Notre Dame’s most up-to-date Heisman Trophy winner didn’t mince phrases when he took to Twitter to share his ideas on the Combating Irish offensive coordinator scenario. As you already know by now, Tommy Rees took the OC job at Alabama on Friday, leaving a giant spot to fill in his wake.
In accordance with School Soccer and Professional Soccer Corridor of Famer tim Brown although, maybe it gained’t be that tough to dwell with out Rees. Brown put out a three-part collection of tweets that known as out Rees as a play-caller. Here’s what the 1987 Heisman Trophy winner needed to say:
@NDFootball This can be a nice day for Irish soccer and perhaps even a greater day for Tommy Rees. I have been round numerous offenses, however the Irish offense final yr, with perhaps the exception of the North Carolina sport, was extraordinarily predictable. Seeing the offense wrestle advised me
Him the hero. If that does not work you lose. I used to be at a few video games the place it took all the things in me to not go knock on the sales space window and say give me the decision sheet!!! Lol! I really want him effectively, he is gonna want it! Let’s Go Irish!
I’ve been a reasonably large Rees supporter whereas additionally acknowledging a few of his “cuteness” or no matter you’d wish to name it, making me quite upset at occasions. I’ve a tough time placing an excessive amount of blame on the passing scenario final yr seeing as 10 of the 12 common season video games have been began by a quarterback that couldn’t stretch the sphere in any way.
That mentioned, props to tim Brown for talking his thoughts. Our very personal Mike Chen wrote about how the lack of Rees isn’t that large of a deal and though I don’t suppose he’s irreplaceable, I feel he’s removed from simply run of the mill, both. It’s a scenario that I see as an excellent assistant leaving, however the probabilities of including an analogous caliber one are fairly sturdy.
A bill intended to provide Birmingham-Southern College a $30 million state loan is up for discussion Tuesday in an Alabama House committee.
SB31, by Sen. Jabo Waggoner, R-Vestavia Hills, would move control of the Distressed Institutions of Higher Education loan program from State Treasurer Young Boozer to Alabama Commission on Higher Education Executive Director Jim Purcell.
Boozer denied Birmingham-Southern’s loan application last year, finding that the college did not meet the requirements set under the loan program, including adequate collateral and an adequate financial restructuring plan. The college disputed Boozer’s decision.
Waggoner’s bill would make other changes to the program that appear to make it more likely Birmingham-Southern will receive the money.
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The Legislature created the loan program last year in response to Birmingham-Southern’s request for state assistance. The private, liberal arts college has said it is likely to close without the state funds. The state loan would be a bridge while it works to raise $150 million to $200 million for a private endowment that would sustain operations, college officials say.
Birmingham-Southern said it has received pledges of $46 million toward the fundraising effort. The college has an enrollment of 689 students this semester.
Two weeks ago, the Senate passed Waggoner’s bill by a vote of 23-5. The House education budget committee will hold the public hearing Tuesday.
âThe morning after our whipping, we all had to go to work, as if nothing had happened. I was so sore I could hardly do anything,â recalled James Matthews, who, like many enslaved people after a severe whipping, ran away into the woods. âI have known a great many who never came back; they were whipped so bad they never got well, but died in the woods, and their bodies have been found by people hunting. White men come in sometimes with collars and chains and bells, which they had taken from dead slaves. They just take off their irons and then leave them, and think no more about them.â
This quotation from Matthewsâs Recollections of Slavery by a Runaway Slave (1838) appears on a panel in the woodland setting of the Freedom Monument Sculpture Park in Montgomery, Alabama, a seamless blend of art and history opening on the banks of the Alabama River on 27 March. It is one of many first-person accounts that serve as a rebuke to historical amnesia, to deletion by indifference, to those who âthink no more about themâ. The parkâs artefacts and sculptures and its climactic monument are a radical act of remembrance rooted in a sense of place.
Whereas commemoration of the Holocaust has a locus in the Auschwitz-Birkenau Memorial and Museum and other sites across Europe, tracing the memory of the 10 million Black people enslaved in America can often feel like a succession of absences. Plantations survive but with a built environment that makes it hard to avoid the centrality of the enslaver. Countless graves and cemeteries of the formerly enslaved are buried under interstate highways, shopping malls or car parks. Some African Americans travel to west Africa in search of a tangible connection with ancestors.
