We know that Jacques RanciA?re speaks about the relation between politics and aesthetics in terms of a€?the distribution of the sensible.a€? Tonight I want to speak about the distribution of the insensible. But I also want to register an implicit critical dimension of this argument, a critique of RanciA?re and of his presently immense influence, which I view as unwarranted.
By way of a first approach to what I mean by a€?the distribution of the insensible,a€? leta€™s recall some basic passages from Volume One of Capital on the transformation of materials. Labor is, first of all, a process between man and nature, a process by which man, through his own actions, mediates, regulates and controls the metabolism between himself and nature. What distinguishes capitalism as a mode of production, however, is the peculiar manner in which the transformation of materials through the labor process is shadowed by the process of valorization. We can thus view the process of production either from the perspective of the labor process or the valorization process. So, this brief summary of Marxist fundamentals is our first approach to the distribution of the insensible. In Intellectual and Manual Labor, Alfred Sohn-Rethel argues that the social abstraction of the value form and the exchange relation gives rise to our abstract forms of thought. The exchange abstraction excludes everything that makes up history, human and even natural history. In Sohn-Rethela€™s account, the exchange relation gives rise to a social genesis of the transcendental (the forms of intuition and the categories of the understanding).
In the act of exchange, the natural and material physicality of the product is negated by the abstract value of the commodity, and this negation constitutes the a€?positive realitya€? of the social physicality of the exchange process. The history of modernity, which is to say the history of capitalism, is also the history of modern technology. And thena€”in the discourse network of 2000, spawned by the cybernetic systems, information theories, and encryption technologies of World War II, digital technology draws media differentiation back together through the synthetic resources of digital code, a universal medium traversing audio, video, and textual recording. However (fourth approach)a€”we should recognize that just as Kittlera€™s media theory offers a necessary supplement to Sohn-Rethela€™s account of the social genesis of conceptual abstraction, it is also necessary to submit Kittlera€™s own work to a Marxist inversion. What Marx calls a€?formal subsumptiona€? is the initial subsumption of labor under the value form, through wage labor and exploitation (the extraction of surplus value from surplus labor time).
This contradiction bears upon the history of technology, because it is by revolutionizing the means of production that capital attempts to overcome this contradiction. The same process also generates a different problem: as automation increases, less labor power is required.
Automation, which is at once the most advanced sector of modern industry and the epitome of its practice, confronts the world of the commodity with a contradiction that it must somehow resolve: the same technical infrastructure that is capable of abolishing labor must at the same time preserve labor as a commoditya€”and indeed, as the sole generator of commodities. We could rephrase this by saying that Fordism both requires and paves the way for post-Fordism.
At the same time, however, we know that a commodity like an Apple computer is, in fact, produced by processes quite clearly identifiable as a€?labor.a€? Despite the fact that every effort is made to keep this fact out of sight and out of mind, we know it because we read about it on Apple computers.
Composed of aluminum, nickel, steel, glass, vinyl, and fluorescent, the production of Vanitas involves a virtuosic performance of mimetic exactitude. In a dark room, the viewer looks at the object, sees into it, and sees nothing of herself (like a vampire in front of a mirror, Baier says) while the object reflects its own interior infinitely in all directions. The first thing we might note about this piece is its complex engagement with relational aesthetics.
Second, we can say that if Vanitas is a captivating work of art, much of what makes it so is money.
Baiera€™s piece instantiates the problem of the relation between materials and money, captured in the art object. Behind Vanitas, a glass reproduction of Baiera€™s eyeball at the center of a projected disc of light, gazing without seeing across the room at a mirrored box which does not reflect its image.
Beside Vanitas, a fond de scA?nea€”a reflector used in the background of photo shootsa€”which Baier placed in a template with a circular hole and left in a window for nine months. Around the corner, a piece called Projet A‰toile (Noir), consisting of a graphite painting titled Monochrome (Black) and a sculptural replica of a meteorite recovered from Death Valley.
These are photographic pieces and sculptural objects which Baier would have worked on at the computer in the center of Vanitas. At the crux of materials and moneya€”through the complex history that crux containsa€”the subject of Baiera€™s installation is the relation between memory, recording, mimesis. Baiera€™s problem is not only the remembrance of things past, but, more specifically, the reminiscence of that which has never been sensed, the distribution of the insensible, recalled. By way of a first approach to what I mean by a€?the distribution of the insensible,a€?A  leta€™s recall some basic passages from Volume One of Capital on the transformation of materials. And I want to argue that it is the specificity of this problem which allows us to think the relation between the history of capital and the history of mimesis. I could summarize this critique as follows: if RanciA?re were more inclined to focus his attention upon the distribution of the insensible, perhaps he might think more perspicuously not only about the relation between politics and aesthetics, but also the relation between political economy and aesthetics. Marx analyzes the process of production from two perspectives: the labor process and the valorization process. Moreover, we transform materials into tools, instruments of labor, with which we transform materials. The transformation of materials produces objects with use value, but it also produces commodities with exchange value.
