Sneaker Stories

Kyrie Irving honors late mom with latest charity sneaker

Proceeds from sales of the shoe to benefit groups in New Jersey and the Dakotas

When Kyrie Irving stepped onto the floor of the United Center Wednesday night, he was carrying a piece of his family with him, honoring his late mother Elizabeth Irving with the latest “I Love You Mom” edition of his Nike signature series.

Part of a collaboration with Jersey City, New Jersey-based boutique Sneaker Room and owner Suraj Kaufman, the annual tribute shoes honor Irving’s mother and Kaufman’s mother, Ellen. Each year, 100% of the proceeds from the sneaker launch go to community programs and organizations in New Jersey as a joint tribute to their late mothers.

On the Kyrie 3, 5 and 6, the shoes often had a white, red and black color scheme, with a floral pattern and heart icon graphics throughout the design. The first pair also incorporated a polka-dot collar lining, inspired by a blouse worn by Elizabeth Irving in a portrait.

For this year’s Kyrie 7s, the group wanted to go with a new approach.

“We had gone with the aspect of gold, love and white, and those natural colors when you think of loving your mother and flowers,” said Kaufman. “This year, we wanted to take it to another level. Kyrie, being part Native American and doing so much with Standing Rock, the tribe that his mom belonged to, we were talking about mothers and how we come to be: Mother Nature. Mother Earth.”

Two different pairs of “I Love You Mom” Kyrie 7s will be released on the SnkrRoom.com website next week, both in mismatched red, blue, green and yellow colors inspired by the four elements of fire, water, earth and air. On Wednesday night, Irving laced up an even more limited “Friends & Family” edition — only a handful of pairs were made — in light violet, teal and purple to unveil the newest theme. The debut date was chosen, as it is the birthday of Irving’s sister, Asia. He’s expected to don the mismatched editions on Monday.

“Elizabeth isn’t just Kyrie’s mom, she’s Kyrie and Asia’s mom. That really tells part of the story,” said Kaufman. “It’s not just about Kyrie Irving, it’s not just about [me], it’s a family project.”

Over the years, the four launches are estimated to have generated more than $500,000 that was donated to the Jersey City Medical Center, local Boys & Girls Clubs and several other organizations. This year’s launch will also benefit the Standing Rock Sioux Tribe in the Dakotas that Elizabeth Irving belonged to.

After signing with the Brooklyn Nets as a free agent in 2019, Irving, who lives in New Jersey, outlined how impactful the return to his home region could be.

“It’s always been bigger than basketball for me. And it will always continue to be,” he told The Undefeated. “I represent so many diverse communities, and because of that, I knew that a lot of my connections and resources and relationships were gonna be even more of an impact here at home.”

When Kaufman was initially approached by Nike brand specialist Sadat Kinley to work on a sneaker collaboration, his first idea was to tie together his and Irving’s New Jersey roots.

“We were doing a shoe based on Jersey. Jersey flag, Jersey colors and environment. Jersey landmarks,” said Kaufman. “Sadat was like, ‘Suraj, go deeper.’ He was like, ‘You always talk about losing your mom. Ky lost his mom too. That’s the tie.’ ”

With that connection serving as the inspiration, a key component of the giveback has been providing resources for the neonatal intensive care unit at the Jersey City Medical Center. Specifically, a series of “Giraffe” devices, a specialized incubator for premature infants, have been acquired for the unit.

“I’m a kid from the projects, and I’m on the board at the hospital now!” Kaufman said with a smile. “We’ve brought a different twist. When they think about fundraising and they think about projects for the hospital and the community, it’s always the same old, like a golf outing. … They like that we’re coming in with a fresh idea.”

Each year, the shoes have become a favorite of Irving’s for games. Ahead of his midseason return to the Nets on Jan. 5 in Indiana, Irving broke out the “I Love You Mom” Kyrie 3s for pregame warm-ups, a nod to the 2017 starting point of the series.

