The NBA’s second string is refusing to back down to the Cavaliers and Warriors We do some trash-talking on behalf of the Pistons, Magic, Grizzlies and Clippers

Somebody forgot to tell the rest of the NBA that we’re supposed to be waiting for a fourth straight Golden State Warriors-Cleveland Cavaliers Finals.

In the West, the Memphis Grizzlies and Los Angeles Clippers are rocking rims and raising eyebrows. In the East, the Detroit Pistons and Orlando Magic are killing, while doormats are giving the Cavs’ new-and-not-improved roster the business. Yeah, we know the Dubs are laying in the cut after a draining preseason trip to China. We know, at some point, LeBron’s gonna LeBron. But a big chunk of the NBA is living by the words of this site’s favorite inspirational author and refusing to be defeated, despite the overwhelming talent and aura of these two historically dominant teams.

As we wait for the whole superteam concept to kick in this season, here’s what we’d like to pretend the NBA’s up-and-comers are tweeting at the Cavs (3-4 record, including four losses to non-playoff teams) and Golden State (5-3):

DETROIT PISTONS, 5-3, Second in Eastern Conference

You like dressing up for 🎃🎃🎃, @Warriors? We ain’t scared.

Get Off Me GIFs - Find & Share on GIPHY

REAL TALK: First the Pistons came from behind to beat the undefeated Clippers in Los Angeles, then they knocked off the Warriors in Oakland, California. Stephen Curry rode into the arena dressed as Billy the Puppet from the Saw horror films — but the Dubs’ 26 turnovers were the real horror show. The Pistons lost to the young Lakers on Tuesday night, but they are still one of the Association’s biggest surprises.

ORLANDO MAGIC, 5-2, tied for Eastern Conference lead

Yo @NBA: Don’t 😴. We 😱😱😱 this year. Like a game-winning 👌from the dunker @Double0AG:

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REAL TALK: Orlando’s red-hot offense powered the Magic to a 21-point win over the LeBrons in Cleveland. Aaron Gordon is rising above mere dunks to become a legit Most Improved Player candidate. The Magic could actually make the playoffs for the first time since 2012, when Dwight Howard turned from Superman back into Clark Kent.

MEMPHIS GRIZZLIES, 5-2, first in the Western Conference

111-101 W vs @Warriors 🤔

98-90 W vs @HoustonRockets 😳

103-89 W vs @HoustonRockets 😈

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REAL TALK: What vat of barbecue sauce did Memphis find Jarell Martin in? What about this other starter named James Ennis III? Where has Andrew Harrison been hiding since losing two NCAA titles at Kentucky? It doesn’t matter who plays for the Grizz as long as they have Mike Conley and Marc Gasol.

LOS ANGELES CLIPPERS, 4-2, second in the Western Conference

CP Who?

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REAL TALK: OK, they got blown out by the Warriors on Monday night in the Dubs’ bounce-back game from the Detroit debacle. But the Clippers are defying predictions of a collapse after the exit of cancerous control freak All-Star point guard Chris Paul. The team belongs to Blake Griffin now. And not only is BG splashing game-winning 3s, he’s back to being THAT Blake Griffin.

How Michael Jordan’s original starting five — from Ray Allen to Michael Finley — became Team Jordan’s first stars Before Russ, Kawhi, Melo, CP3 and Jimmy Buckets, Jordan Brand got its start with All-Stars and future champions

Oct. 15, 1996, will forever be ingrained in Ray Allen’s memory. It was the night he met Michael Jordan for the first time. A young player like Allen viewed Jordan as a god in a league that had already deemed him the greatest of all time. As Jordan chased his fifth NBA title that year, he brought with him a $33 million contract, the richest in team sports history. Off the court, Jordan had brought in millions of dollars for Nike through the sale of his signature Air Jordans, the single most important line of sneakers to hit the market. Yet, as Jordan began looking toward life after basketball, he needed the help of Allen, and others, to continue to make his mark on the business world and the culture.

A 21-year-old rookie, and four months removed from being selected with the No. 4 overall pick in the NBA draft, Allen entered a matchup between his Milwaukee Bucks and Jordan’s Chicago Bulls at the United Center. He’d face his hero, the man from the posters Allen hung on his wall as a kid, in an exhibition game. “I’m intimidated,” recalled the future Hall of Famer, now 42, “because I’m not supposed to be in this moment. I’m supposed to be on the other side, watching and cheering for him. I’m like, ‘You know how many times I rooted for him to destroy whoever was on the other end of the floor? Now I gotta beat him? Now I gotta stop him?’ Now I’m this kid in this position … thinking, ‘Is this situation, this moment, too big for me?’ ”

Before tipoff, Allen and Jordan walked out onto the hardwood, met at half court and shook hands. “ ‘What’s up, Ray?’ Welcome to the NBA,’ ” Allen remembers Jordan saying. “I was like, ‘Man … Michael Jordan knows my name.’ ”

Jordan actually knew Allen quite well. He was the one who’d decided which shoes the rookie wore on his feet that night — and for most of his NBA career. Months before this pregame moment, Allen backed “out of a deal with FILA,” he said, to sign with Nike. The company planned on giving Jordan his own brand and imagined Allen as the young face of a fresh new line of products. So, in his first encounter with Jordan, Allen took the court in Team Jordan Jumpman Pros — the first sneakers designed outside of the Bulls superstar’s signature Air Jordan line.

“I was like, ‘Man … Michael Jordan knows my name.’ ”

“I was the one guy in the league who had Brand Jordans on my feet,” Allen said of his rookie season. “But I didn’t know how connected and linked in M.J. was with what was going on … if it was the company, or if he was making all the decisions. Not yet did I understand what the Brand Jordan meant, or what it was.”

M.J. had in fact selected Allen to be the first player to endorse Jordan Brand, which wouldn’t officially launch until September 1997. His Airness, however, imagined a whole squad of ambassadors representing his brand in the NBA. As a reflection of his own skills, style and swag, he wanted to build “Team Jordan” — and every team needs a starting five.


In 1997, before playing a single minute in the NBA, Derek Anderson traveled to Nike headquarters in Beaverton, Oregon, ready to be pitched a potential endorsement deal. “I had no idea who I was meeting,” he says now. “I thought I was meeting with Nike itself, because I didn’t know anything about the Jordan Brand.” He finally got to a boardroom, “ … and there’s Michael Jordan. He says, ‘Hey, D.A., how’s it going?’ and I’m thinking, ‘Wow, Michael Jordan actually knows who I am.’ ”

His Airness sat before the now-retired NCAA and NBA champion Anderson, having done his research on the 22-year-old prospect. Anderson played only 19 games during his senior year at the University of Kentucky before tearing the ACL in his right knee, so Jordan asked about the progress he’d made in his recovery, and Anderson informed him that he could, once again, throw down windmill dunks. The conversation soon turned into an offer from Jordan that Anderson couldn’t refuse.

Derek Anderson (right) of the Cleveland Cavaliers drives against the Golden State Warriors on Dec. 3, 1997, at Oracle Arena in Oakland, California.

Sam Forencich/NBAE via Getty Images

“The way I worked hard, and how I fought back from the adversity of my injury, he really appreciated that, and wanted me to be a part of the Jordan Brand family,” said Anderson, who the Cleveland Cavaliers took with the 13th overall pick in the 1997 draft. “I gave him a, ‘Yes, sir, absolutely … I would be honored.’ It wasn’t even a thought process.” Anderson had previously met with Converse but turned down the opportunities discussed there. He also canceled the rest of his scheduled visits with other shoe companies.

Eddie Jones, then a third-year shooting guard with the Los Angeles Lakers, found himself up for endorsement renegotiation with Nike after rolling with the sneaker giant for the first few years of his NBA career. In hopes of luring the 1997 All-Star (the first of three such honors) who played in the glamorous Hollywood market, Reebok, Adidas, FILA and PUMA all went after Jones. Yet the bidding war came to a screeching halt once Jordan came calling.

“When the best player on the planet, the best player to have a basketball in his hand, really wants you to be a part of something, I mean, you jump onboard,” said Jones, now retired and living in Florida.

Allen’s All-Star Milwaukee Bucks teammate Vin Baker also joined the mix (Baker struggled with alcohol over the course of his All-NBA and Olympic gold medal-winning career, but now sober, he coached this summer at a Massachusetts summer camp). Michael Finley of the Dallas Mavericks began hearing rumors swirling around the league about a master plan that Nike and Jordan had cooking.

“My agent called me,” Finley remembered, “and said, ‘Michael Jordan and his reps are starting their own Jordan Brand and want to know if you want to be a part of it.’ I was like, ‘C’mon, man. That’s a no-brainer. Of course.’ To have M.J. pick you as one of the originals, that’s an honor. It was just us five … our own little fraternity.” (These days, Finley, an assistant vice president of basketball operations for the Dallas Mavericks, is something of a film producer.)

“The goal was to hopefully find athletes that had a little bit of Michael in them.”

Jordan, the alpha and omega of the basketball universe at the time, had handpicked and created an eclectic group of players in his own image to put on for the new brand. “The goal was to hopefully find athletes that had a little bit of Michael in them. In our mind, Michael was the greatest at what he did, and he was great because he did so many things really well,” said former Jordan Brand product director Gentry Humphrey, now vice president of Nike Golf footwear. “And while you may never find that one guy that has the complete package, you can find a little bit of some of those things in several athletes.”

A pure shooter in Allen, a high-flying, acrobatic athlete in Anderson, a Swiss army knife guard in Jones, a skilled stretch four in Baker, and a versatile swingman in Finley — together, they formed Team Jordan.