But insofar as it is specifically capitalist, what the process of production produces is value, and a particular kind of value: surplus value and its reintegration into the production process as capital.
The entire empirical reality of facts, events and description by which one moment and locality of time and space is distinguished from another is wiped out. And this social genesis is at once material and abstract, since the exchange value of a commodity is borne by its use value, and since exchange (like the labor process) is a physical act which also requires abstraction from all physicality. Hence the exchange process presents a physicality of its own, so to speak, endowed with the status of reality which is on a par with the material physicality of the commodities which it excludes. This is what Sohn-Rethel, following Marx, calls a€?the real abstractiona€? of the value form as a social process of exchange. In a materialist inversion of the Kantian transcendental, media technologies constitute the a priori conditions of possibility for the sensible, such that the distribution of the sensible already operates within these conditions. From the industrial revolution to the production and networking of digital information technologies, the history of modern technology emerges from and responds to the demands and internal contradictions of capitalist accumulation. This early period of subsumption is merely a€?formala€? because the production process itself (the labor process which is subsumed) remains primarily pre-capitalist. New technologies of production, and new techniques of production (assembly lines, for example) make it possible to increase productivity, and thus increase the amount of surplus value that can be extracted in a certain period of time.
If automation, or for that matter any mechanisms, even less radical ones, that can increase productivity, are to be prevented from reducing socially necessary labor-time to an unacceptably low level, new forms of employment have to be created.
Essentially, Society of the Spectacle is a book about the consequences of real subsumption, about the contradictions that it bears within its history and about the new regime of accumulation necessary to defer and compensate for the crises those contradictions contain. A corporation like Foxxcon, the largest manufacturer of electronic components in the world, is something like a distillation of the entire history of the contradiction between capital and labor, the great movements of the industrial revolution, Taylorism, Fordism, the off-shoring of manufacturing labor, and the simultaneity of deindustrialization and post-Fordist cognitive capitalism with the persistence of the most traditional forms of miserable factory work. The main piece is the sculptural object we have been looking at, titled Vanitas, a reproduction of the artista€™s office. Every component of the artista€™s desk and of his tools is precisely rendered as either a three dimension drawing or a three dimensional scan.
It mimics one of the primary gestures of that movement or style, bringing the artista€™s studio and living space into the museum. Obviously it is expensive to reproduce onea€™s office in nickel-plated aluminum and to display it so dramatically. The content of his piece is nothing other than that relation, a reflection upon that relation.
Baiera€™s piece should be considered as part of an installation, not merely a sculptural object, insofar as it does, in fact, come into relation with its surroundings, surroundings composed of digitally produced images and objects.
In front of Vanitas, a meticulously composed compound photograph of the stone wall beside the earliest cave paintings, titled Canvas. Not a reflection of the sun but an indexical image of its absorption, marked by the circular discoloration of the black tissue. Having held this meteorite in the palm of my hand, three years ago, I can testify to the strangeness of encountering its inexistence, distributed between these two art of objects. Instantiated as digital code, they were a€?ina€? that computer, stored in its memory banks, transformed on its screen. At and through the limits of modernity, of capital, of mimesis, of thought, of sensation, and within their outside, his work draws us into that distribution. Crucially, I want to show how the relation between those two histories is mediated by another: the history of technology. That is: focusing on the specific problem of the distribution of the insensible turns out to be the key to thinking about the relation between aesthetics and politics in a materialist way, in a manner properly responsive to the exigencies of Marxist historical materialism.
He sets in motion the natural forces which belong to his own body, his arms, legs, head and hands, in order to appropriate the materials of nature in a form adapted to his own needs. For example, according to Sohn-Rethel, the purely formal character of the Kantian forms of intuitiona€”space and timea€”can be understood as genetically related to the abstract formalism of the value form and the exchange relation. Time and space assume thereby that character of absolute historical timelessness and universality which must mark the exchange abstraction as a whole and each of its features. Thus the negation of the natural and material physicality constitutes the positive reality of the abstract social physicality of the exchange processes from which the network of society is woven.
This real abstraction constitutes a kind of a€?second nature,a€? and Sohn-Rethel argues that this second nature is a€?the arsenal from which intellectual labor through the eras of commodity exchange draws its conceptual resources.a€? We can situate this analysis more broadly at the level of the whole process of valorization, or the accumulation of capital through circulation. We need to supplement Sohn-Rethela€™s materialist critique of epistemology with a history of media technologies like that carried out by Friedrich Kittler.