Around the league, the shoes have been spotted on players such as Sacramento Kings guard Tyrese Haliburton, who wore them to honor his mom’s birthday. In the sneaker community, the theme has become a coveted collectible because of its added meaning.

“It’s not the NBA guys, because they have access to shoes,” said Kaufman. “To me, it’s more the stories that we get in our DMs [direct messages], on my personal page or on the store’s page, of people reaching out and saying, ‘This is why I bought the shoe.’ ”

For this year’s shoe, the left heel reads “In Honor Of,” with a blank line along the right heel for the wearer to add a personalized tribute. For the first time, the shoes will be made in expanded sizing beyond the typical men’s 7.5 through 15. Pairs will be made in unisex sizing down to a size 3.5, to enable moms, kids and full families to wear them.

With Suraj Kaufman (left), Kyrie Irving (right) reacts to seeing the “I Love You Mom” Kyrie 7s for the first time.

Suraj Kaufman

As Kaufman proudly points out, people buy the shoes with the excitement of contributing to the cause.

“What’s really crazy about these shoes is we don’t sell them for the actual retail price that the shoe goes for,” he said. Irving’s signature Nike line is typically priced at $130 per pair.

This year, 1,996 pairs of the mismatched green and yellow edition will be released for $175, a reference to the year in which Elizabeth Irving died from organ failure when Kyrie was 4 years old. Another 525 of the orange and blue pairs will be released for $250 each.

“When you purchase these shoes, really understand that you’re part of the process. You’re part of the impact,” said Kaufman.

Since first kicking off the “I Love You Mom” program in 2017, Sneaker Room now has branched out to also launch its own nonprofit, the Sneaker Room Foundation. The store’s website leads with a banner image reading: “Uniting the world one sole at a time.”

“This shoe is something that gives hope. It’s so much bigger than a shoe, and so much bigger than any one individual,” said Kaufman. “The impact is to see more stuff grow from our city and to our youth.”

Nick DePaula is a footwear industry and lifestyle writer at The Undefeated. The Sacramento native has been based in Portland, OR, for the last decade, a main hub of sneaker company HQs. He’ll often argue that ’How To Lose A Guy In 10 Days’ is actually an underrated movie — largely because it’s the only time his Sacramento Kings have made the NBA Finals.

This Story Tagged: NBA Kyrie Irving Nike Brooklyn Nets Sneaker Stories “I Love You Mom” Kyrie 7
An Appreciation

From Miles Davis to Biggie, James Mtume was a Renaissance man of music

Best known for ‘Juicy Fruit,’ the Grammy winner was respected across the musical spectrum

James Mtume defied categorization. During his five-decade career, the Grammy-winning jazz percussionist was a songwriter, producer, bandleader, radio talk show host, political activist and the musical foundation of arguably hip-hop’s greatest rags-to-riches anthem. Indeed, the Philadelphia native, who died Jan. 9 at 76, was a disruptor even as a child.

“The first time I realized my musical tastes were a little different than the rest of the kids?” Mtume recalled during a 2014 Red Bull Music Academy interview. “I remember I was in sixth grade and everybody had to bring two records. I brought Frankie Lymon, ‘Why Do Fools Fall In Love,’ and then I brought Miles Davis. The kids, everybody, was really getting off with Frankie Lymon. When they put Miles on, it was like Dr. Death had come in the room [laughter]. Then it was that I realized jazz was an acquired taste and I was very fortunate to have been born in that environment. It’s almost like having both worlds to draw from.”

Mtume would later play a prominent role in Davis’ excursion into fusing jazz with funk on the groundbreaking (and polarizing) 1972 album, On The Corner. The jazz giant praised Mtume in his 1989 autobiography, Miles, for helping his young unit sound Blacker.

Trumpeter Miles Davis (center) performs with percussionist James Mtume (right) at the Montreux Jazz Festival in Montreux, Switzerland, on July 8, 1973.