“Everyone brought something different, but everyone brought something from him. Everything from us was an entity of M.J.,” Derek Anderson said. “It’s almost like we were his kids. Like every kid has genes from his parents, we were a genetic build of him.”


On Sept. 9, 1997, Nike officially announced the launch of the Jordan Brand.

“A sub-brand of NIKE, Inc. the JORDAN brand is a pure, authentic basketball brand of premium, high-performance basketball footwear and apparel inspired by the performance legacy, vision and direct involvement of Michael Jordan,” reads the third paragraph of Nike’s press release from this historic day. “The brand will carry the Jumpman logo and will be packaged together to make its retail debut on November 1 for the Holiday ’97 season.”

Never before in the history of sports had a player, not to mention an African-American one, “entered into a solo venture on such a sweeping scale,” according to a Chicago Tribune report published the day the brand debuted in 1997.

“I have been involved in the design of everything I have worn from Nike since we began our relationship in 1984,” Jordan said at the introductory news conference in New York. “The launch of the Jordan Brand is simply an extension of that process.”

The Air Jordan logo is displayed at a Jordan promotional event July 31, 2001, in Harlem, New York.

Mario Tama/Getty Images

More than a decade had passed since Nike signed Jordan before his prolific rookie season and released his first signature sneaker, the timeless Air Jordan 1.

“I always felt like Jordan was its own brand, and I approached it that way,” said iconic Nike shoe designer Tinker Hatfield, who believed the move that catapulted Jordan into his own stratosphere of the sportswear industry was long overdue. “Jordan’s shoes were as advanced as possible for the best player in the world, but also were a little more sophisticated and with … nicer materials,” continued Hatfield, who’s crafted some of Jordan’s most legendary shoes, starting with the Air Jordan 3s that dropped in 1988.

“I placed Jordan on a pedestal in my own mind, like it was its own separate brand. I was actually the one who thought up the Jordan Brand in the first place,” Hatfield makes clear, “and tried to pitch that numerous times over the years and didn’t get anywhere with it, until it finally did happen. I’m glad it did.”

Nike celebrated the momentous occasion with a huge launch party at NikeTown in New York. The guest list was loaded with stars from all walks of the culture. NBA Inside Stuff host Ahmad Rashad emceed the event, attended by everyone from Sheryl Swoopes, Kym Hampton and Dawn Staley, to rhythm and blues singer Kenny Lattimore, musical groups BLACKStreet and A Tribe Called Quest, and actors Kadeem Hardison and Damon Wayans. “It was like All-Star, Grammys and Emmys all mixed up into one,” Finley remembered.

From day one, everyone wanted a piece of Jordan Brand, which analysts projected to generate more than $300 million in worldwide revenue in the fiscal year 1998 (the Air Jordan line alone raked in $70 million in sales for Nike in fiscal 1997). On Nov. 1, 1997, the Air Jordan 13s, the first shoe under the Jordan Brand umbrella, were released at $150 a pair. The brand’s first Team Jordan sneakers, the Jumpman Pro Quicks and Jumpman Pro Strongs, wouldn’t hit until May 1998. Until then, Jordan entrusted only Allen, Anderson, Jones, Baker and Finley to wear them on the court, and to promote Jordan Brand in its inaugural NBA season.

“The brand was big before I even knew it,” Derek Anderson said. “It took off that way.”


At the end of the NBA calendar, when the season finally ends, players partake in the annual ritual of cleaning out their lockers at their home arenas. During his first season with Team Jordan, after the playoffs ended with Karl Malone, John Stockton and the Utah Jazz sweeping the Lakers in the Western Conference finals, Jones recalls arriving at The Forum in Los Angeles a little late.

By the time he got there, boxes of his Jordans were missing. And the ones that were left? Jones’ teammates were already calling dibs — and mustering up the courage to see if they could get Jones to come up off of his shoes. “I swear, every guy that wore a size 13, size 14, they were like, ‘Eddie, man, I gotta have these. I didn’t want to take them without you knowing, but can I have them?’ ” said Jones, one of two members of the original team to ever get his own signature Jordans: 1999’s Jumpman Quick 6 and 2000’s Jumpman Swift 6. The brand also gave Baker the Jumpman Vindicate in 1999. “I gave them so many sneakers that day, it was crazy. I had no sneakers by the time I left.”

To get a pair of even Jumpman sneakers in the early days of the brand, you had to go through one of the members of Team Jordan. “As original endorsees of the brand, we had exclusive rights to shoes that [other players] didn’t have, and shoes before they hit the market,” Finley said. “We had the ups on guys who considered themselves sneakerheads in the league, whether it was teammates or opponents. Even referees commented on my shoes at the jump ball.”

Eddie Jones (second from right) of the Los Angeles Lakers passes against the Utah Jazz in Game 3 of the Western Conference finals played on May 22, 1998, at the Great Western Forum in Inglewood, California.

Andrew D. Bernstein/NBAE via Getty Images

This was the era before the brand diversified its color palette, so most Air Jordans released in a combination of red, black and white, the team colors of the Chicago Bulls. Yet, for Team Jordan’s Jumpman sneakers, the brand blessed its ambassadors with pairs in their own team colors. Lakers purple and gold for Jones; Cavs sky blue for Anderson and Mavs royal blue for Finley; Bucks purple and green for Allen; and white and black Pro Strongs, with SuperSonics green, red and yellow accent, for Baker, who was traded from Milwaukee to Seattle a few weeks after the brand launched.

“I always feel very humble about being having been with Jordan Brand since day one.”

“Most people were like, ‘I want THAT color right there.’ I had colors that were against what was normal in the market, and what people would see in shoe stores anywhere in America. It created a fervor for wanting those shoes,” Allen said. “The ball kid used to come in the locker room almost every game and say, ‘Hey, so-and-so wanted to know if you could send him your shoes.’ ”

The requests didn’t only come from hoopers.

“Fat Joe literally chased me down from the time I started. That dude, he would be on my heels for shoes,” Anderson said of the Terror Squad rapper from the Bronx, New York (who in 2016 opened up his own sneaker store, which was greenlit by Michael Jordan).

Jones has his own stories: “I remember Usher asking for some sneakers!”

When they weren’t rocking exclusive Jumpmans in the late 1990s and early 2000s, Team Jordan members could be seen on the court in custom, player exclusive (PE) Air Jordans, especially after Jordan retired for the second time in 1999 and not many players were wearing his retros on the court. Jones, who landed with the Miami Heat in 2000 after a trade, received red and black Air Jordan 13s with “E. Jones” inscribed across the tongue.

Ray Allen (right) of the Boston Celtics dribbles down the court wearing a pair of green and gold Air Jordan 11s on Dec. 31, 2010, at the TD Garden in Boston.

Steve Babineau/NBAE via Getty Images

Anderson loved playing in low tops, so he persuaded Jordan and the brand to make him low Air Jordan 11 Space Jams and Concords. Finley’s PE Air Jordan 16s, with “FIN 4” on the lace cover, became such a go-to shoe in his arsenal that players across the league thought they were his own signature Jordans. Baker also wore PE 16s, as well as PE Air Jordan 9s with his No. 42 on the heel. Allen’s extensive collection of PEs could fill a museum. His favorites? The green, white and gold, and red, white and gold Air Jordan 11s that the brand presented him to honor his two career NBA championships in 2008 with the Boston Celtics and 2013 with the Miami Heat.

“I gave him a, ‘Yes, sir, absolutely … I would be honored.’ It wasn’t even a thought process.”

Nowadays, there’s of course a new Team Jordan, featuring Carmelo Anthony, Chris Paul, Jimmy Butler, Kawhi Leonard and Russell Westbrook, who all get the PE Air Jordan treatment like their predecessors. In the Oklahoma City Thunder’s opener to the 2017-18 NBA season, Westbrook took the floor in a pair of PE Air Jordan 32s, a little more than a month after signing a 10-year extension with Jordan Brand. The reigning NBA MVP struck the most lucrative deal in the company’s history on Sept. 13, almost 20 years to the day that Nike hosted the event to announce the launch of the Jordan Brand.

Westbrook is the new face of the now billion-dollar brand’s Team Jordan, which all began with Michael Jordan’s first pick in 1996, Ray Allen.

“I always feel very humble about being having been with Jordan Brand since day one,” said Allen. “For me, long term, it ended up being one of the best decisions I made in my career.”

The other original members would say the same. All five took a leap of faith when Jordan asked them to be a part of his vision. And the rest is history.

“We were young kids who admired M.J. so much. He was our mentor, and was putting this thing together,” Jones said. “We knew it was going to be big, only because it was him. Whatever he does, it kind of works out … it’s always big. And everybody wanted to wear Jordans.”

Colin Kaepernick goes from the accidental activist to the perfect plaintiff Suspecting collusion is one thing, proving it is quite another

A little over a year ago when asked by Steve Wyche about his decision to sit during the national anthem during a San Francisco 49ers preseason game, Colin Kaepernick responded, “I am not going to stand up to show pride in a flag for a country that oppresses black people and people of color.” These and subsequent comments have set the sports world on fire and have thrust Kap into his role as the Accidental Activist.

This and the firestorm of media attention that has surrounded Kaepernick and the NFL over the past year have made it nearly impossible for a consistent narrative to emerge about the underlying issue of why Kap decided to silently sit out the anthem in the first place: police brutality and oppression.

President Donald Trump recently hijacked the discussion by creating a narrative that serves his agenda of distraction by division. Trump created a false binary choice around NFL players’ decision to protest by kneeling during the anthem. You either stand or you’re not a patriot. You either stand or you are disrespecting the flag, the country and the military.