Thus, without further increasing the length of the working day, one can increase surplus value (this called a€?relative surplus valuea€?). But Marx makes clear that the part of capital invested in constant capital does not undergo any alteration in the process of production, it does not increase (this is why it is called constant). This means that less money is being paid out on the labor market for the consumption of commodities.
A happy solution presents itself in the growth of the tertiary or service sector in response to the immense strain on the supply lines of the army responsible for distributing and hyping the commodities of the moment.
And behind the passage I just read, we can also read a commentary on the history of technology. The conditions of possible experience are themselves conditioned by the moving contradiction between capital and labor. Indeed, bearing the conditions of its production in mind, one might view a device like an Apple computer as a distillation of the entire history of modernitya€”of the manner in which modernity acts upon external nature and changes it, and in this way simultaneously changes its own nature, from the printing press to the steam engine to the silicon chip. Each of these objects is then reproduced, at exact scale, by either machining in aluminum (in the case of objects that were drawn) or stereolithography (in the case of objects that were scanned).
But in doing so it forecloses the primary content of that gesture, radically separating this space from that of the viewer, encasing it within a mise-en-abyme in which only images interact with one another. A tour de force of concept, design, and execution, the piece is also nothing if not resourceful. As he did with the objects reproduced in Vanitas, Baier made a three dimensional scan of the meteorite and then reproduced ita€”at a much larger scalea€”through stereolithography. A But he promised me on his returnA back to the United States I would be the first media personality to interview him in New York City.A  I never will forget how confident he was that he would return victorious. The relation between the history of capital and the history of mimesis is mediated by the history of technics. Through this movement he acts upon external nature and changes it, and in this way his simultaneously changes his own nature. It is independent because the exchange value of a commodity is entirely determined by the average socially necessary labor time required to produce it, not by the materials of which it is composed. We can view the process of production from two sides, but what it produces are commodities that are sold for money, which is reinvested in the production process and thereby becomes capital. He does not think the distribution of the insensible, the movement of valorization, and thus he misses entirely the dimension of political economy in his thinking of politics. The social process of valorization is the very medium in which we think, and to which thinking is applied through intellectual labor (such as management).
And indeed, Kittlera€™s media-theoretical analysis of discourse networks should also be understood as a materialist critique of Kantian idealism. It communicates with itself, through its own data channels, and consciousness is the epiphenomenon of communication. Thus, during the period of formal subsumption, the extraction of surplus value is primarily correlated to the length of the working day and the cost of labor power.
This is what automation and capitalist management techniquesa€”Taylorism and Fordisma€”are for. So labor has to be reabsorbed into the labor market to support consumption and prevent overproduction. The development of industrial automation both necessitates and creates the conditions of possibility for the invention of new media apparatuses, especially digital information technologies and networks. The history of the sensible, the transformations undergone in the media-technological conditions of sensation and experience, is also the history of the insensiblea€”the history of the process of valorization as it develops in relation to contradictions in the labor process.
This process includes every electric or electronic plug and cord connecting Baiera€™s computer, his monitors, his speakers, and his scanner. Although it draws the space within which the artist works and thinks into the space of the museum, the artist is pointedly absent. It patently shows off the artista€™s mastery of that form of technA“ so crucial to contemporary art practice: the capacity to get funding.


At his desk, thinking, communicating, representing, the artist enters into the circuits of capital, the movement of valorizationa€”as do we all, one way or another. He then melted the meteorite down and used the graphite of which it was composed to paint the surface of Monochrome (Black). And it is through this history, this mediation, that art takes up techniques which throw us back outside the history of capital, outside the history of mimesisa€”indeed, outside the history of the human, the history of thought, and the history of sensationa€”within and through the technical means to which the linked histories of capital, mimesis, and technics give rise.
Labor time is that abstract, universal equivalent which will find its answer in the universal abstraction of the money form, and value is not a material thing but a social relation. Production produces both surplus value and capital, and capital produces expanded cycles of accumulation.
One consequence of this failure is that he has no rigorous means of accounting for the relation of his history of art and artistic regimes to the history of capital, to structural changes of the contradiction between capital and labor.
Insofar as intellectual labor is subsumed by capital, as is manual labor, the forms of thought themselves enter into a relation of dialectical genesis with the value form. For Kittler, it is not transcendental categories but media technologies which determine the conditions of any possible experience.
The capitalist wants to extend the working day as much as possible, and to reduce wages as much as possible. What Marx calls a€?real subsumptiona€? is this revolutionizing of the production process such that it becomes properly capitalist. Thus, as relatively more capital is invested in constant capital and relatively less capital is invested in variable capital, relatively less capital is available for conversion into surplus value.