David Warner Ellis/Redferns

“With Mtume … and Pete Cosey joining us, most of the European sensibilities were gone from the band,” Davis said. “Now the band settled down into a deep African thing, a deep African American groove, with a lot of emphasis on drums and rhythm, and not on individual solos.”

Mtume spent a lifetime expanding the boundaries of music. During a memorable 2010 debate at the Amistad Center for Art & Culture in Hartford, Connecticut, with critic Stanley Crouch, a jazz purist, he passionately pushed back against Crouch’s dismissal of Davis’ electric period as the trumpeter’s blatant pursuit of selling out.

“We would play a sold-out concert … young people were starting to gravitate to that music,” Mtume recalled of the scene sparked by Davis’ 1970 jazz-rock fusion album Bitches Brew. “But [Miles said] we are losing young Black people. He said I want to fuse the music that would also draw them in. See, for some reason when you start to do contemporary music, it’s almost like you reduce … well if you are doing something popular, it’s some kind of way more trivial. The thing is [Miles] wanted to reach that. And he wanted to bring more young Black people in. And that’s what started to happen when On The Corner came out.”

The restless spirit switched lanes in 1983 with his self-titled R&B band, Mtume. The group scored a No. 1 Billboard Hot Black Singles with the sparse, drum machine-propelled “Juicy Fruit.” A little over a decade later, Mtume’s platinum-selling radio hit would be sampled liberally on one of the Notorious B.I.G.’s debut singles, “Juicy.”

Mtume recalled his first meeting with then-Bad Boy Records honcho Sean “Puffy” Combs and an unknown Christopher Wallace brokered by Uptown Records CEO Andre Harrell. “So Biggie came in and we hugged,” Mtume recounted during an appearance on Sway’s Universe a few years back. “[He was] a sweetheart, man. So Puff says, ‘I want to sample ‘Juicy Fruit’ … Puff and I worked it out. He said, ‘You get a dollar, I get 50 cents.’ Why was that deep? Because back then a lot of the cats that was creating the music wasn’t getting paid.”

Like many musicians of his generation, Mtume believed artists deserved to be compensated for their sampled work during rap’s golden era. “If you are going to use somebody’s music, you got to pay ’em or put your own music on it,” he said. “That’s like if I took your rap and put it on top of my song … that don’t make it my song. That’s our song.”

Mtume’s music would go on to be looped by the likes of Jay-Z, Nas, Redman, Lil’ Kim, Jean Grae, Common and Fat Joe. Unlike some of his old-school peers, he saw hip-hop as a viable art form, crediting his son with helping him learn how to listen to the counterculture soundtrack. Mtume even likened Public Enemy’s “Bring The Noise,” a 1988 track exploding with a complex collage of patchwork sounds to the harmonic dissonance of jazz pianist Thelonious Monk.

This was high praise from the son of legendary saxophonist Jimmy Heath. Born James Heath Jr., Mtume was raised by his mother Bertha Forman and Philly pianist James Forman. “Just imagine, you’re 9, 10 years old and there’s Dizzy Gillespie, Thelonious Monk, Sonny Rollins,” Mtume said of a household frequently visited by a who’s who of jazz royalty.

While Mtume was blessed with the musical gene, he was also a standout swimmer who attended California’s Pasadena City College on a scholarship. While there, he became immersed in the late ’60s Black Power movement, joining the US Organization, led by activist Maulana Karenga, who would go on to conceive the Kwanzaa holiday. This was the period when James changed his last name to Mtume (which means “messenger” in Swahili).

In 1969, Mtume made his album debut on his uncle Albert “Tootie” Heath’s Kawaida, featuring Herbie Hancock and Don Cherry. In 1972, he released his Mtume Umoja Ensemble band-led record Alkebu-Lan: Land of the Blacks. Mtume recorded and toured as a percussionist working with Davis, McCoy Tyner, Rollins, Ramsey Lewis, Pharoah Sanders, Gato Barbieri, Lonnie Liston Smith and others.