Kaepernick has taken Trump’s narrative along with some comments he made during an event in Kentucky in March — “NFL owners don’t want to pick him up because they don’t want to get a nasty tweet from Donald Trump.” — as the basis for a lawsuit against the NFL for collusion.

This lawsuit allows us to separate the issue of Kap’s employment from the issue of police and brutality and oppression that is at the heart of the players’ protest.

Kap is the perfect plaintiff for this case, even though he has an uphill battle in proving the claim, because of his ubiquity.

All owners, general managers and coaches in the league are well within their legal rights to pass on Kap if they believe that the downside due to the distractions associated with having him on the roster outweigh any benefits that his talent would bring to his team and teammates. It’s even cool if each and every one of them came to this conclusion completely on their own.

The problem is if any two people from two different teams or the league office had a discussion about the pros and cons of Kap and collectively came to a decision to pass.

The Undefeated’s senior NFL writer Jason Reid quoted American University Washington College of Law professor Susan D. Carle saying:

“[Kaepernick] would have to show that each of the teams, that they didn’t just on their own decide not to sign him but that at least two of them somehow had a communication and said, ‘We’re not going to pick him because he’s trouble. Let’s just kind of blackball him.’ He would have to have some evidence to show that.

“It doesn’t have to be a written memo. It could be an oral communication that somebody’s willing to testify about. If he had an ally on one of the teams who could say, ‘Yeah, I heard these [officials from two teams] say we’re going to stay away from him.’ That could be enough.”

The rules of engagement, as outlined by Carle, frame the claim in a way that we can now begin to discuss it without the emotions that often accompany it.

The issue around Kap’s case is not an individual team deciding that he’s bad for business or 32 teams independently coming to that conclusion on their own. It’s about whether or not two or more came to that conclusion collectively.

This is where the ubiquity of Kap works to his advantage. It would be difficult to believe that among the 32 owners, general managers, coaches and officials in the league office, including the commissioner himself, that at least one conversation didn’t take place regarding the distraction and business liability that Kap would bring to a franchise. If at least one of those conversations did indeed take place and it rose to the level of “I’m not going to touch him, and you shouldn’t either because he’s bad for business,” then that would definitely end up being REALLY bad for business.

Suspecting collusion is one thing, proving it is quite another. At least we now have a way of framing this issue in a way that can eventually bring it to a conclusion. Only time will tell.

SportsCenter’s ‘Gear Up,’ Week 6: UAB pays tribute to patients from Alabama’s children’s hospitals The segment shows off a one-of-a-kind UAB uniform honoring 10-year-old Griffin Devor

In Week 6 of Gear Up — SportsCenter’s weekly segment previewing the best uniforms in college football — The Undefeated’s Aaron Dodson breaks down the style combinations of Troy, TCU, Oklahoma, Texas State, Slippery Rock, Northwest Missouri State, Rice, Nebraska, Utah, Eastern Kentucky and UAB.

After a huge upset over No. 25 LSU on Sept. 30, Troy switches up the swag yet again, with the team’s fifth different uniform combination in as many weeks. For the first time, Gear Up features the uniforms of two Division II schools: Slippery Rock and Northwest Missouri State. As a nod to the past, Nebraska, Utah and Eastern Kentucky all unveil classic throwbacks. TCU and Oklahoma both break out fresh and funky patterns, while Rice shows off its patriotism with a U.S. flag-themed helmet. The uniform of the week goes to UAB’s Children’s Harbor combination, which allows players to honor patients from children’s hospitals across Alabama by wearing their names on the backs of jerseys.

Can’t get into the Blacksonian? 25 black-centered museums near you Seattle to St. Croix, Memphis to Miami — these art spaces are as vibrant and important as ever

It’s the first anniversary of the opening of Washington, D.C.’s extremely popular National Museum of African American History and Culture (NMAAHC). While visiting the NMAAHC is a life-changing experience, getting in can feel like praying on Willy Wonka’s golden ticket. But while you wait, you can have an amazing museum experience closer to home. There will almost always be must-see exhibits at places such as New York’s Whitney Museum of American Art and Los Angeles’ The Getty Center, but there are a bevy of other museums and galleries around the country that are doing brilliant and important work. This list of museums and galleries — from Miami and Houston to Sao Paulo and Cincinnati — feature new and continuing exhibits around race and identity, saxophonist Sonny Rollins, hip-hop’s golden age, activist grandmothers, salsa as a social movement, black women in silent films, the age of Black Power, Oregon during the civil rights era, African-American umpires, design and technology in the time of slavery, and so much more.

SOUTHEAST

Memphis Brooks Museum of Art

Memphis, Tennessee

Memphis Brooks Museum of Art

Kevin Barre Photography

Tennessee’s oldest and largest art museum is home to a major collection that spans all eras and encompasses all mediums. It also serves as a cultural center, hosting a variety of programs, events and films. The vision: “Transforming lives through the power of art.”

New this winter: Black Resistance: Ernest C. Withers and the Civil Rights Movement. Withers (who has been accused of being an FBI informant) was a prolific photographer who documented everything from the Montgomery bus boycott to the Negro Leagues. It’s estimated that he took almost 2 million photographs over the course of his career. The exhibition focuses on the 50th anniversary of events that took place from March 27 through April 8, 1968, such as striking sanitation workers carrying “I AM A MAN” placards, Martin Luther King Jr. returning to Memphis and the march to Memphis City Hall. On view from Feb. 3 to Aug. 19, 2018.

Muhammad Ali Center

Louisville, Kentucky

The LeRoy Neiman Gallery at the Muhammad Ali Center

Courtesy The Muhammad Ali Center

The Muhammad Ali Center is a museum and education center in The Champ’s hometown of Louisville, Kentucky, and is rooted in his core principles of confidence, conviction, dedication, giving, respect and spirituality. The permanent exhibit tells Ali’s story via interactive exhibits, images and artifacts.

New this fall: Grandmother Power: A Global Phenomenon. The exhibit features photo essays about activist grandmothers from around the world who are working to create a better future for their grands. On view through Jan. 8, 2018.

The Birmingham Civil Rights Institute

Birmingham, Alabama

Courtesy Birmingham Civil Rights Institute

Birmingham, Alabama, was the site of some of the most horrific events of the civil rights era. The Civil Rights Institute is an educational and cultural center dedicated to preserving that bloody and inspiring history. Inside, there’s a Ku Klux Klan robe, as well as the bars of the cell in which Martin Luther King Jr. wrote his “Letter from a Birmingham jail.” The institute is across the street from the Sixteenth Street Baptist Church, the site of the bombing that took the lives of four young girls 54 years ago this month.

New this fall: To create Blood Mirror, Jordan Eagles encapsulated the blood of 59 gay, bisexual and transgender men into a large resin block. The result is a luminous sculpture where viewers can see themselves reflected in the blood. The work is meant to raise awareness about the U.S. Food and Drug Administration’s discriminatory blood donation policy. On view through Dec. 9.

The Harvey B. Gantt Center for African American Arts + Culture

Charlotte, North Carolina

The Harvey B. Gantt Center for African American Arts + Culture is an art and cultural center located in a neighborhood once known as Brooklyn, the epicenter of black life in Charlotte, North Carolina. Named for Harvey B. Gantt, who was the first black student at Clemson University and Charlotte’s first black mayor, the building’s interior is a nod to the biblical story of Jacob’s ladder, while its exterior evokes West African textile patterns and quilt designs from the Underground Railroad era. Aside from great art, the center hosts talks, films and plays.

New this fall: Shows from North Carolina natives Miya Bailey and Sloane Siobhan, and an exhibition curated from the private collection of John and Vivian Hewitt, including work from Jacob Lawrence and Charlotte’s own Romare Bearden. Also of note: the premiere of the Darryl Atwell Collection of African-American Art as Simple Passion, Complex Vision. Atwell’s collection was put together in collaboration with retired NBA player and avid art collector Elliot Perry, and it includes Theaster Gates’ provocative assemblage In the Event of Race Riot XIII. All shows run through Jan. 22, 2018.

The george & leah McKenna Museum of African American Art

New Orleans

Le Musée de f.p.c., the free people of color museum owned by the McKennas.

Courtesy The George & Leah McKenna Museum of African American Art

The George & Leah McKenna Museum of African American Art was born from the private art collection assembled over 30 years by Dwight McKenna and his wife, Beverly Stanton McKenna. The permanent collection includes works by Clementine Hunter, Kerry James Marshall, Jacob Lawrence and many more. The McKennas are also passionate about supporting new and emerging artists. Past exhibitions have included Contemporary Artists Respond to the New Orleans Baby Dolls, The Spirit of Haitian Culture and From Moussor to Tignon: The Evolution of the Head-Tie. Besides owning the art museum, the McKennas own Le Musee de f.p.c., which is dedicated to telling the story of free people of color. They also founded the New Orleans Tribune in 1985. On top of all of that, Dwight McKenna is poised to become the first black coroner of Orleans Parish.

New this winter: The New Orleans 2018 African American Tricentennial Art Exhibition: Painting Our Own Story, Singing Our Own Song. The exhibit will celebrate the city’s 300th birthday and is being put together with the New Orleans chapter of the National Conference of Artists. Artists from around the country were invited to submit work for the show. The show runs from Jan. 13 to Oct. 27, 2018.

Yeelen Gallery

Miami

Yeelen Gallery owner Karla Ferguson stands beside her favorite photograph in Mariette Pathy Allen’s exhibit.