The Equal Justice Initiative (EJI), a non-profit organisation that already runs the Legacy Museum and National Memorial for Peace and Justice in Montgomery, seeks to close this gap with the 17-acre site built for an estimated $12m to $15m. Visitors can arrive by boat on the same waters that once trafficked enslaved people, then step inside 170-year-old dwellings from cotton plantations as well as recreations of holding pens and railway carriages. They will hear trains running on nearby railway tracks built by enslaved hands.
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Bryan Stevenson, executive director of the EJI, says in an interview: âWeâve done a poor job in America of reckoning with our history of slavery. There just arenât places people can go and have an honest encounter with that history that centres on the lives of enslaved people. In Europe, whatâs happened in Germany, in Berlin and other cities, has made Holocaust memorials and sites of remembrance such powerful places. When you go to the camps, itâs hard to avoid the power and the weight of that history.
âWeâve avoided confronting the weight of our history in ways that have undermined our ability to achieve the sort of progress and justice that many of us want. I do hope that people will come here and be sobered by the history but also inspired by the people who survived, endured, persevered and went on to commit to building an America that has so much potential.â
The river is the first artefact. Forming just north of Montgomery and flowing 318 miles, it was bordered by plantations and forced labour camps and traversed for decades by boats carrying 200 enslaved people at a time. To be trafficked south by steamship â in overcrowded conditions with little protection from the elements â was to be âsold down the riverâ .
One enslaved person forced to work on a river boat recalled: âA drove of slaves on a southern steamboat, bound for the cotton or sugar regions, is an occurrence so common, that no one, not even the passengers, appear to notice it, though they clank their chains at every step.â
Once disembarked, visitors follow a path through the sculpture parkâs native elm, oak, sycamore, cottonwood and chinaberry trees and survey art in an evocative natural landscape. Eva Oertli and Beat Huberâs 2014 concrete sculpture, The Caring Hand, presents five giant fingers protruding from the earth around a tree as the river flows beyond.
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It is one of several pieces â about half of which were specially commissioned â that achieve the monumentality the space demands. At the entrance, Simone Leighâs Brick House is a 16ft-tall bronze bust of a Black woman without eyes and a torso combining the forms of a skirt and a clay house (previously seen along New York Cityâs High Line). The Ghanaian sculptor Kwame Akoto-Bamfoâs bronze We Am Very Cold depicts several figures, including a child, contorted as if in a perpetual storm. David Tanychâs steel Free at Last is an 8ft-diameter ball with a giant chain and open shackle.
Kehinde Wileyâs An Archaeology of Silence stands 17.5ft high. Invoking the visual language of heroes and martyrs in European historical art, it depicts a shirtless man in jeans and sneakers draped limply over a regal horse, acknowledging the legacy of slavery in lynchings, police brutality and other violence against Black bodies â yet with a grace and vitality that hints at resurrection.
Brad Spencerâs From the Ground Up depicts a life-size man, woman and child made entirely of brick. An accompanying panel notes that the tiny fingerprints of enslaved children who turned bricks as they dried can be seen today on the bricks of historic buildings in Charleston, South Carolina. Visitors to the park can see and touch bricks made by enslaved people 175 years ago.
The park performs a further act of excavation. For more than three centuries enslavers often decided what enslaved people were called; the US Census recorded them only with a number. After the civil war, some 4 million newly freed Black people were able to formally record a surname in the 1870 census. All 122,000 of these surnames are inscribed on the National Monument to Freedom, a 43ft-tall, 150ft-long wall angled like an open book, its concrete clad with a bronze-gold metal facade that changes with the light.
Stevenson, 64, a public interest lawyer revered for his work on prison reform and death row, comments: âThe enduring truth about enslaved people was their capacity to love, to find and create family and relationships that allowed them to survive and endure and overcome the brutality and I think that should be celebrated.
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âThereâs a narrative of triumph that we need to acknowledge and the monument is a gesture toward that, as a physical space but also as a way of naming names, making personal, making human this history. For people who are descendants to come and see that name and have a tangible connection made to that legacy is important and necessary.â
There is no more fitting venue for the park than Montgomery, capital of Alabama (a state that Donald Trump won by 35 percentage points in 2020) and crucible of American contradictions. It has witnessed one of the most conspicuous slave trading communities in the nation but also an act of courage by Rosa Parks that ignited the civil rights movement (a statue of Parks marks the spot where in 1955 she boarded the bus where she would refuse to give up her seat to a white man).