The process of real subsumption thus also requires the growth of the tertiary service sector, which produces both a new labor market and new fields of commodity production and consumption. These not only enable the growth of the tertiary service sector and its forms of communicative labor and consumption, they also themselves produce new markets of goods and services. Shortly after he coined the term a€?immaterial labor,a€? Maurizio Lazzarato renounced it, for the good reason that the term was impossible to reconcile with a materialist position.
It includes the crumpled pieces of paper in his trash can and a book lying open beside his keyboard. The piece is something like an anti-humanist negation of relational aesthetics: perfectly finished, enclosed, complete, pristine, it subtracts the participation of the viewer precisely through the viewera€™s gaze, which is drawn into and lost within the reflexive auto-mimesis of the object. The distribution of the insensible: the movement of capital, the structural transformation of the contradiction between capital and labor, the circuitous courses of the process of valorizationa€”all this is how a digital information system ends up inside a mirrored box in the company of fluorescent lighting and minimalist furnishings, installed on the distressed concrete floors of an art gallery. The matter of the object thus remains, and so does its form, but the object itself has disappeared into an uncanny splitting of their formerly integral relation.
Canvas shows us the primordial matter of mimesis: the substrate of inaugural images carved in stone, with stone. As Marx tells us in Chapter 8 of Volume One, a€?the means of production on one hand, labor-power on the other, are merely the different forms of existence which the value of the original capital assumed when it lost its monetary form and was transformed into the various factors of the production process.a€? Both the means of production and labor power are different elements of capital in its own valorization process.
In my opinion, this is a problem substantial enough to render his history of aesthetics more or less irrelevant.
For Sohn-Rethel, the Kantian transcendental subject is the representative modern figure of this dialectic (though its status as such is occluded by the idealism of transcendental philosophy).
The rate of surplus value extraction depends upon these factors (this is called a€?absolute surplus valuea€?). It is not only that labor is subsumed under the value form, but that the very constitution of labor itself changes. Capital needs to invest more in technology in order to increase productivity and sustain the valorization process. The new regime of accumulation that accompanies this structural transformation is what Guy Debord theorizes as the Spectacle. And more importantly, they are the technological ground for the massive growth of speculative markets we call a€?financialization,a€? which is predicated (in its contemporary form) upon the exchange of digital information.
He should have referred instead to a€?insensible labor.a€? Information and cognition are not immaterial, but they are insensible. Each of these reproduced objects is then plated in mirrored nickel before being rearranged, in in a reproduction of their configuration, within a parallelepiped encased on all six sides in one-way mirrored glass and illuminated by overhead fluorescent light.
His studio is something like the Platonic form of so-called a€?immaterial labora€?a€”designer furniture and designer devices, neatly arrayed with the precision of an architectural firm blessed with a particularly fastidious custodial staff.
This movement, this transformation, this process is what we are looking at, though we cannot see it. But we can also recognize, as Catherine Malabou argues in What Should We Do With Our Brain?, that there is a structural homology between post-Fordist management discourse emphasizing non-hierarchical networks, self-organization, flexibility, and innovation, and contemporary neurological theory, which views the brain as a decentralized network of neuronal assemblies and emphasizes neurological plasticity as the ground of cognitive flexibility and adaptation. In the discourse network of 1800, the book is the site of an encounter between reading and writing, wherein the romantic imagination produces a projection of the soul into what Novalis calls a€?a real, visible world,a€? written into and read off of printed signifiers, emerging from the text as synaesthetic phantasmagoria in which all the senses are drawn together by the hallucinatory experience of Literature. Importantly, then, real subsumption requires and depends upon technological innovation: the capitalist process of production both needs and produces new machines because these increase productivity within a given period of time and thus compensate for limits on the length of the working day. But by doing so, it also decreases the amount of capital which can be converted into surplus value. The tech boom and its implosion are the logical and necessary outcome of real subsumption, pushing beyond its limits into the society of the Spectacle. And the forms of affective labor which precisely are sensed are premised upon the indistinction of labor and leisure, the impossibility of distinguishing them under conditions of post-Fordist accumulation. Star (Black) confronts us with an extra-terrestrial outside, encountered, vanished, recordeda€”at once absent and yet uncannily present as residue and reproduction. The concrete process of transforming materials through labor, aided by tools, is subsumed by the abstract process of valorization. In the discourse network of 1900, gramophone, film, and typewriter effect an analytic separation of this sensory synthesis, constituting distinct technologies of recording and transmission for sound, the moving image, and the written word. Thus, due to forces of competition and technological innovation driving increased productivity, the rate of surplus value extraction tends to decline. It is labor itself that becomes insensible under these conditions, dispersed into networks linking neurons and screens and indistinguishable from the most intimate gestures of our affective lives. These are images of the deep time of human and cosmological history, outside the limits of modernity, of capital and its enabling technologies of representation.