Alessandra Pacheco/Miami Herald/TNS via Getty Images

The contemporary Yeelen art gallery is owned by Karla Ferguson. Originally opened in 2008 in Miami’s Wynwood Arts District, the museum was moved over to Little Haiti in 2013. A slew of galleries have since followed, making Little Haiti the hottest art district in the city. Yeelen doesn’t operate like a typical gallery. Instead of planning shows a year in advance, Ferguson stays open to responding to what’s happening in the moment. In the past, that has included such shows as Woke AF, Black Freedom and TransCuba. “A lot of my curatorial work is based in legal theory and social justice,” she has said. No surprise, given Ferguson’s educational background in law, political science and artist relations. Hurricane Irma knocked Yeelen’s power out for a week and causing water leaks, forcing Ferguson to postpone a planned photography show. She now has her sights set on Art Basel, which hits Miami in December, and she will be up and running for the October iteration of her monthly Afro Beats N Bites day party.

New this fall: A fresh exhibit (still to be determined) will most likely go up around mid-November. Afro Beats N Bites — which combines the culinary arts with visual arts, and a DJ — happens the second Saturday of every month.

NORTHEAST

The Schomburg Center for Research in Black Culture

New York

The “Black Power!” exhibit at the Schomburg Center.

Jonathan Blanc

The Schomburg Center for Research in Black Culture is an award-winning research library and National Historic Landmark. The center preserves, documents and promotes the study of black history and culture with its collection of more than 10 million items. The Schomburg also promotes lifelong learning through a calendar of events, talks and other programming.

New this fall: The unveiling of The Sonny Rollins Collection, which highlights the life and career of the saxophonist. The Black Power! exhibit is a collection of interviews, essays and images covering key areas of the movement, and Power In Print is a presentation of Black Power Movement posters. On view through March 30, 2018.

The Museum of the City of New York

New York

The Museum of the City of New York

Filip Wolak, courtesy of the Museum of the City of New York

The Museum of the City of New York contextualizes all things NYC. The museum also hosts a number of events and educational and public programs.

New this fall: Rhythm & Power: Salsa in New York explores the popular musical genre and its role as a social movement. On view through Nov. 26.

Carnegie Museum of Art

Pittsburgh

Installation view: 20/20: The Studio Museum in Harlem and Carnegie Museum of Art.

Bryan Conley

The steel baron Andrew Carnegie opened an art museum with a vision of collecting “the old masters of tomorrow.” Embodying that mission, the Carnegie Museum of Art makes a good case for being “the first museum of contemporary art in the U.S.” The museum is one of four institutions that make up the Carnegie Museums of Pittsburgh.

Continuing this fall: Co-curated by the Studio Museum in Harlem and the Carnegie, 20/20 aims to prompt discussions about race and identity during this turbulent time. Called “the most important art show in America” by Vogue, the show is made up of works by 40 artists, including Glenn Ligon, Titus Kaphar, David Hammons, Kara Walker and Kerry James Marshall. “There was a point where I marched for Trayvon Martin and Mike Brown, and I just couldn’t be angry anymore,” co-curator Amanda Hunt told ArtNet. “I couldn’t figure out what I could do to start affecting change, either in a more immediate sense or in a collective community sense. So this show represents our power, our purview — this is what we know and have been trained to do, and have voice and ownership of, and a platform for. We’re curators at major institutions in America. And that’s powerful.” On view through Dec. 31.

Reginald F. Lewis Museum of African American History and Culture

Baltimore

Reginald F. Lewis Museum of Maryland African American History building.

Jeffrey Greenberg/UIG via Getty Images

The Reginald F. Lewis Museum of African American History and Culture is dedicated to documenting, preserving and exhibiting the lives of African-Americans in Maryland. Its permanent collection includes photos, artifacts and textiles, as well as expanded collections focused on jazz recordings and military history. And be sure to peep the gift shop, where ESPN Radio’s Freddie Coleman picked up a fly Frederick Douglass T-shirt.

New this fall: Maryland Collects: Jacob Lawrence. The exhibit features 50 prints from private collectors in and around Maryland. “This is an exhibit we put together ourselves,” says Lewis executive director Wanda Draper. “We wanted to bring this community a collection by an esteemed African-American artist that they can’t see anywhere else.” On view through Jan. 7, 2018.

Museum of African American History

Boston

The Nantucket campus of the Museum of African American History.

Courtesy The Museum of African American History

With two campuses, Boston and Nantucket, the Museum of African American History is the largest museum in New England dedicated to African-American history and culture. It includes four historic sites and two Black Heritage Trails.

Continuing this fall: Picturing Frederick Douglass. With a brisk understanding of visual language and its effects, Douglass used his photographic images as a tool to counteract the ways that imagery was often used to create stereotypes about African-Americans. This is the first major exhibition of Douglass photos, many unseen until now. On view in the Abiel Smith School on the museum’s Boston campus through December.

MIDWEST

The DuSable Museum of African American History

Chicago

The exterior of the DuSable Museum of African American History Thursday, Sept. 22, 2016, in Chicago.

AP Photo/Tae-Gyun Kim

You may know the DuSable Museum of African American History as the place where Chance the Rapper is donating his best rap album Grammy. But it’s also one of the oldest and most revered African-American museums in the country. The DuSable is also involved with the Hyde Park Jazz Festival and The Margaret Burroughs Centennial Film Series.

New this fall: Chicago: A Southern Exposure features the work of architectural photographer, critic and DuSable vice president Lee Bey. It’s the first major show dedicated to often overlooked South Side architecture and highlights black architects such as John Moutoussamy and Roger Margerum, alongside the likes of Frank Lloyd Wright and Mies van der Rohe. “The city’s best architecture, outside of downtown, is on the South Side of Chicago,” Bey told New City. “You can tell these things in other places and tell a fine story, but to have it here in a black institution, and to have the story told by black people and have those exhibitions in the context of other exhibitions for and by black people, gives a richer story.” On view through February 2018.

The Charles H. Wright Museum of African American History

Detroit

Self-Portrait, Allie McGhee, 2008, on display at the Charles H. Wright Museum of African American History.

Courtesy Charles H. Wright Museum of AfricanAmerican History

Charles H. Wright, a Detroit doctor who delivered 7,000-plus babies, got the inspiration for opening a museum after visiting a Denmark war memorial. Initially known as I AM (International Afro-American Museum), the Charles H. Wright Museum of African American History opened in 1966 as a small physical location with a traveling mobile-home version. The Wright has grown through the years and is now a cornerstone of Detroit’s Midtown Cultural Center, along with the Detroit Institute of Arts and the Michigan Science Center.

Continuing this fall: Say it Loud; Art, History, and Rebellion. The exhibit is rooted in the Detroit rebellions and the ways in which art has responded to those rebellions and continued events. The exhibit begins outdoors with photos, quotes and a 24-foot sculpture by Charles McGee. Inside, there are works by 40 artists, including Faith Ringgold, Sanford Biggers and Jeff Donaldson. On view through Jan. 2, 2018. (A complementary exhibit, Art of Rebellion: Black Art of the Civil Rights Movement, is up at the nearby Detroit Institute of Arts until Oct. 22.)

 

National Underground Railroad Freedom Center

Cincinnati

Courtesy National Underground Railroad Freedom Center

The National Underground Railroad Freedom Center encourages visitors to remain active participants in the continued struggle for freedom of people everywhere and is involved in combating modern-day slavery and human trafficking. Earlier this year, the center launched the Open Your Mind learning lab, designed to teach visitors about implicit bias.

New this fall: The Kinsey African American Art & History Collection, an exhibit culled from the private collection of Bernard and Shirley Kinsey. It will feature archival material related to Malcolm X and Zora Neale Hurston besides artwork by luminaries such as Richard Mayhew. “Remembering, celebrating, examining and commemorating the black experience … is something we invite all to participate in,” Ashley Jordan, curator at the center, said in a statement. “African-American history is American history.” Opening Nov. 4.

Negro Leagues Baseball Museum

Kansas City, Missouri

Courtesy the Negro Leagues Baseball Museum

Dedicated to preserving the history and legacy of African-Americans in baseball, the Negro Leagues Baseball Museum weaves together black history and baseball history via multimedia displays, photographs and artifacts. “The premise is baseball, but the story is so much larger than the game of baseball,” said museum president Bob Kendrick. “It is America at her worst, but it’s also America at her triumphant best.”

New this fall: An exhibit celebrating African-American umpires from the Negro Leagues to the majors to little league. The exhibit is unnamed as yet but will be dedicated to Bob Motley. Barrier Breakers: From Jackie to Pumpsie will look at the complete integration of baseball, from Jackie Robinson and Larry Doby to Elijah Jerry “Pumpsie” Green. An expanded piece will feature the women of the Negro Leagues — Toni Stone, Mamie Johnson and Connie Morgan — who played with and against the men.

SOUTHWEST

California African American Museum

Los Angeles

Brian Forrest, Courtesy California African American Museum

The California African American Museum does a great job of using art to contextualize historical events; its rich history is reflected in the depth and breadth of its exhibitions. The state of California supported the museum early on, acknowledging the cultural and political impact of California’s African-American community.

Continuing this fall: On view through Oct. 8, Face to Face: Los Angeles Collects Portraiture is an exhibit of 50 works put together from L.A.-based collections. Artists from Titus Kaphar to Mickalene Thomas examine the changing ways in which artists are approaching portraiture. For Center Stage: African American Women in Silent Race Films, the museum screens multiple “race films.” “Directors often created these films in retaliation against disparaging portrayals of African-Americans, to challenge the larger narrative and to get across themes of upliftment, pride and self-sufficiency within the black community,” said co-curator Tyree Boyd-Pates. On view through Oct. 15. For Fade to Black, Gary Simmons combines his signature smudged erasure technique with the titles of “race films” to create an installation in the museum lobby. “Fade to Black provides a nuanced history of black representation in motion pictures from the early to mid-20th century,” Naima Keith, the museum’s deputy director and chief curator, told the Los Angeles Times. “History’s subjective bent is also a strong theme within Gary’s work, and the simple nature of chalk lends itself to his artistic concerns — especially in its suggestion of basic communication, the human hand, education systems and of easily erasable or altered information.” On view through July 21, 2018.

