fathered a child out of wedlock when he was in college. Now decades later, after seeing Courageous, he realized he needed to reconnect with that child. “God wants to turn the hearts of children back to their fathers and fathers back to their children,” he said.
These are four of the over 320,000 Facebook posts written as a result of people, especially fathers, seeing the film Courageous and sharing their life-changing stories. After a successful four-month run in theaters last fall, Courageous was released on DVD and Blu-ray Disc last week.
SENDING HOLLYWOOD A MESSAGE: 'Courageous' producer and Sherwood Pictures co-founder Stephen Kendrick.
Stephen Kendrick and his brother Alex, both ministers at Sherwood Baptist Church in Albany, Georgia, are the filmmakers behind Courageous; the brothers co-wrote the script, Stephen produced, and Alex directed and starred in the film as police officer Adam Mitchell. The Kendricks, whose film company Sherwood Pictures previously produced such features as Facing the Giants and Fireproof, have become the Tyler Perrys of evangelical Christian movies, creating immensely popular films on a relatively small budget.
Courageous, in fact, was more successful than Fireproof in its first weekend, grossing $9 million ($2.2 million more than Fireproof), making it the No. 4 movie the week of its debut, and No. 1 if you take into account that the film opened against movies with three times as many screens as Courageous and budgets 20 times more than its $2 million production cost. The film went on to gross $34.5 million at the box office.
God Opening Doors
Stephen Kendrick can’t help but be pleased with the success of Courageous, but contrary to what some might think, he did not go on a wild spending frenzy or flaunt his success as a sign of his arrival in the big time. Instead, with each success he’s become more humble. Kendrick is quick to assign the credit for Sherwood Pictures’ good fortune to God’s answer to fervent prayer. From their first movie, Flywheel (2003), which was produced with $20,000 and ran successfully for six weeks at a single location in Albany; to 2006’s Facing the Giants, which was made for $100,000 and grossed $10 million; to 2008’s Fireproof — $500,000 budget, $33 million gross; and now Courageous, Stephen says it has been God who has opened doors.
Starting with the backing of their church of the movie ministry, and later the backing of Provident Films and TriStar Pictures, success still means giving back to God through supporting their church, their families, and others, with the aim of bringing attention to God’s message of hope.
Kendrick says their goal is to keep improving, and to a large degree they have made much headway in their efforts to do so. However, the stinging reviews of critics such as Rotten Tomatoes, the L.A. Times, and New York’s Village Voice hangs in the air. Stephen, in his customary humility, addresses the critics of Courageous this way: “People don’t need to be afraid of critics and criticism, because sometimes they are your best friends to help you realize how you can grow and how you can do better. When we have read reviews, whether on Rotten Tomatoes or Christian websites, and have seen consistent trends where different people are noticing the same things, then we know that we have to address those issues.”
At the same time, says Kendrick, some of the reviews were clearly anti-Christian anything, good or bad, or so far in leftfield that they did not bear much thought. However, one of the recurring criticisms of the film, from both secular and Christian reviewers, was that it was overly preachy. Kendrick doesn’t back away from that critique.
AS FOR ME AND MY HOUSE: In 'Courageous,' Ken Bevel portrays Nathan Hayes, a dedicated police officer trying to avoid the mistakes his absentee father made.
“Every movie preaches,” he says. “The religion of the world is externalized in their art, you look at James Cameron’s movie Avatar; he’s preaching a message about environmentalism and saving the earth. In our situation, when people know that we are Christians, they automatically are super hypersensitive for any kind of [religious] messages to be in the movie, especially when we have been didactic or use dialogue more than imagery to convey the message.”
The charge that the movie “unabashedly preaches to the choir” is right on target, Kendrick says.
“We do want to preach first to the choir, because the church doesn’t need to tell the world to get their marriages together if we don’t have our marriages together. We don’t apologize for it because we believe that God has led us in that direction. Our number one audience is the church. If you look at the way Jesus taught, he taught parables to the masses and the messages were embedded or hidden in the storyline, and then he taught by preaching, like the Sermon on the Mount, up front and overt to his audience. Our movies have been more like the latter. We’re not against doing the symbolic parable type movies, and if the Lord leads us that way, we’ll do it.”
Aiming for Eternal Fruit
Criticisms notwithstanding, overall audiences viewed Courageous as a life-changing film — not simply one that will prompt an emotional buzz and a superficial tear, but one that truly gives viewers, and especially men, something to think about in their personal lives.
And although Kendrick would love to see Hollywood take note of Sherwood Pictures’ success and begin producing more positive fare, his primary aim is to transform souls.