Such would be a historical materialist account of conceptual abstraction following from Sohn-Rethela€™s critical of idealist epistemology. What Kittler calls a€?media differentiationa€? carves up the Romantic imagination, sutured to the book, and parcels out its capacities among discrete technologies addressed to a segmented perceiver: an ear, an eye, a minda€”a modernist collage of the formerly integral subject. Thus, it is only possible to extend the working day so much, or to reduce wages to so little, because the reproduction of capital depends upon the reproduction of labor. What the installation asks us to think, however, is the manner in which it is these technologies of representation which record this outside, which draw our attention to it and make it manifest. The precise transformations of materials it enablesa€”its retentional exactitudea€”precisely negate all transformation.
Simply put, the way we thinka€”the form of thinkinga€”is dialectically intertwined with the structure and the historical movement of capitalist accumulation. Like Malicka€™s The Tree of Life, Baiera€™s meteorite indexes a cosmological time and an inhuman history which never was sensed, which was prior to sensationa€”though, like Malicka€™s film, Baier makes this history manifest through the most sophisticated technological means of representation. The labor of the artist is the transformation of money, through materials, into its own image.
Baiera€™s Canvas, a meticulous photographic recording of the bare stone wall beside the first recorded images, situates this indexical effort within the whole history of representationa€”again, carrying us outside the modern technics of mimetic exactitude which make the digital rendering of this stone wall possible in the first place. But this is also to transform them into an art object: neither tool nor raw material, neither instrument nor that to which it is applied. Rather, a worked form, presented, apparently useless and withdrawn from exchangea€”though of course it has its uses and cannot help but find its way back to market.
A My second week at the course I got in early and became bored while waiting for my homeboys.
A My teammates and coaches were often challenged by my "Just give me the ball and get the hell out of my way" attitude.
A I was not the best athlete on the field or on the court, but I thought I was.A When the game was on the line I wanted the ball in my hands. A A It was a hot evening and the constant in and out of the woods was not a pleasant undertaking. What I thought would be a nine-hole outing turned into eighteen holes and a White House visit and a Presidential appointment in 1969. General William Rogers, Hattie, President Nixon and HBA Petey and I would become great friends and in 1965 we would meet again. A The United Planning Organization a self-help community organization was hiring "Neighborhood Workers." A They hired three, me, Petey and H. A Two years later Rap would be named Chairman of the Student Non-Violent Coordinating Committee. A I would become a Roving Leader (Youth Gang Task Force) for the DC Recreation Department and Petey would find his new home in radio at WOL. A Three UPO "Neighborhood Workers" would go on to establish their own independent idenities. A Petey would win 2 Emmy Awards and in 2007 there was a feeble attempt to do his life story on the big screen.
He is now in jail serving a life sentence for the murder of a black Deputy Sherrif in Fulton County, Georgia. Brian McIntyre.A  He was sitting almost alone and there was no one waiting in line (compared to today's media circus). A  I looked down and notice that all the white media were seated on one side of half-court and all the blacks were seated on the other side of the half-court line. He stepped in front of me and said "I got it."A It would be the start of the 4th quarter that Mark returned to the press table table and apologize for his unprofessional actions. A There were other mistakes like someone thought a black Judy Holland was VP material---far from it. A It took a minute but in the meantime, he was making an effort to bring about change in his own way. A But according veteran (32 years) sports writer Bill Rhoden of the New York Times, progress in sports media pressrooms around the country are on a slow boat to China.A His recent appearance on the widely acclaimed television news show Meet the Press, he said, "the NBA, NFL and MLB are still dragging their feet. Media pressrooms at Deadline are still the last plantations.A A Pioneering broadcaster and former NBA CBS basketball analyst Sonny Hill and now a sports talk show host on WIP Radio in Philadelphia said, "I am not surprised by Rhoden's statement, very little has changed in media pressrooms. A One of the problems there is no networking among blacks who have moved it up the ladder." A That is an understatement. A  The copy rights for Inside Sports is own by News Week Magazine and it is own by the Washington Post. A A First, there was a a problem with the PR Men from hell, Brian Sereno and Matt Williams. A A It was brought to my attention that Sereno was disrespecting the ladies of The Roundball Report. A The meeting was set before a Wizard's game in the press louge but Scott Hall was the lead man.