New for fall: We Wanted A Revolution: Black Radical Women 1965-1985 focuses on the intersection of art and activism and includes the work of more than 40 African-American female artists. It touches on every major social movement of the period, including the civil rights and Black Power movements, the women’s movement, the anti-war movement and the gay liberation movement, among others. “This exhibition feels especially relevant for our audiences because it includes women artists working in various parts of the country, not just on the East Coast,” Keith said in a statement. On view Oct. 13 through Jan. 14, 2018.

Museum of the African Diaspora

San Francisco

Courtesy Museum of the African Diaspora

The Museum of the African Diaspora uses contemporary art to help audiences engage with the African diaspora via exhibitions, public programs and events. The vibrant space focuses on cultural expression rooted in four themes: origin, movement, adaptation and transformation.

New for fall: En Mas: Carnival and Performance Art of the Caribbean explores the artistry behind carnival parading, masquerading and procession. The exhibition tracked nine artists — John Beadle, Christophe Chassol, Charles Campbell, Nicolás Dumit Estévez, Marlon Griffith, Hew Locke, Lorraine O’Grady, Ebony G. Patterson and Cauleen Smith — during the 2014 carnival season. On view Sept. 20 to March 4, 2018.

Houston Museum of African American Culture

Houston

The Houston Museum of African American Culture explores and shares the history and culture of African-Americans. Besides exhibits, the museum hosts talks, screenings and other public events.

New for fall: The Telling and the Told: The art of David McGee. Curated by artist Benito Huerta, The Telling and the Told is an exhibit of works on paper and continues McGee’s exploration of the intersection of imagery, politics, race, class and pop culture. On view Nov. 4 to Jan. 12, 2018.

Kansas African American Museum

Wichita, Kansas

The Kansas African American Museum provides a mix of art, history and special programming to engage audiences of all ages. Past exhibitions have included an homage to President Barack Obama’s Midwestern roots and Undefeated: The Triumph of the Black Kansas Athlete. The museum is also spearheading the creation of The Kansas African American History Trail.

New this fall: UNDEREXPOSED: Contemporary Black Women Photographers. These women have often been overlooked for their contributions and creativity. This exhibition looks to rectify that by shining a light on the work of Toni Parks-Parsons, Chandra McCormick, Pat Patterson, Shineta Horton, Labeebah Beruni and Keshia Ezerendu. On view through Dec. 30.

NORTHWEST

Northwest African American Museum

Seattle

The Northwest African American Museum is dedicated to preserving the culture and telling the stories of the African diaspora in the Pacific Northwest. This includes both historical contributions and those being made today by a continuing wave of new immigrants from places such as Somalia, Sudan and Ethiopia.

New this fall: Professor/writer/historian Daudi Abe gives a talk on Emerald Street: Race, Class, Culture, and the History of Hip Hop in the Northwest on Nov. 9.

Oregon Historical Society

Portland, Oregon

Bob Setterberg

The Oregon Historical Society documents the history and culture of the state and presents it via physical and digital exhibits, talks and events. OHS’ commitment to inclusion is evident in its partnerships and programming, which address themes from Native American history, the struggles faced by the Japanese-American immigrant community, and broaching the subject of “Peace in the Middle East” with an assemblage of religious leaders. On view online: Black Athletes Disrupting White Supremacy in Oregon.

Continuing this fall: Racing to Change: Oregon’s Civil Rights Years. The exhibit is presented by the Oregon Black Pioneers and tells the story of the civil rights battles fought by African-Americans in Oregon, particularly sparked by discrimination in housing and employment practices. “No matter what you do in Oregon, you’ll find the footprint of a black person that was there. And that’s all over the state. Black folks weren’t congregated in Portland; 32 of Oregon’s 36 counties had African-Americans in them,” Willie Richardson, board president of the Pioneers, told Portland Architecture blog. “They provided services. They owned land. They did all the things that Oregon laws said they couldn’t have.” On view through June 24, 2018.

INTERNATIONAL

Caribbean Museum Center for the Arts

Frederiksted, St. Croix, U.S. Virgin Islands

Denise Bennerson

The Caribbean Museum Center for the Arts focuses on promoting Caribbean arts and culture through exhibits, events, classes and other programming.

New this fall: Pride Through Art. The exhibit showcases the work of LGBTQ artists and allies, addressing themes of gender identity, society and inclusion. On view Sept. 28 to Nov. 13.

Tate Modern

London

A woman looks at the ‘Did the bear sit under a tree’ painting by Benny Andrews at the exhibition Soul Of A Nation, exploring the art made by African American artists between 1963 and 1983, in London, Tuesday, July 11, 2017. The exhibition started on July 12, 2017 and ends on Oct.22, 2017.

AP Photo/Frank Augstein

If you’re looking for very cool modern art in London, head to the Tate Modern. As part of the Tate group (which also includes the Britain, Liverpool and St. Ives), the Tate’s collection comprises international modern and contemporary art from 1900 through today.

Continuing this fall: Soul of a Nation: Art in the Age of Black Power. The exhibit showcases the ways in which artists responded to events of the day, from the civil rights movement to Black Power, and addresses issues of revolution, pride and solidarity. Artists include Barkley L. Hendricks and Emory Douglas. “The show provides a whole array of American artists who should be part of the art curriculum,” Zoe Whitley, curator of international art at the Tate, told The New York Times. “It shows that black artistic culture at that time was as varied as any other culture. It’s not ‘black’ art, it’s a range of practices.” On view through Oct. 22.

Musee D’art Contemporain

Marseille, France

People look at pictures by US photographer Henry Chalfant “Third Avenue, the Bronx 1084” as they visit the exhibit ‘Hip Hop , un age d’or’ (Hip Hop, a golden age) at the Contemporary Art Museum in Marseille, on May 12, 2017.

Boris Horvat/AFP/Getty Images

Marseille, France, is the hub of hip-hop in southern France — so it’s no wonder that the Musee D’Art Contemporain would host an exhibit around the culture’s origins. You can also get your Jean-Michel Basquiat fix there. Although small, the museum is known to have an impressive collection of modern and contemporary art.

Continuing this fall: HIP HOP: a golden age 1970-1995. The exhibit features many elements of hip-hop culture: graffiti murals, sketchbook pages, racks of spray paint cans, Kangols, shell toes, nameplate belt buckles, a Zulu Nation medallion and even a Wild Style diorama. On view through Jan. 14, 2018.

Museu Afro Brasil

Sao Paulo

The Museu Afro Brasil, a major repository of Afro-Brazilian art, looks at Brazilian art and heritage through the lens of the African diaspora with a focus on (among others) Africa’s diversity and persistence, work and slavery, and Afro-Brazilian religions.

New this fall: Exhibits featuring Baroque masters, geometric forms, and design and technology in the time of slavery.

Prosecutors, not just police, can also play a part in the abuse of black lives The exclusion of black jurors changes the game

 

Various players, during last weekend’s slew of NFL games, reignited the protest efforts against racial injustice. Seattle Seahawks defensive end Michael Bennett, for instance, sat on the bench during the national anthem and raised his black-gloved fist after sacking San Francisco 49ers quarterback Brian Hoyer. Before the game, his brother Reshaud led a Black Lives Matter rally through the streets of Seattle’s International District, chanting, “Black lives are under attack, what do we do? Stand up, fight back.”

Now close your eyes and imagine what they demonstrated against. What scenes invade your mind? Most will picture episodes like what Bennett described as happening to him in Las Vegas — an officer forcing him to the ground, his nose smelling pavement, his ears filled with threats and a handgun aimed at his head — a scared and innocent black man fearing death was looming.

We generally finger cops and incidents like Bennett’s as the reason many people of color distrust the criminal justice system while ignoring a potentially far guiltier culprit — the prosecutor. With considerable authority in the legal system, many prosecutors have the ability to trample upon the constitutional rights of black criminal defendants. This malfeasance can reveal itself in a variety of ways, but one is when prosecutors deliberately make juries as white as possible.

Just last July, Washington state’s Supreme Court overturned the conviction of a black criminal defendant after the prosecutor prevented the only potential black juror from serving on the jury. California’s Supreme Court in June overturned the convictions of three Latino criminal defendants, ruling that the prosecutor discriminated against prospective Latino jurors.

When players protest the national anthem, also envision this: Right now, at least one person of color, almost certainly many, in fact, is seated in the criminal defendant’s chair in a courtroom somewhere in America. That person will gaze over at the jury box and spot few if any nonwhite faces because the prosecutor wanted it that way.

Batson v. Kentucky

The prosecutor and defense attorney have “peremptory challenges,” the right to strike a potential juror from serving on a criminal jury without giving a reason. Each side winnows down the jury pool through these challenges until, in most jurisdictions, 12 jurors and four alternates are seated. Many prosecutors habitually exploit this tool by striking people of color based on race, resulting in disproportionately white juries.

This happened in the early 1980s, when James Kirkland Batson of Louisville, Kentucky, stood accused of second-degree burglary and receiving stolen goods. During jury selection, the prosecutor struck all four black potential jurors and all-white jury convicted Batson.

In 1986, the Supreme Court overturned his conviction. This decision barred prosecutors from considering race when striking jurors, declaring unconstitutional a practice that had lasted more than a century.