On a six-acre rise overlooking the city, Stevenson built a memorial â comprising 800 corten steel monuments â to more than 4,400 Black people killed in racial terror lynchings between 1877 and 1950. But this is also a city where the Alabama state capitol (built by enslaved brickmakers and bricklayers) still features a heroic monument to the Confederacy, the breakaway southern states that fought to preserve slavery, and a statue of Jefferson Davis, inaugurated here as its first president in 1861.
Inside there are still portraits of the Confederate general Robert E Lee and Governor George Wallace, who declared in 1963: âSegregation now, segregation tomorrow, segregation forever.â Confederate banknotes are still displayed in the old treasurerâs office while eight murals inside the capitol dome still include âSecession and the Confederacy, Inauguration of President Jefferson Davis, 1861â and âWealth and Leisure Produce the Golden Period of Antebellum Life in Alabama, 1840-1860â.
Last week, at the nearby First White House of the Confederacy, a tour guide could be heard enthusing to white tourists, âYouâre on the Jefferson Davis trail!â as a Black woman entered wearing a T-shirt that said: âBut still, like air, Iâll rise â Maya Angelou.â
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Rarely is the American paradox felt so keenly. In the jarring juxtaposition of progressivism versus revanchism, of the beauty of Stevensonâs vision versus the mausoleums of white supremacy, how does he avoid a permanent sense of whiplash? âWeâre in an era of transition,â he muses philosophically. âWhen I moved here in the 1980s, there were 59 markers and monuments to the Confederacy and you couldnât find the word slave, slavery or enslavement anywhere in the city landscape.
âIt was a part of a history that no one acknowledged, let alone discussed, and we are still under the cloud of a historical narrative that is false and unhealthy about the greatness of âthe lost causeâ where we romanticise this effort to preserve slavery and to maintain white supremacy. That has to be challenged and weâre going to have to move from that and youâre slowly beginning to see that.â
Until this year, Stevenson notes, the three biggest high schools in Montgomery, with student populations that are 98% Black, were named after Confederates â but not any more. âThere is some sobering around this effort to celebrate people who did horrific things, just like it would be unconscionable to go to Germany and see Adolf Hitler statues or monuments to the perpetrators of the Holocaust.
âWeâve got to reckon with the fact that we are glorifying people who were insurrectionist, tried to destroy this nation, represented a commitment to a racial order that was corrupt by this false idea that Black people are not as good as white people. With each year and each decade, weâre going to have to do more to get to a more honest space.
âThat hasnât happened in the way that it will need to happen in Alabama but it is happening. We are on that path and I donât think that we can be a schizophrenic about history. History is history and we need to reckon with it and, when we reckon with it, weâll find the courage to celebrate people â white people included â who did extraordinarily honourable things.â
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Stevenson, author of the 2014 memoir Just Mercy, which became a 2019 film starring Michael B Jordan, likes to work on his historical projects covertly until they are ready to go public, thereby avoiding prejudgment by the unnerved, the resentful and the downright racist. You could call him a stealth truth bomber. The community then generally embraces his efforts, not least because they attract visitors who boost the local economy.
The Legacy Museum, which opened in 2018 and moved to a new, greatly expanded building on the site of a former cotton warehouse three years later, has few original artefacts but draws a compelling line from slavery to mass incarceration through narrative, interactive, newspaper excerpts, photos, statistics, videos, works of art and imagination. A haunting exhibit contains 800 jars of soil collected from lynching sites around the country as part of EJIâs Community Remembrance Project.