It was time for a shift by the late ’70s, as Mtume linked up with longtime musical partner Reggie Lucas, whom he had previously played with in Davis’ band. The duo wrote Roberta Flack and Donny Hathaway’s classic 1978 R&B ballad “The Closer I Get to You,” which became a crossover hit on the pop charts, and the joyous “Back Together Again.”

There were more artistic and commercial triumphs that Mtume coined “sophistifunk,” most notably Phyllis Hyman’s romantic dance floor stunner, “You Know How to Love Me” (1979), and Stephanie Mills’ Grammy-winning “Never Knew Love Like This Before” (1980). Mtume, the band, continued the composer’s momentum, staying busy into the next decade. He also flexed his prodigious chops as the music supervisor on the ’90s TV police drama New York Undercover.

Mtume also produced neo soul originator D’Angelo’s cover of Eddie Kendricks’ “Girl You Need a Change of Mind” (1996) and the queen of hip-hop soul Mary J. Blige’s “Our Love” (1997).

At the same time, he was passionate about discussing current events, serving as co-host on New York’s long-running 98.7 Kiss FM live call-in radio show The Open Line, where Mtume tackled such issues as police brutality, the buildup to the Iraq War and presidential politics.

Following his death, an outpouring of tributes flooded social media, from Chuck D of Public Enemy to heartfelt words from Lisa Lucas, the daughter of Mtume’s songwriting brother-in-spirit Reggie Lucas. Roots drummer Questlove posted on Twitter, “It’s really not doing justice listing accomplishments. … Thank you James Mtume for all the wisdom & love & respect you’ve shown me & my brothers over the years.”

On Instagram, Mills called Mtume an “amazing music mind.” And influential hip-hop producer DJ Premier, who sampled from Mtume’s score for the 1986 film adaptation of Richard Wright’s landmark novel Native Son, praised him as an “icon.”

Last year, Mtume made one of his last public appearances on DJ Cassidy’s Pass The Mic series with vocalist Tawatha Agee for a spirited performance of “Juicy Fruit.”

It called to mind his Red Bull Music Academy interview from several years ago: “If my music has inspired anybody, the thing I would want them to be inspired to do is pick up the baton, because this race is not finished,” he said then. “All you need is to have your imagination excited.”

Keith "Murph" Murphy is a senior editor at VIBE Magazine and frequent contributor at Billboard, AOL, and CBS Local. The veteran journalist has appeared on CNN, FOX News and A&E Biography and is also the author of the men’s lifestyle book "Manifest XO."

This Story Tagged: Music Hip-Hop Miles Davis Jazz An Appreciation James Mtume
Music

Can anyone beat Jay-Z at a Verzuz? We lay out the odds.

From Future to Eminem to Missy Elliott to Lil Wayne, a look at how these dream battles would play out

A couple of weeks ago, Jay-Z took to Twitter Spaces to answer a few questions and ended up talking about the potential for a Verzuz matchup. His answer was to the point: “It’s not a chance in hell that anyone can stand on that stage with me.” As is generally the case with Jay-Z, most of his fans took his word as gospel, declaring it virtually impossible to beat him, even if there are some formidable opponents out there.

Well, I decided to do some scouting to see who might be able to compete with Jay-Z in a rap-only Verzuz. (I stuck to rap because I’m not sure Jay-Z is the most unbeatable musician in his own household.) Here are our odds that some of the names circulating on social media have at dethroning the King of Rap.


Future — 100:1

Future performs during Day 3 of “Rolling Loud Los Angeles” at NOS Events Center on Dec. 12, 2021, in San Bernardino, California.

Scott Dudelson/Getty Images

Future has thrown his own name into the ring as someone who could challenge Jay-Z. Um. We admire the ambition. Look, Future has some iconic songs. There may have not been a more popular club song from the last decade than “March Madness.” But he’s really punching above his weight class here.