Defense attorneys can now initiate a “Batson challenge.” This process generally begins after a prosecutor strikes two or more nonwhite people, often raising the eyebrows of defense attorneys, who can then argue they notice a racial pattern and tender supporting reasons. The judge, if convinced the defense has advanced a substantive initial case, will ask the prosecutor for race-neutral reasons for each reason to strike. If the prosecutor fails to convince the judge that race played no role, the judge will find a Batson violation.

The viability for the Batson decision to curtail this scourge hinged on whether discriminating prosecutors would be impeded by the requirement to proffer race-neutral explanations. Justice Thurgood Marshall in the Batson decision argued they could easily concoct reasons that courts would be “ill-equipped to second-guess. …” The Batson challenge, to Marshall, would falter because it “cannot prevent clever lawyers from using peremptory challenges to strike potential jurors based upon impermissible rationales as long as they pretend to use other, permissible bases.” This would mean that only “flagrant” abuses would be punished. Marshall concluded that “only by banning preemptories entirely can such discrimination be ended.”

Three decades of evidence validate Marshall’s pessimism.

 

Widespread Prosecutorial Jury Discrimination

A report from the Equal Justice Initiative, a racial justice organization in Montgomery, Alabama, exposes how prosecutors freely articulate discriminatory statements in open court. In a Louisiana case, for example, a prosecutor disclosed that he struck a juror for being a “single black male with no children.” One Alabama prosecutor struck black prospective jurors “because he wanted to avoid an all-black jury and asserted in other cases that he struck African-Americans because he wanted to ensure other jurors, who happened to be white, served on the jury.” A Georgia prosecutor challenged a juror “because he was black and had a son in an interracial marriage.”

Courts, in these cases, sided with the defendant. These are the blatant occurrences that Marshall figured courts could prevent. When prosecutors behave more cleverly, judges, as Marshall predicted, poorly guard black rights.

Judges routinely allow prosecutors to strike black prospective jurors because they have “low intelligence,” a “lack of education,” children out of wedlock, live in a “high crime area,” are unemployed, or rely on government assistance programs such as food stamps. A South Carolina court allowed a prosecutor to strike a black man because he “shucked and jived” as he walked. One prosecutor struck a prospective juror for “look[ing] like a drug dealer.” A Louisiana court condoned the rationale. An Arkansas judge allowed a prosecutor to rely on a hunch that a black woman would be “unfavorable to the state” even without the prosecutor ever questioning her to find out.

Zooming out from these details reveals a dispiriting tableau — rampant prosecutorial jury discrimination.

Barbara O’Brien and Catherine M. Grosso, two Michigan State law professors, examined at least one jury trial for each inmate on North Carolina’s death row as of July 1, 2010. Their study examined “strike decisions” for more than 7,400 potential jurors in 173 proceedings to discover how prosecutors used peremptory challenges in capital cases. Their data was clear — prosecutors were far more likely to strike potential black jurors.

Across all the proceedings, “prosecutors struck 52.6 percent of eligible black venire members, compared to only 25.7 percent of all other eligible venire members.” These disparities worsened in cases with black defendants. There, prosecutors struck 60 percent of black potential jurors versus 23.1 percent for all other races. “In every analysis that we performed,” O’Brien and Grosso recapped, “race was a significant factor in prosecutorial decisions to exercise peremptory challenges in jury selection in these capital proceedings.”

When asked what their research reveals about America writ large, O’Brien and Grosso responded by email, “from all the evidence we have seen — both experimental work and analysis of strike decisions in real-life trials — there’s nothing unique about North Carolina: Race is a huge factor in the decision to exercise peremptory strikes everywhere.”

Take the Peremptory Challenge Away from Prosecutors

The true number of defendants who have languished in prisons or died there after being convicted by a discriminatorily composed jury would likely startle even the most well-informed, although the exact total will forever elude us.

Society can best address this by pursuing the prophetic wisdom of Marshall: Strip the peremptory challenge from prosecutors, a power they persistently mishandle.

Take the former Montgomery County, Alabama, district attorney, for example. Her office had at least 13 of its convictions reversed for Batson abuses. She, nonetheless, held her job 21 years before stepping down in 2014. She kept enjoying re-election, and voters likely did not know or care she was habitually violating the rights of black criminal defendants.

Her victims, like that of any prosecutor who denied defendants their constitutional right to an impartially selected jury, suffered no police abuse that an onlooker recorded and posted online for the world to witness. But when black athletes conduct their national anthem protests, we should also keep in mind the image of the purposefully constructed all-white jury that could determine their guilt or innocence.

Nazr Mohammed isn’t retired, just prepared for his next phase in life He’s started a foundation to focus on bringing awareness and money to multiple causes

Chicago native and NBA veteran Nazr Mohammed has not officially retired after an 18-year stint in the league. And he doesn’t have much to say about when that announcement will come.

“I realized a long time ago, seeing other friends and teammates go through it. Only the great ones actually retire. The rest of us get retired,” he said. “I don’t feel like I need to officially retire, but I am retired. What I mean by that is, you know, there’s always a situation you would play for, but after a year has passed, I’m not really thinking in that mindset as far as playing again. I’m looking more into the business of basketball. There are things I want to do as far as looking for the right situation that can teach me the business of basketball and put me in a position where I have an opportunity to learn as much as I can. My dream is to one day run my own organization, whether it’s GM or as the president of an organization. I think I can manage and help build a championship team.”

But Mohammed is a multidimensional thinker whose skills have stretched far beyond the court. So for the next chapter of his career, he’s continuing to give back to others and teaching life skills to young girls and boys through his foundation. His off-the-court endeavors include the Nazr Mohammed Foundation, a fundraising organization that focuses on bringing awareness and money to a cause of his choice while hosting its own programs.

“You know how so many start a foundation and they have one particular cause? Just with me, it’s so many different things that I believe in and so many different causes that I’d like to support,” Mohammed said of his multilayered unit. “I decided that, you know what, one cause just isn’t enough, so I keep my foundation pretty broad.”

The University of Kentucky standout was selected in the first round of the 1998 NBA draft by the Utah Jazz right after his junior year. Utah traded his rights to the Philadelphia 76ers, with whom Mohammed spent the first two seasons of his NBA career. The 6-foot-10 center was an integral big man for the Atlanta Hawks, New York Knicks, San Antonio Spurs, Detroit Pistons, Charlotte Bobcats, Oklahoma City Thunder and his hometown Chicago Bulls. He played for the Thunder last season.

Mohammed attended high school at Kenwood Academy in Chicago and grew up in a big household led by his father, who immigrated to the U.S. from Ghana.

“There’s 10 of us. Three brothers, six sisters. I’m like fourth from oldest,” he said.

In February, he shared information about his life, his childhood and growing up in a Muslim household in a blog post about religion and politics. He wrote about his experiences with online racism, and his story picked up national attention.

“It’s funny, when I do my blog, something happens that’s just constantly being talked about on TV, and I knew I had an opinion,” he said. “I do plan on doing the blog again. I don’t know when, I don’t know what it’ll be about. When there’s something to talk about, I just have some things I need to say about it, and I just start writing and put it out there.

“The funny part is I never thought I was a writer. I actually didn’t like writing a whole lot, but after I get started, I think I’m getting better. I enjoy it, and once I get started I can’t stop.”

Meanwhile, Mohammed is busy running The Village Project for boys and girls ages 14 to 18.

“What we do is we get up to 100 kids. We try to get about 50 girls and 50 boys. We go through different things and different situations that kids may be going through from bullying to etiquette, financial planning, etc. We create the curriculum according to the what we feel are tools they will need to excel. Then come in and talk to them about financial planning so they can get an understanding about how to handle money, how to save, what bills to expect. When you’re young, no one ever really talks to you about money and financial planning. I think that’s something, especially in the black community, we kind of have to learn on our own.”

Mohammed spoke with The Undefeated about his foundation, family and his overall journey.


What was the idea behind starting your foundation?

I was trying to do something for my high school. I wanted to do something where I help them out academically and athletically, so I decided it was time to start up my foundation. I can kind of use my platform, my name, to try and help to raise money or have fundraisers for them.

My first fundraiser we raised a total of $40,000 for my high school. It helped them upgrade a couple of academic areas. We were able to upgrade some things in their main gym. My second year, I decided to change it up. It was a couple of organizations that I felt that were doing some outstanding things in Chicago and I wanted to highlight them. One of them was Sue Duncan Children’s Center, a place I attended in elementary after the school day to play ball. Back when I attended it didn’t a have a name, so we called it Sue’s. It was at a church; Sue made us read then do a book report before we could play. The other option was to read to some of the younger kids. Sue’s son, Arne Duncan, later became the superintendent of Chicago schools. President [Barack] Obama later named him secretary of education. We donated money to Sue Duncan Children’s Center. Also a place called CircEsteem. It’s an organization that is an afterschool program that kind of keeps kids engaged. They are teaching them like circus tricks. And another one was called Mercy Home for Boys & Girls. In the third year, I switched it up again. This time I did a big fundraiser for Kovler Diabetes Center with the University of Chicago. And the reason I chose diabetes was because of a couple of people in my family suffer from Type 1 and Type 2 diabetes. And I wanted to just kind of give back and bring awareness, because we all know how prevalent it is in the black community.

We would help them with the things they were doing as far as research, and they had programs where they were helping people pay for their medicine. In our fourth year, we decided to do something for autism. We did a big fundraiser to raise money for a couple of groups that were helping out in black communities, and communities everywhere. In the fifth year, we also donated to a couple of local organizations.

So that’s kind of what we do. We’re all over the place. If I see something where I feel like it’s a credible organization, or they’re doing great work and I can lend my name, or I could do something and raise money for them, I kind of just do it.