“Eternal fruit is our ultimate goal,” he says. “We pray for fruit that remains. Movies will come and go. Sending a message to Hollywood, or seeing Hollywood make more redemptive movies, those are nice secondary benefits. But our hope is that people will find a relationship with God through Jesus Christ.”
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As a young, educated, and professional Black woman, I stand on the shoulders of giants. I was able to graduate from the United States Naval Academy and serve as an officer in the United States Marine Corps thanks to heroes like the Tuskegee Airmen who paved the way before me. That’s why I’m thankful that the next generation will be able to experience glimpses of their story in this weekend’s opening of the movie, Red Tails.
Red Tails is inspired by the true story of the Tuskegee Airmen, who served as America’s first black aerial combat unit. This movie took nearly 23 years to complete and it’s a story that needs to be told. The reality of bringing this movie to the big screen is due in no small feat to the tenacity of producer George Lucas (Star Wars), who financed the project with $93 million of his own money.
Lucas started out consulting with 40 Tuskegee Airmen and that number has now dwindled to seven. Lucas was determined to get this project to the big screen before all of the Tuskegee Airmen died. Thanks to his work with director Anthony Hemingway, they have produced what has been labeled a World War II action movie with the most special effects of any film of this kind. The special effects in Red Tails are on par with films such as Lucas’ most recent Star Wars films and James Cameron’s Avatar, which means it doesn’t get much better.
LUCAS and LEGENDS: George Lucas (far left) stood with surviving members of the Tuskegee Airmen last fall as they were honored during a University of Southern California football game. Lucas consulted with 40 different Airmen during the making of "Red Tails." (Photo: Tony Leon/Newscom)
What do you have to look forward to? For the first time ever, this is not an action movie with one token person of color. Lucas and Hemingway have lined up an all-Black leading cast, including longtime fan favorites Terrence Howard (Col. A.J. Bullard) and Oscar-winner Cuba Gooding Jr. (Major Emanuelle Stance), with R&B singer Ne-Yo (Andrew ‘Smoky’ Salem) even taking a role. Rounding out the crew is Nate Parker (Marty ‘Easy’ Julian), whom you may remember from The Great Debaters; British actor David Oyelowo (Joe ‘Lightning’ Little); Michael B. Jordan (Maurice ‘Bumps” Wilson); and Elijah Kelley (Samuel ‘Joker’ George). Besides being talented actors, these men are also easy on the eyes, ladies.
Producing this movie was an uphill battle, as Lucas fought against the grain. Hollywood continued to reject the viability of selling a “black” action movie. But this is not just a Black movie that appeals to Black people; this is an American story about American patriots, military servants, and heroes who happen to be Black people.
Unfortunately, so many of the stories of Black history have been lost or rewritten over the years, allowing others to take credit for our work and contributions to this great country. We need to remind Hollywood, the media, politicians, and other leaders of what we have done. It’s not okay to narrow the focus of contributions of African Americas to a select few leaders who have changed the history of this country and made it what it is today. The foundation for much of America’s success as a nation was built on the backs of Black folk.
Now is an opportunity to celebrate our contributions. George Lucas’ vision for this project is to provide real heroes for young African American boys. I share his vision, and it is my hope that this movie rekindles conversations for our young boys and Black men about what they can be and do.
I hope this movie presents another opportunity to reinforce the importance of self-respect, goal setting, character building, persistence and hard work, and prioritizing education. This movie puts the names of real heroes on the lips of our children so that they go to the books and read the true stories. We have to stop the cycle of youth solely idolizing ball carriers and musical artists — some of which have spent more time in jail or tattoo parlors than they ever did in school, at home with their kids, or honoring the women in their lives. All athletes and artists aren’t bad, but we certainly need to expose our children to more engineers, doctors, entrepreneurs, and military servants (those who continuously give of themselves to make other people’s lives better).
Now is the time to show Hollywood that your money is green. Show Hollywood that great movies telling great stories that feature a predominately African American cast can explode at the box office during their opening weekends, and Tyler Perry does not have to produce them.
Red Tails opens tomorrow in theaters everywhere. Let’s get out to the theaters this weekend and show Hollywood that Black America wants more films like this! Take your friends, family, congregations, and kids. (Note: This movie has a PG-13 rating for some war violence.) See the movie once, twice, or three times, and then talk about it! Also be on the watch for Lucas’ two-hour documentary about the Tuskegee Airmen on The History Channel.
Let us know your thoughts on Hollywood’s claim that Black moviegoers will not support this type of film. Then let’s prove them wrong.