A He listened and we disagreed on some points but when we walked away from the table we were on the same page. A The community and everyone in it was a friend, the old and the young, the black and the white and the healthy and the lame. A I was honored to speak at his retirement held at the arena just before the Bullets moved to Washington and changed their name to the Wizards.A Denny Gordon was in ticket sales and it seem like he knew everyone who brought a ticket. A He was made the scapegoat after being sold out by his assisstant coach Bernie Bickerstaff and others. A The meeting revolved around a charity all-star game scheduled for the Bahamas, the island home of NBA star Mycal Thompson. A Magic Johnson was one of All-Stars participating.A Representatives from the NBA included VP Ron Thorne, Legal Counsel Gary Bettman and head of security Horace Balmer.
A A Gary Bettman is the Commissioner of the NHL, Thorne is somewhere lurking in the NBA, Balmer has since retired and Magic is a role model for Black America? A A The short lived existence of basketball legend Michael Jordan as a Wizard's player and Executive in the front office. A After the story broke he and several teammates made light of it during introductions of a game.
A He was eventually suspended for most of the 2009a€“10 season.A The thing that I find disturbing about this Donald Sterling charade is that folks are acting like they were surprised by his rants against blacks.
A A I also notice the same "Old faces and voices" are called on to respond to the racist acts by men like Sterling---when they are a part of the problem . A He and Sterling were good friends because "Birds of a feather flock together." A  Check Magic's history out and you will discover the two have a lot in common. A Magic's claim to be a minority owner of the LA Dodgers is another sham (token black face). James Brown (CBS Sports) another mis-guilded brother claiming to be a minority baseball owner and an expert on racism. A He did finally admit on the late George Michael Show (Sports Machine) "I have no say in making baseball decisions as a minority owner." A His role as a minority owner is to be paraded out on Opening Day as the black face to read the starting line-ups.
A A This is the same Michael Wilbon that I had at least two recent conversations about the use of the N word as a term of endearment.
A I have to give him credit, he will at least talk to me face to face and not behind my back. A I tried to explain that his rationale that his grandfather's use the word as a term of endearment does not make it right today.


A I told him he should not go on national television saying it is okay to use the N word among friends and family. A It gives bigots like Donald Sterling the Green Light to do the same among his friends and family. A Plus, Michael told me he was not going to appear on the ESPN Show Outside the Lines because the white host had no horse in the race!
A A I wish that Magic, James, Michael and the rest of the media experts would defer to black men like Hank Aaron, Dr. A But they wear the battle scars and have been on the front lines of the civil rights movement in real life and in the sports arenas of America.
A In other words, they have been there and done that.A I guess that is wishful thinking, especially when everyone wants to be an expert on television. A In the meantime, they don't know their asses from a hole in the ground but the beat goes on and on. A Auerbach would go a step further in the 1966-67 NBA season, when he stepped A down after winning nine titles in 11 years, and made Bill Russell player-coach. A A trailblazers, RED AND DOTIE AUERBACHi»? ON INSIDE SPORTSA Russell would eventually be the first black to win an NBA championship. A There are far too many crying "Foul" and playing the victims in this charade, to include some NBA owners.A Let me start with my homeboy, the great Elgin Baylor who was the Clippers GM for over 2 decades. His teams were perennial losers on the court and in attendance, but he picked up his check every two weeks and kept his mouth shut.
A A In his deposition, Elgin spoke about what he called Sterling's 'plantation mentality,' alleging the owner in the late 1990s rejected a coaching candidate, Jim Brewer, because of race. A Talking about an organization needing a change of name and a face-lift---meet Leon Jenkins.A Jenkins seen above at a press conference trying to explain why the li»?ocal branch was honoring Sterling during the 100th Anniversary of the organization next month. A A He explained the previous award had been approved by the man he replaced and he just went along to get along. A A Sterling won't be the first to sleep black and think white when it comes to sex, politics and money. Slave owners lived by the credo and in modern day history there was the late Senator Strom Thurmond.
A Nike NBA rep John Phillips and I met with VP Rod Thorn, League Counsel Gary Bettman and Head of League Security, Horace Balmer. A The meeting centered around whether Magic Johnson, Mycal Thompson and a group of NBA All-Stars would be allowed to travel to the Bahamas for a charity basketball game without league approval. The game had been played in the Bahamas the previous year without incident or controversy.A It was obvious that there was a power-play being made by the league office to cancel the game. Thorn open the meeting by asking who was going to be responsible if one of the players was hurt during the game? A Magic suggested that the topic of conversation just might be centered around an injury to a player. I tried to explain that playing the game was no different then one of the players participating in a pick-up game on a New York City playground in the off season. A What is this some kind of plantation?"A The room went silent and Horace Balmer the only other black in the room just shook his head and seem to be lost for words.