What’s been the hardest part of fundraising for you?

The hardest part is, it’s kind of sad. … You have so many people who say they want to help and they want to be part of what you’re doing, but they really want to help in certain ways. They only want to do certain things. So finding people who are willing to donate their time, or money, or their expertise, it’s been hard. There have been times where people have had their own agendas.

Which cause is the most like heart-tugging for you?

Honestly, all of them have been pretty equal. With autism, I had a friend who had two of his young children on the autistic spectrum. I had another friend whose son in high school was autistic. So that was something that was close to me. As far as diabetes in my immediate family, I have so many that are Type 1 and Type 2. Cancer, at the time I decided to do my fundraiser for cancer, I also had one friend pass from a form of cancer. I had another friend, his mom just found out she had cervical cancer, and I had two friends dealing with breast cancer, so that was something that was really close to me. With each fundraiser we did, there was definitely something that meant something dearly to me at the time and still does. I do have to admit, it is very rewarding doing The Village Project just because this is where we can help teenage kids, we can help young kids, and give them some directions.

As a ‘Windy City’ native, how do you feel about some of the community issues that have been plaguing the Chicago area?

Since I don’t live there full time, I can’t say it directly affects me. But being in Chicago, you just feel it. Growing up in Chicago and playing basketball, when I played, you almost had like an athlete pass, where if you’re doing good, you’re the good player, you are pretty much allowed to go play here and play there, and going to different neighborhoods and no one pretty much messed with you. The saddest part about the violence that’s going on in Chicago, you no longer see that pass. In the last couple of years, there’s been a couple of prominent high school athletes from Chicago who had been killed. When you talk about my city, I want you to talk about it for being a great city, it is. With all the violence that’s going on, the murder rate being so high in certain areas.

I think it’s time that I try and figure out what I can do. I’m as bashful about what exactly you can do with most people. There’s a lot of people working on it. I’m actually trying to find the right organization that I want to partner with, see where I can help.

How do you feel about rappers like Chance the Rapper and Common and others who are speaking out and taking a stand for what’s going on in the community there?

What Chance has been doing, it’s just been amazing. Just to be such a young guy. How intelligent and how passionate he is about the city, putting his money where his mouth is. It’s just been amazing. Some people forget Derrick [Rose] gave a million dollars to an after-school program in Chicago. It’s not talked about much; once it’s done, people forget quickly. Derrick put his money where his mouth was too. There’s people stepping up, people trying to support the city in whichever way they can, whether financially.

Are your children aware of and involved in your philanthropic efforts?

Yeah, definitely. I try to have them involved in little ways whenever we can. I definitely have them around when we do the big group stuff so they can just see what’s going on, letting them help fill gift bags, little things like that, just so they got a feel for what’s going on and kind of be part of it. I have a 14-year-old daughter who will be starting high school this year, 11-year-old son who will be in the sixth grade, and an 8-year-old daughter will be in third grade.

What’s been the most interesting part in being the giver?

I hate to say it, but one of the biggest reasons why I do it is when you give, that’s an opportunity to be selfish. What I mean by that is, when you give … I do it because it makes me feel good. At the end of the day, knowing that you’re in a position that you can help others and you can give and the smiles that you put on people’s faces and the happiness that you bring to others. It makes me feel good. It makes me feel good about myself, so if I can make myself feel a little bit better by giving to others, when I have the opportunity, I try to do it.

How has being a Ghanaian player in the NBA been for you?

It’s funny because I’m just doing my thing, and they’re so proud because I was the first Ghanaian in the NBA. So they’re so proud of it, but at the same time it’s one of those things, because I’m American-born, some people feel like, ‘We don’t know.’ Both my parents are from Ghana. I can’t pick where I was born. I feel like it just had a great impression on me. It’s a quality, and it’s something that is ingrained from different things for me. You know, growing up being the African kid in the neighborhood. You’re treated differently. People look at you differently. Your parents speak a different language but hear the accent.

My father, he really wanted us to understand the difference between being poor in America and Third World poor, how he grew up. We just got different culture and different view on things. Being included, once I became a good basketball player, having that background, my Ghanaian part and just being an African-American in America. I just got a chance to develop so many different views and be a part of so many different groups. That’s something I touched on in my blog about religion and politics.

How has your culture shaped you into the man you are now?

It’s in my DNA. My pops was a hardworking, smart, whatever it takes to be successful, whatever it takes to feed his family. It rubbed off on all of us, all the kids. It’s just part of our culture. You do whatever you have to do, especially being the man of the house. You feed your family, you keep a roof over their heads, you work hard, you try to achieve as much as you can, you learn as much as you can. It definitely shaped me into the man I am today. My father, he did it all first off. It’s kind of hard to explain what he did. During my lifetime, he owned gas stations, he’s done all types of things, but during my lifetime, he drove a cab first. He drove a cab in Chicago, then he wound up went into medallion. Medallion is the right to have a cab in Chicago. A friend of his wanted medallion, but he couldn’t afford to put it on the street, so my father bought his medallion. So now he had two cabs. He slowly put together where he at one point owned 11 cabs. He was a jack-of-all-trades, he did it all. We had a restaurant for a year or two. My pops, he would just work hard, get it out there, try to accomplish it.

If it fails, get backup. Try to figure out another way to accomplish another goal. He always told us, if you can, don’t work for anybody, work for yourself. I’ve always had that in my mind, but of course I haven’t been able to achieve considering it’s kind of hard to be on a team and work for yourself. I’m trying to figure that one out now.

Did you experience any racism growing up?

I feel like at some level, you can always question the way someone treated you, is it some form of racism or prejudice, but you don’t truly know. I found social media, that’s a wild experience. Most of my racism is through … I don’t really count that though. I haven’t experienced much racism that I can confirm in person. No one has called me out my name in person. It’s been more like you’ve had this feeling. And that this person could have been a racist or could have been prejudiced, prejudiced against tall people, black people, whatever it may be, Africans or in which box you want to check for me.

Olympian Micha Powell runs a different course: Embracing failure as a means to success A weekly series from the sprinter on balancing sports, school and life

Hey, all, Micha Powell here. Welcome to my video diary! I’m a recent University of Maryland graduate with a bachelor’s degree in broadcast journalism, three-time NCAA All-American and 2016 Canadian Olympian.

If you’ve wondered what it takes to be a track and field student-athlete and compete at the international level, look no further. With this weekly video diary, you can follow my journey from training as a student-athlete at UMD to representing Canada at the 2017 World University Games in Taipei, Taiwan, at the end of August. With my degree in broadcast journalism, I will use my reporting and editing skills to produce an in-depth look at the high-performance world of a 400-meter sprinter.


Week 2

After I was named to the Canadian Olympic team in 2016, I thought that everything in my life would fall into alignment. I was going into my senior year of college at the University of Maryland as captain of the track and field team and on course to graduate with a B.A. in broadcast journalism in the spring. Also, with my new title as Olympian, I had an edge over my college competitors, having experienced the pressure of being selected to represent my country on the world stage. I felt prepared to dive in, headfirst, into my most intense year at Maryland. Unbeknownst to me at the time, it would be the most mentally and physically challenging season of my track career thus far.

I had been chosen to represent Canada at the 2016 Olympics based on my personal best (PB) time of 51.97 seconds in the 400 meters that I clocked at the 2016 East Regional Championships in Florida. At the beginning of my 2017 outdoor track season, I became transfixed with my best time from the previous year and was determined to run an even faster PB. I had dropped a second every year since I joined the UMD track team and was hoping to continue my streak. That was until I experienced my first substantial injury. Over spring training, I ran a tuneup 200-meter race to increase my speed and suddenly felt something not uncommon in the world of track and field: a hamstring strain. This slight hiccup quickly turned into a recurring pain that no amount of treatment (up to three hours a day) could quickly fix.

Regardless of this setback, my plan was simple. I would go to physical therapy until my body readjusted itself, and then I would be back running in time for my Canadian Championships, where I would run a world standard qualifying time to secure my spot on the World Championship Canadian team. My one-dimensional thought process led me to assume that I would make the Canadian team this year simply based on making national teams in the past. I didn’t allow myself to acknowledge the truth about my circumstance. I had to sooner or later face the fact that I could not rely on last year’s outcome to predict my coming track season.

My athletic trainer, Anthony Benyarko, concluded that my symptoms were a result of lower crossed syndrome (LCS). I did not want to admit that I had been running with LCS because of its association with muscle imbalance, which I interpreted as a weakness. I wanted to put on a brave face and not tell anyone the severity of my pain in the hope that it would go away. Call it pride or arrogance, but I thought if I didn’t speak my injury into existence, maybe I would still be able to run fast. After two months of rehabilitation exercises, Benyarko helped me master these new strengthening movements and my confidence came back full-fledged, and I was eager to get back into my spikes.

After I was cleared, I had a breakthrough toward the end of my outdoor collegiate track season at the 2017 East Regional Championships in Kentucky, when I ran a 52.15 (0.05 seconds off the world standard time). However, it came at the expense of my hamstring feeling like I had shredded it coming out of the blocks. I was too determined to not end my senior year without trying my hardest to qualify for NCAAs, so I kept pumping my arms throughout that race and did my best to ignore the excruciating pain in my leg. Wanting to make it to nationals and get the world standard so badly to race at the 2017 World Championships in Athletics in London blinded me to the fact that I was still running hurt.

In June 2017, my leg held up just enough for me to earn second-team All-American honors at my last NCAA Outdoor Track and Field Championships in Oregon. I was still favoring one leg, but I told myself that I could last a little longer until my Canadian track and field trials for the world team in July.