X factor — Can Future do “March Madness” 20 times?

Why Jay-Z wins — This answer could apply to most of these contenders: “Because he’s Jay-freaking-Z.”


Rick Ross 25:1

Jay-Z (left) and Rick Ross (right) perform during “Tidal X: 1020” at Barclays Center on Oct. 20, 2015, in Brooklyn, New York.

Taylor Hill/FilmMagic

At first blush, you might want to disregard Rick Ross because he’s never been regarded as the greatest of all time. But he’s put out 11 albums in 15 years. He’s got a lot of songs to choose from and some tracks that resonate with fans of deeper cut, too. Sure, his odds are long, but there’s a puncher’s chance here.

X factor — Ross brought out a stripper against 2 Chainz. Maybe that can win him some votes if he does it again?

Why Jay-Z wins — He does everything Ross does but at a higher level. It’s like Clyde Drexler vs. Michael Jordan. One is a Hall of Famer. Another is the GOAT.


Busta Rhymes — 17:1

Jay-Z (left) and Busta Rhymes (right) during Naomi Campbell Co-hosts Sky Wednesdays at The 40/40 Club on Feb. 9, 2005, in New York City.

Carley Margolis/FilmMagic

I once saw Busta Rhymes at a Rock The Bells concert and he performed for about an hour doing only one or two verses from each of his hits. That’s how expansive his catalog is. Busta Rhymes has two decades of songs that will tear the roof off of any building. And he and Jay-Z used to battle in high school, so this could be a full circle moment.

X factor — If Busta Rhymes can bring out Spliff Star and overpower Jay-Z with the sheer force of his energy, then he can steal a few rounds.

Why Jay-Z wins — Jay-Z has a wide breadth of tracks that can offset Busta Rhymes’ energy. Jay-Z isn’t a live show slouch himself. Plus, when he gets into his bag of classic album cuts, it’s hard to compete.


Eminem — 15:1

Eminem at the 36th annual Rock & Roll Hall of Fame induction ceremony at Rocket Mortgage FieldHouse on Oct. 30, 2021, in Cleveland.

Kevin Mazur/Getty Images for The Rock & Roll Hall of Fame

Jay-Z once rapped that the only acts making money were “Em, Pimp Juice [Nelly] and us.” So he knows the type of capital Marshall Mathers claims. Eminem’s greatest hits collection is the first rap album to sit on the Billboard charts for an entire decade. He’s one of the few rappers who has the same name recognition as Jay-Z, if not more.

X factor — If they get into an actual freestyle battle, Eminem might win.

Why Jay-Z wins — Consistency. Eminem’s run was a supernova at the turn of the century, but he hasn’t sustained the same level of accomplishment as Jay-Z over the past two decades.


LL Cool J — 12:1

LL Cool J (left) and Jay-Z (right) attend the 36th annual Rock & Roll Hall of Fame induction ceremony at Rocket Mortgage FieldHouse on Oct. 30, 2021, in Cleveland.

Kevin Mazur/Getty Images for The Rock & Roll Hall of Fame

LL Cool J may be rap’s first big solo megastar. He dominated the late 1980s and early 1990s and has positioned himself comfortably as a Hollywood mainstay. Kids may only know LL Cool J for his acting, but his prime as a rapper is largely untouched. Add in the fact that he and Jay-Z had some actual tension back in the early 2000s when Jay-Z was the CEO of Def Jam, and you have the makings of a compelling battle.

X factor — LL Cool J is a master performer. His 1991 MTV Unplugged performance is one of the most iconic in TV history. If he can channel that energy and the Verzuz takes place at Essence Festival or someplace where there’s a substantial Generation X crowd, he can do this.