A Thorn called off the discussion and promised to get back to us but he never did.A In the meantime, Magic Johnson disappeared and changed his number. A Mycal was a class act but his hands were tied when Magic decided to do his Houdini act.A Gary Bettman now runs the NHL, Ron Thorn is still in the NBA somewhere calling the shots, Horace Balmer has since retired and Magic is the face (black) in the middle of the Donald Sterling charade. A When all is said and done, the real victim despite all of her baggage is the girlfriend (The Whistle Blower) V. A NBA Commissioner Adam Silver during his annoucement as it related to the punishment of Donald Sterling apologize to black NBA pioneers Earl Lloyd, Chuck Cooper and Magic Johnson. A He reminds me of the controversial Celebrity Chef Paula Deen who alledgely use The N word to describe her love for black folks. A  How should we expect her to know if she has never walked in our shoes ?A  When it is a part of your DNA it is difficult to rid yourself of the gene.A  A One morning I was watching Ms. This award was longed overdue and I wonder why it took the NAACP so long to finally recognized Mr. Belafonte in accepting the award asked, "Where are today's black leaders?A  Our children's blood is still running in our streets---there is work still to be done. The coalition stated it will urge President Obama to mention an urban jobs plan in his state of the Union speech on February 12th----Good luck!
Ben Carson of John Hopkins University Hospital.A  His prayer and message was centered around health care, the economy, American debt, and tax reform, thus taking dead aim at President Obama's platform for the nation.
Carson spend 25 minutes talking about the nation's ills and solutions with the President sitting less than 5 feet from him.A  When all was said and done, President Obama was not looking so Presidential! Carson set the record straight from the very beginning.A  He made it clear he was not taking any wooden nickels. In 2010, he became that series' youngest driver and the first black driver to win a race at Greenville-Pickens Speedway.
A close friend of mine that has been partially paralyzed by strokes, pays for aids to "help". If they show up, they usually just sit and do nothing, root through her jewelry and personal effects, and some have been caught stealing jewelry. One was there when she collapsed with another stroke, and instead of calling for help, she called her boyfriend and left, leaving her patient to manage on her own. It runs M - F from 10am - Noon and starting on Monday July 22 will repeat from 4pm - 6pm each day.
My opinions about Tiger Woods or any other issue are mine and I could give a damn about what Feinstein or anybody else things about them. In their prime at theA Washington Post, they were among the best sports writers in the country.
A I was up close and personal with the sports department.A Kindred and Chad were talented writers but you could not trust them, Cornheiser and Feintstein's talent, they easily blended in with the landscape of the paper.
A Feinstein called Wilbon the biggest ass kisser in sports media, if that is true he had great teacher in Cornheiser. A When Solomon tried to kick Cornheiser to the curve (fire him) in the 80s he was able to move to the Style section of the paper. A One black female Washington Post columnist wrote a book titled "Plantation on the Potomac." A She was describing her employer. A Hopefully, they were asked to participate and were of the same mindset as Wilbon not comfortable with Mr. A Goodell makes more than any player in the NFL and he never has to make a tackle or catch a pass.A The owners recent pay out to the players for injuries suffered on their watch was peanuts compared to the billions they make year in and year out. A When he refused a request by his mother to cease using the word and a similar plea by poet Myra Angelo. Martin Luther Kinga€™s 1963 march on Washington and 46 years since his assassination in Memphis, Tenn. With the high-scoring Macauley, elite passer Cousy, and new prodigy Sharman, Auerbach had a core that provided high-octane fast-break basketball. In the next years until 1956, the Celtics would make the playoffs every year, but never won the title. Brown was desperate to turn around his struggling and financially strapped franchise, which was reeling from a 22a€“46 record.[5]A The still young but already seasoned Auerbach was made coach. A Nike NBA rep John Phillips and I met with VP Rod Thorn, League Counsel Gary Bettman and Head of League Security, Horace Balmer.A The meeting centered around whether Magic Johnson, Mycal Thompson and a group of NBA All-Stars would be allowed to travel to the Bahamas for a charity basketball game without league approval. A He was right on point.A To this day I think Magic had a previous discussion with the league office. James Gholson, Red Auerbach, Biff Carter, Jessie Chase, Morgan Wooten, Everett Cookie Payne Sr., Frank Bolden, Dr.
Leo Hill, Roper McNair, Earl Alfred, Maxwell Honemond, Tilman Sease, William Roundtree, Charlie Baltimore, Jaky Mathews, Ferdinand Day, Nick Turner, Walter Brooks, Ted McIntye, and my saviors, Dave Brown and Bighouse Gaines.A  They knew their Xs and Os, but more important, they were there for our highs and lows.A  Where have all those flowers gone? We never could have made it without them.I have given up on the Pigskin Club, but keeping hope alive for the DC Recreation Department and the Roving Leader Program.