Now it is the turn of the Freedom Monument Sculpture Park to make the intangible tangible. Bricks. Names. Elms, oaks, sycamores, cottonwoods and chinaberries. A river and a railway. Love in the midst of agony. Speaking in Montgomery in 1965, Martin Luther King observed: âThe climactic conflicts always were fought and won on Alabama soil.â
Stevenson observes: âThe existence and the emergence of these truth-telling spaces allows us to say, look, if we can do this in Montgomery, Alabama, thereâs not another place in America that can say, âThey did that in Montgomery but we couldnât possibly do it here.â Thatâs the power of this place collectively because we are steeped in that long history of denial and resistance to ending slavery, to ending lynching, to ending segregation. We have an opportunity to be on the other side of this movement to commit to truth that will give us a unique credibility and power.â
Mark Sears and Ante Brzovic are two players to watch on Friday at 7:35 PM ET, when the Alabama Crimson Tide (21-11) square off against the Charleston (SC) Cougars (27-7) in the first round of the NCAA tournament at Spokane Veterans Memorial Arena.
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How to Watch Alabama vs. Charleston (SC)
Game Day: Friday, March 22
Game Time: 7:35 PM ET
Arena: Spokane Veterans Memorial Arena
Location: Spokane, Washington
TV Channel: truTV
Live Stream: Watch this game on Fubo
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Alabama’s Last Game
In its most recent game, Alabama fell to Florida on Friday, 102-88. Its leading scorer was Sears with 22 points.
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Name
PTS
REB
ASST
STL
BLK
3PM
Mark Sears
22
4
4
0
0
0
Aaron Estrada
17
3
6
2
0
2
Nick Pringle
12
10
1
0
0
0
Charleston (SC)’s Last Game
On Tuesday, in its last game, Charleston (SC) defeated Stony Brook 82-79 in OT. With 23 points, Reyne Smith was its high scorer.
Name
PTS
REB
ASST
STL
BLK
3PM
Reyne Smith
23
5
4
3
0
6
Ben Burnham
14
7
0
1
0
1
Frankie Policelli
12
5
0
0
0
2
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Alabama Players to Watch
Sears paces his team in points per contest (21.1), and also averages 4 rebounds and 4.1 assists. At the other end, he puts up 1.7 steals and 0.1 blocked shots.
Aaron Estrada posts a team-high 4.5 assists per contest. He is also averaging 13.4 points and 5.3 rebounds, shooting 45.9% from the field and 31.9% from beyond the arc with 1.4 made 3-pointers per contest.
Grant Nelson leads his team in rebounds per contest (5.7), and also posts 12 points and 1.7 assists. At the other end, he posts 0.6 steals and 1.6 blocked shots.
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Rylan Griffen posts 11 points, 3.6 rebounds and 1.8 assists per game. At the other end, he posts 0.5 steals and 0.2 blocked shots.
Latrell Wrightsell Jr. is posting 9 points, 1.4 assists and 3.1 rebounds per game.
Charleston (SC) Players to Watch
Brzovic leads the Cougars in rebounding (6.2 per game), and posts 12.3 points and 2.4 assists. He also averages 0.4 steals and 0.4 blocked shots.
The Cougars receive 11.7 points, 4.6 rebounds and 0.9 assists per game from Ben Burnham.
Smith is the Cougars’ top scorer (12.8 points per game) and assist man (1.7), and puts up 2.1 rebounds.
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Kobe Rodgers is averaging 9.6 points, 4.6 rebounds and 2.1 assists per contest, making 50.5% of his shots from the field.
The Cougars receive 9.4 points, 5.1 rebounds and 0.7 assists per game from Frankie Policelli.
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Alabama Top Performers (Last 10 Games)
Alabama Leaders | Last 10 Games
Name
PTS
REB
ASST
STL
BLK
3PM
Mark Sears
23.3
4.2
4.5
1.6
0
2.4
Aaron Estrada
14.7
5.6
5.8
2
0
1.1
Grant Nelson
11.7
5.3
1.3
0.4
1.8
0.6
Nick Pringle
10.3
6.6
1
0.3
0.6
0
Rylan Griffen
10.7
2.8
1.8
0.4
0.2
2.3
Charleston (SC) Top Performers (Last 10 Games)
Charleston (SC) Leaders | Last 10 Games
Name
PTS
REB
ASST
STL
BLK
3PM
Reyne Smith
15.8
2.4
2.3
0.9
0.1
3.9
Ante Brzovic
11.6
5.9
2.3
0.9
0.6
0.3
Kobe Rodgers
9.3
4.4
3.4
1.9
0.2
0.6
Frankie Policelli
11.6
4.1
0.6
0.7
0.2
2.6
Ben Burnham
8.7
4.1
0.7
0.8
0.6
1.1
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