Why Jay-Z wins — LL Cool J’s run was mostly through the 1980s and 1990s. And while it’s one of rap’s legendary runs, it’s not enough to compete with someone whose recording excellence is still ongoing. I’d love to see LL Cool J against someone, though.


Nas — 10:1

Nas (left) and Jay-Z (right) during the Power 105.1’s “Powerhouse 2005: Operation Takeover” at Continental Airlines Arena on Oct. 27, 2005, in East Rutherford, New Jersey.

Scott Gries/Getty Images

This is the battle people have been clamoring for the most obvious reasons: The two had one of rap’s biggest rivalries and have been joined at the hip since. The good thing is they’re buddies now and would really make magic on stage together. Nas has maybe rap’s most-loved album in Illmatic and is still going strong, so longevity isn’t a problem for him.

X factor — Nas would have to go below the belt here. If he performed “Ether,” the famous diss track that almost decapitated Jay-Z in 2001, then he could win for sheer audacity, no matter what the other 19 songs are.

Why Jay-Z wins — Hits. Jay-Z has chart-topping smashes that Nas can’t compete with. And he has a lot of them.


Missy Elliott — 9:1

Missy Elliott (left) and Jay-Z (right) during Jay-Z’s “The Black Album Tour” at Madison Square Garden in New York City.

KMazur/WireImage for New York Post

Missy Elliott hasn’t really been in the Jay-Z conversation because it’s kind of a style clash. However, she’s been in plenty of Verzuz hypotheticals. (My vote is for her to face off with Q-Tip or Busta Rhymes.) Missy Elliott is one of the most influential artists of our time and has a catalog with a list of formidable top 20 tracks.

X factor — Missy Elliott is so creative that she could come up with an out-of-the-box way to sway things in her favor. Maybe a new stage set for every song.

Why Jay-Z wins — Again, Jay-Z’s catalog is just too hard to top. He has so many bags to dig into and too much longevity.


Drake — 5:1

Drake (left) and Jay-Z (right) perform at Yankee Stadium on Sept. 15, 2010, in New York City.

Kevin Mazur/Contributor

Drake has the most top 10 songs in Billboard history. He seems to just burp out songs that dominate radio and social media. Hit for hit, he’s clearing just about anyone. When all the Verzuz hoopla started, I’d argued that Drake was the most unbeatable star there was. But Jadakiss changed the metric for a winning Verzuz formula by stealing the show against Dipset with lyricism, street anthems and freestyles. Now you need more than hits. Can Drake adapt to the new model?

X factor — If there’s a (very) young or mainstream crowd that’s just there to scream “YOLO,” then Drake could steal this. Or maybe if it aired on TikTok.

Why Jay-Z wins — Drake can roll out his hits but he lacks the classic albums and moments that will stick to your ribs. Jay-Z can play some B-sides and non-singles that have made him a legend, and Drake just can’t hold up.


Kanye West — 3:1

Kanye West (left) and Jay-Z (right) at the Tidal launch event “#TIDALforALL” at Skylight at Moynihan Station on March 30, 2015, in New York City.

Jamie McCarthy/Getty Images for Roc Nation

Kanye West has been responsible for some of the biggest hits of the 21st century. Not only does he have his own songs such as “Gold Digger” and “Stronger,” he’s produced hits for other people, such as Alicia Keys’ “Unbreakable.” And let’s not forget that he’s been behind the boards for many of Jay-Z’s most beloved songs of the past 20 years. His catalog is a monster to compete with.

X factor — The guest appearances. If fans don’t think it’s cheating, West can lean on his production chops and have a slew of guests join him on stage. He’d have to bring some real A-listers and basically hope they can team up against Jay-Z like he’s Thanos.

Why Jay wins — Much like Drake, West has a ton of hits, but he doesn’t have the type of rap classics that would woo a Madison Square Garden crowd. I just don’t think West would have an answer for something like “D’Evils” or “U Don’t Know.”