After weeks of training in the muggy Maryland heat with my coach prepping me for the Canadian Championships, I believed — no, I wanted to believe — that I still had another faster time left in my legs. The moment had come, and I was mentally ready to compete at my third senior-level Canadian national competition. I only had to convince myself that I was physically ready to leave it all out on the track. I made it through the semifinals with a time of 53.69 but considered scratching the finals because of the immense discomfort I was still feeling in my leg. I made my final decision during my warm-up before stepping onto the track for the 400-meter finals. I looked to my coach, the great world-record holder, Andrew Valmon, and decided I wanted to race one more time to honor all the work we’d put into training.

The announcers presented the lineup, and the track was closed off to everyone but the eight of us sprinters who qualified for the finals. I settled myself into my blocks, and within an instant the starting gun went off and I didn’t look back. I crossed the finish line only to realize that I had been disqualified for a lane violation near the 300-meter mark. Realizing I was not going to run at Worlds was devastating, to say the least. I felt like I had let down my coaches, family and friends who had come to see me race at what I thought would be the highlight of my season. I reflected back on my past five years in track right then and there and thought, Did I do all of this for nothing? I felt hopeless and did my best to mask my sadness. My mind kept going over my new reality. There would be no postrace interviews, no world team nomination celebration and no chance for me to show the world what I’m capable of doing around a 400m track in London.

I had to come to terms with the truth. My path had been altered. I was going to either accept this change in course or dwell over everything that didn’t go right in my track season. I decided on the former and promised myself that I was going to focus on getting my lower back and hips stronger to alleviate the pressure it was putting on my hamstring. I have to hold myself accountable, and only then will I be able to come back and run stronger than before. The best way I can grow and learn from this experience is to accept that success doesn’t come without failure. I refuse to let a setback prevent me from going after my goal of being the best Canadian 400-meter runner. It won’t be an easy road ahead; however, I know that disappointment from my shortcomings filled my heart with more desire and a mindset void of complacency.

Allen Iverson suspended one game for missing a game and other news of the week The Week That Was July 31-Aug. 4

Monday 07.31.17

New York Jets safety Jamal Adams, drafted to a team that went 5-11 last season, told an audience “if I had a perfect place to die, I would die on the field.” Teammate Morris Claiborne, not to be outdone, said he too would “die out there on that football field.” Green Bay Packers tight end Martellus Bennett, on the other hand, “ain’t dying for this s—.” The Baltimore Ravens signed another quarterback who is not Colin Kaepernick. Cleveland Cavaliers owner Dan Gilbert, trying so hard to encourage star forward LeBron James stay with the team, was approved to build a jail complex in Detroit. President Donald Trump tweeted “No WH chaos.” Six hours later, recently hired White House communications director Anthony Scaramucci, who is not dead, lost his job. Multiple White House officials, or “the best people,” were tricked into responding to emails from a British prankster. Twelve inmates broke out of an Alabama prison using peanut butter. University of Central Florida kicker Donald De La Haye was ruled ineligible by the NCAA for making YouTube videos.

Tuesday 08.01.17

Guests at a New York City hotel won’t stop having sex up against their room windows; “Guys are together, girls and girls are together. They don’t even pull the shades down,” one resident said. A congressional staffer instructed a group of interns to not leak a meeting with White House adviser Jared Kushner; it was immediately leaked. Hall of Fame basketball player Michael Jordan said eccentric helicopter dad LaVar Ball couldn’t “beat me if I was one-legged.” Ball, keeping his name in the news, said Patriots All-Pro tight end Rob Gronkowski “can’t hang with me back in my heyday.” “Marijuana moms” is a cute new name for mothers who like to smoke weed; meanwhile, the government still wants to arrest certain people for marijuana use. NASA is hiring a person to protect Earth from aliens. Former Ravens linebacker Ray Lewis said Kaepernick, who hasn’t publicly spoken in months, should not talk openly about his social activism if he wants another job. Recently retired NBA player Kobe Bryant is getting thick. Two planes designated to be the new Air Force 1 were originally scheduled to be sold to a Russian airline. Scaramucci, the former White House communications director, known for hits like “I want to f—ing kill all the leakers,” invested almost half a million into an anti-bullying musical. Trump called the White House “a real dump.”

Wednesday 08.02.17

NBA Hall of Famer and BIG3 player-coach Allen Iverson, who has played in just half of his team’s games, averaging 9.1 minutes and two points per game, has been suspended one game by the league for missing a recent game. The Ravens are interested in another quarterback not named Kaepernick. Former second overall NBA draft pick Darko Milicic punched a horse in the face. The NFL released a video defining acceptable (simulating sleep) and unacceptable (twerking, pelvic thrusts) celebrations for the upcoming season. California Highway Patrol officers responded to reports of a kangaroo on an interstate highway; it was a raccoon. A 10-year-old boy named Frank, who admires Trump’s “business background,” offered to mow the lawn of the White House … for free.

Thursday 08.03.17

Trump told Mexican president Enrique Peña Nieto “I won New Hampshire because New Hampshire is a drug-infested den”; Trump lost New Hampshire. Dukes of Hazzard actor Tom Wopat was arrested for allegedly peeling the sunburned skin off the arm of a woman and putting his finger between the butt cheeks of another woman; in response to the allegations, Wopat responded “F— them all.” A third person was arrested in Kentucky for allegedly digging up the grave of one of the suspect’s grandmother in search of valuables; “He should have known better because he was there in the funeral and he knew she didn’t have much to start with,” a relative said.

In “boy, he about to do it” news, special counsel Robert Mueller impaneled a grand jury for his investigation into Russian interference in the last year’s presidential election. A New Jersey man, possibly an eggplant emoji kind of guy, was kicked out of a showing of The Emoji Movie for pleasuring himself in the back row of the theater. A London pub, aptly named the Cock Tavern, banned the use of profanity; a patron responded to the restriction: “That’s bulls—.” The Secret Service, charged with protecting Trump and his family, was evicted from Trump Tower in Manhattan. Gov. Jim Justice (D-West Virginia) will switch to the Republican Party; the state party’s Twitter account said Justice “would be the worst thing to happen to WV” before last year’s election and called him “low-energy” and “Sad!” an hour before news broke of the party change.

Friday 08.04.17

Former independent counsel Kenneth Starr, who unearthed the Monica Lewinsky affair while investigating former President Bill Clinton for something else, in response to the Russia investigation, said, “we don’t want investigators or prosecutors to go on a fishing expedition.” Former President Barack Obama was blamed by Attorney General Jeff Sessions for the “culture of leaking” currently ravaging the Trump administration. Los Angeles Clippers coach and president of basketball operations Doc Rivers, the architect of the Austin Rivers trade, was fired from and kept his job at the same time. Former welterweight champion Amir Khan, playing himself, accused his wife in a series of early morning tweets of cheating on him with heavyweight champion Anthony Joshua; Khan’s wife, Faryal Makhdoom Khan, responded by calling her husband a cheater, a 30-year-old baby, and accused him of sleeping with a prostitute in Dubai. Joshua responded to both set of tweets with a video snippet of Shaggy’s “It Wasn’t Me” music video and a message that “I like my women BBW [Big Beautiful Women].”

Daily Dose: 7/6/17 Chauncey Billups didn’t need the disrespect in Cleveland

If you missed me Wednesday with Ryan Hollins on The Dan Le Batard Show on ESPN Radio, you can check out the podcast here. We’ll be doing it again Thursday from 10 a.m.-1 p.m., so check us out!

Rep. Steve Scalise is back in the hospital. After a man decided he was going to shoot at elected officials who were practicing for the Congressional Baseball Game, the Louisiana representative was battling for his life. He was out for a while, but his status was never really understood to be in the clear. Meanwhile, a representative from Kentucky is using this opportunity to try to loosen gun laws in D.C. while keeping the Capitol itself protected since, clearly, guns are dangerous. What a craven move.

President Donald Trump is headed to Hamburg, Germany, for the G-20 summit. If you don’t recall, the last world trip he took caused all sorts of issues because he doesn’t particularly play well with others on the world stage. He first stopped in Poland, where he indicated that no one really knows what happened regarding the U.S. election, which is bizarre. Anyways, over in Germany, where this showdown is set to kick off, people are dressing like zombies in the street. For me, as far as artistic protests go, this one is awesome.

I’m slightly scared of glasses. For years, I never had any problems with vision. Then after years of looking at television and computer screens, it was clear that I needed help to see. But because of vanity, I’m yet to actually cop a pair of lenses, and because of physical capability, contact lenses are not an option. I seriously have no idea how people jam those things in their eyes every day. But, for one person who did, a scary result came of it: Her eyes went rogue. This seriously scares me silly.

The Cleveland Cavaliers’ owner is really trying hard to screw this up. After the team got to the NBA Finals, he decided to fire his own general manager, which is insane. After that, he went after Chauncey Billups — you know, the former NBA star. Apparently Billups is looking to get into the business and figured a team that already had a few stars was a good start. But Billups doesn’t exactly need the job, per se. So Dan Gilbert lowballed him, creating a really awkward situation. Not good in Cleveland.

Free Food

Coffee Break: If you’re in Nashville, Tennessee, next week, I have some instructions for you. As soon as you arrive, or right now, go to the venue Basement East. Then stay there until July 12. Why? Because the Alabama Shakes’ Brittany Howard has a new band called Bermuda Triangle, and they’ll be performing. It should be incredible.

Snack Time: If you haven’t seen the video version of JAY-Z’s “The Story of O.J.” yet, it’s on YouTube. Peep below. But if you aren’t familiar with all the visual representation in the short, check out this breakdown.

Dessert: Statik Selektah and Joey Badass have some new bangers out. Perfect for midsummer chillin’.