BELL 12-25-1940---8-1-2013A A GOOD COP WHO BROKE THE CODE OF SILENCE IN THE WASHINGTON, DC POLICE DEPARTMENT. A The real Serpico is seen leaving the Bronx Courthouse alone after testifying before the Knapp Commission on wide spread police corruption in the department. A In the old days police A would carry a "drop knife---an inexpensive weapon cops would bring along on patrol to drop onto or next to suspect that they had taken out so that they could say that he had threaten them.
A Today you don't even need to do that; all that you have to do is justify the use of deadly force if you are a police officer is to say that you feared for your life, for whatever reason. If the victim dies, that just means there will one less witness around to contradict the test-lie. A In the case of Officer Michael Slager of the North Charleston police, it appears he was being extra-carefulto cover his tracks.
A Probably he could have gotten away with simply declaring, as he did in the radioed report, that Walter Scott "took my taser," and that would have probably have sufficed to exonerate him. A But Slager having shot Scott eight times in the back--as everyone can see in the now famous video--perhaps felt that he needed a little help explaining what he was up to.
A So apparently dropped his Taser next to Scott's body, which would obviously help to make the case that Scott "Took my taster."A If you think that what happen in North Charleston is a unique case, its not. A Only recently, in another case, a policewoman in Pennsylvania first Tasered a black man then shot him twice in the back as he lay face down in the snow.
A Unless honesty is rewarded more often then corruption, the police will lose credibility altogether. A I wrote a letter to President Bill Clinton in 1994 addressing this very issue, saying that honest cops have never been rewarded, and maybe there ought to be a medal for them, he wrote back but nothing change. A If enough testi-lying is uncovered, then who is going to believe the police even when they are telling the truth? A A Until now the shoot first fear of my life mantra has eliminated any cause for concern in the taking of life by police. A When a civilian committs a crime, every nuance is looked at, the better to "throw the book at" the suspect.
A The other day I got a letter from a journalist in Argentina who was complaining about police and judicial corruption there.
A I wrote back to him, there are good cops, even where you live, but if the good cops don't want to be painted with the same broad brush as the bad cops, they need to come forward and expose the guys who are doing bad things.
A Take New York City detective who was caught on camera recently abusing an Uber driver with threats and foul language, A This was truly disgusting behavior.
Yet predictably enough the detective union leader, Michael Palladino, was out there making excuses for him, suggesting that, well, it was only one incident, and everyone has a bad day. A Afterward Police Commissioner William Bratton announced he was removing the detective's shield and placing him temporarily on desk duty while an investigation is conducted . A But this man needs to be demoted to uniform at the very least, or "back in the bag" as we use to say. A Imagine what he is capable of doing under the cover of darkness if he can talk to someone like that in broad daylight. A There are plenty legitimate incidents where police believe, correctly, that their lives are in danger.
A I was in a few of those situations myself during the course of my career.A But unless the police forces and society as a whole take action we're not going to be able to distinguish between the legititimate claims and made-up testimony.
A A long time ago Norman Rockwell painted a famous picture of a friendly neighborhood cop bending down to help a little boy. A For example; I could name someone who is a great athlete but a lousy human being or I could name someone who is a great human being but not a great athlete.
A Heading the list is Muhammad Ali (The Greatest), Red Auerbach (NBA), Dave Bing (NBA), Lenny Moore (NFL), Bert R.
Sugar (Boxing), Lee Jones (NBA), Roy Jefferson (NFL) and Harold McLinton (NFL), finding pro athletes like them today are far, few and in-between. A And that is a sad commentary when you think about the hundreds of men and women I have interviewed on Inside Sports and worked with as a youth advocate (Kids In Trouble).
Moore, LB Dave Robinson (2013 NFL Hall of Fame inductee) and WR Roy Jefferson host KIT toy party. A Sam Jones (NBA), Lenny Moore (NFL) and Roy Jefferson (NFL) participate in KIT clothing drive for needy children at Union Station.
A Bert Sugar (Boxing) receives KIT Life Time Achievement Award and Dave Bing (NBA) pays tribute to KIT Saturday Program All-Stars.I had the opportunity to hear an interview on Sirius A XM Radio (channel 126) on the Maggie Linton Show recently, her guest was NFL Washington Pro football player, wide receiver Peirre Garcon. A I have not been very impressed with todaya€™s pro athletes and their give back commitment to their family, friends and community. A He has three older sisters making him the youngest and the only one born in the United States.His father died when he was 4 years old leaving his mother to raise him and his 3 sisters alone. A My background is similar to Peirrea€™s, my mother had to raise 4 boys alone with an assist from Grandma Bell.



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