Lil Wayne — 2:1

Lil Wayne (left) and Jay-Z (right) perform during “Tidal X: 1020” at Barclays Center on Oct. 20, 2015, in Brooklyn, New York.

Taylor Hill/FilmMagic

Lil Wayne has the best odds to take on Jay-Z ’cause he checks a lot of the same boxes Jay does. Lil Wayne has plenty of iconic mixtape verses. He has megahits and chart-toppers. He even has a song with Beyoncé (and “Motivation” with her Destiny’s Child bestie, Kelly Rowland). Let’s also not forget that Lil Wayne’s catalog goes back to the 1990s with his Hot Boys crew, only a few years after Jay-Z’s debut. If anyone has a puncher’s chance, it’s Lil Wayne.

X factor — Location, location, location. One of the things that complicates this matchup is regional biases. Each man is basically a deity at home (Lil Wayne in New Orleans, and Jay-Z in Brooklyn). Neither stands a chance in a road game. If this battle were to somehow happen south of the Mason-Dixon Line, it would get spooky for Jay-Z.

Why Jay-Z wins — It’s still tough to overcome Jay-Z’s catalog. Especially with the fact that Lil Wayne got so much of his style from Jay-Z and wanted to emulate him in the early 2000s. Anywhere other than the South, Jay-Z edges this one out.

David Dennis, Jr. is a senior writer at The Undefeated and an American Mosaic Journalism Prize recipient. His book, The Movement Made Us, will be released in 2022. David is a graduate of Davidson College.

This Story Tagged: Music Hip-Hop Rap Jay-Z Verzuz
Commentary

‘National Champions’ highlights growing cracks in the college football system

The concept of a title game boycott would work even better in the Final Four

There’s a movie out now that should scare the school colors right off the pooh-bahs in the top echelon of college sports: In National Champions, a star quarterback launches a boycott of the football title game over the fact that college athletes are not paid.

It’s a tantalizing story for those of us who believe that players deserve a share of the billions they generate. It’s a distant fantasy as Alabama and Georgia prepare to play the real national championship football game on Monday night. But it could become a real possibility in the right hands: basketball players in the NCAA tournament.

Yeah, I said it — college hoopers should think about boycotting the Final Four. That would be easier to pull off than in football, pose less risk to the players’ professional careers and send a powerful message about the hypocrisy of the label “student-athlete.” But before the powers that be cancel my company credit card, let’s talk about National Champions, which opened in theaters last month and is now streaming on Amazon Prime and Apple TV.

LeMarcus James is a Black quarterback who is projected to be the No. 1 pick in the next NFL draft. (He’s played by Stephan James, who portrayed Jesse Owens in 2016’s Race and Rep. John Lewis in 2014’s Selma.) Several days before the title game, he says he won’t play until the NCAA establishes a trust fund for every Division I varsity athlete, disability pensions for injured players, and agrees to collectively bargain with a players’ union. Along with his best friend and teammate, a four-year starter who’s not going pro, LeMarcus gathers support from enough players to potentially cancel the game. Complications ensue when the NCAA pulls out the dirtiest of tricks to try to save itself, and the battle comes down to the wire.

LeMarcus knows he’ll make the NFL, whether or not he plays in his last college game. Skipping postseason games is already common for NFL-bound players — about 30 athletes sat out lesser bowl games this season to protect themselves from injury. Alabama and Georgia have more than a dozen players ranked in the top 100 NFL draft prospects, any number of whom could skip Monday’s game and still make it to pro ball.

LeMarcus James (Stephan James) is a Black quarterback who is projected to be the No. 1 pick in the next NFL draft in the film National Champions.

Scott Garfield/STX Films

The film does a terrific job of dramatizing not only the roiling debate about paying players, but the paternalism and control that is an ugly reality behind the “D-I” dream. LeMarcus points out that new rules allowing players to profit from their name, image and likeness “doesn’t cost them anything.” He preaches about the internships his teammates didn’t have time to experience, the dumbed-down classes they were steered into, and the injuries they were coerced into playing through.

Meanwhile, James Lazor, the white coach of LeMarcus’ team, keeps saying things like, “After everything I’ve done for you … He’s a kid with too much power … This is my football team. They will play for me.” Another coach tells players, “I own your future.”

Lazor, played by J.K. Simmons, rolls his eyes when LeMarcus talks about his coach’s massive salary and numerous homes. Lazor believes he loves LeMarcus. But Lazor doesn’t realize that his relationship with his meal ticket only exists on his terms, within the confines of a system that disproportionately benefits him.

Both in the movie and in real life, though, the regimented, conservative culture of football makes a boycott tough to execute. LeMarcus talks about dropping in the draft or even getting exiled to the Canadian Football League as a consequence of his protest. NFL franchises have no problem with players skipping bowl games to protect their bodies because it benefits the teams themselves. But if a player bucked the system on principle, teams could label him a problem and pass him over. There’s a reason National Champions uses Colin Kaepernick’s name as a verb.

Also, about half of the public doesn’t believe college athletes should be paid, and that percentage is higher among white people. Players who skip meaningless bowl games are already labeled as selfish or worse. Black athletes who boycotted championships would be at particular risk moving up to the pros.

College basketball, however, is different.

There are fewer players in a basketball game, so the absence of one or more stars would have more impact on the game. It would be easier to convince a whole team not to play. A lot of women would participate — activism in the women’s game is more bold and fierce than the men’s, and they have a whole additional set of inequities to protest.

When it comes to pro prospects, NBA draft status likely would not be at risk. Star players such as LeBron James already say that college athletes should be compensated. NBA activism is at an all-time high, so it’s doubtful a team would pass on a Cade Cunningham, Jalen Suggs or Evan Mobley if they stood up for what much of the league believes is right.

Michigan basketball coach Juwan Howard was acutely aware of his own exploitation while playing in college.

Nic Antaya/Getty Images

A coach like Alabama’s Nick Saban, a regular in the national title game, probably could crush a player boycott — or just let the kid walk and bring in another stud like backup quarterback Tua Tagovailoa, who was the offensive player of the game in the 2017 national championship win over Georgia. But would Kentucky basketball coach John Calipari tell his guys they had no right to protest, knowing that the next one-and-done was watching? Would Michigan’s Juwan Howard, who was acutely aware of his own exploitation while playing in college, stand in the way of progress?

But my favorite idea for a Final Four boycott is that the players could stage their own game — and make money off it, which would be a symbolic slam dunk for the cause.

Football games need a lot of equipment, resources and manpower. All you need to hoop is a court and a ball. How many fans would have paid $5 or $10 for a 2019 livestreamed #NotNCAAProperty game featuring players such as Zion Williamson, RJ Barrett, Ja Morant, Tyler Herro and Arike Ogunbowale? Throw in a dunk contest and that’s millions of dollars, easy.

College basketball has inched further toward a boycott than you might know. Georgetown coach John Thompson boycotted two games in 1989 over discriminatory academic rules. (The NCAA backed down.) Before he died at the end of 2020, he became the most prominent coach to say that it’s time for college athletes to be paid. Last season, Rutgers players discussed delaying their tournament game against Clemson as part of the #NotNCAAProperty protests.

As a hooper who hates to leave the YMCA without winning my last game, I can only imagine how hard it would be for a college player to walk away from the pinnacle of his young sporting life. The blowback would be immense from fans, alumni and media who don’t understand what it feels like to be a cog in a machine that makes millions for everyone but the athlete. Scholarships would be revoked, mud slung, jerseys burned.

But National Champions is another sign that the cracks in the NCAA’s system are getting wider by the year. One day, it will bust wide open.

Jesse Washington is a senior writer for The Undefeated. You can find him giving dudes the bizness on a basketball court near you.

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