Labor Day Baby


In November I will have worked in the labor movement for 25 years, a silver moment for me. From editing the AFL-CIO News, assistant to the legendary Director of Information Rex Hardesty, to producing campaign material for leading labor PR agencies, and now helping to shape message and content for all media at one of America’s great unions, AFSCME, it’s been a great ride.

10476399_10152456896406136_8243057409235245219_nI’m a Labor Day baby, born the first of September – and this year that is indeed the holiday. Labor Day has always meant more than end of summer and back to school. It’s a time to honor workers, certainly, on a holiday conceived by unions. And it’s also time to get to work. And to think about how there ought to be more reward for the work we do, and more work, period. And about those culpable politicians we need to get rid of.

Yes, Election Day is just around the corner. What I like most about working for unions is that labor has the means – millions of members and effective political alliances – and the will to fight for economic justice, and that is the fight of our lives, in my view. It’s a fight because the enemies of economic justice, the wealthiest individuals and corporations, have unlimited resources and no compunction about wielding their wealth as a bludgeon. In their warped world, the strong survive and the weak are kicked to the curb.

The opponents of economic justice, led by billionaires Charles and David Koch, are devious and pushy, as former U.S. Secretary of Labor Robert Reich illustrates in another of a series of important lectures on the economy. As Reich says, we have to stand up to the bullying tactics of the Kochs and demand a level playing field, economic justice for the other 99 percent:

Economic justice to me is captured in the spirit of Norma Rae, the iconic underprivileged, single-mother textile worker who rises above her station by demanding her rights at the mill. The scene with Norma Rae, played by Sally Field in an Oscar-winning performance, jumping on the table and holding up her handmade UNION sign as the bosses rush in to haul her away, gets me every time. You go, girl!

This Labor Day, I am reminded of a call I got back in 1992 from a Hollywood “producer,” a guy looking for an idea he could pitch. He called the editor of the AFL-CIO News to ask who in the labor movement might be the next Norma Rae. Where is that great story in modern-day America?

I’m not sure who the hero is, I said, but the great story in modern-day America is how all the good jobs are leaving America, shipped to other countries by greedy multinational corporations. And how politicians are in league with these corporations, passing so-called “free trade” deals that are making the situation worse.

I could almost feel the stifling of a yawn on the other end of the line. “I know it’s not sexy,” I said, “but it’s the big labor story in America today.” We had just been through a strenuous fight over NAFTA, and President Clinton had shoved it down our throats, twisting enough arms to overcome Democratic opposition. We were already hemorrhaging jobs. Parts of towns were being boarded up. People were suffering. Everyone was affected.

Of course, no one rose from the ruins of a shuttered manufacturing plant to demand change, to defend her job or call for the right to bargain. That’s true even today, and it’s gotten worse. Now corporations that can’t outsource jobs are moving their headquarters to other countries to avoid paying taxes – Burger King is running to Canada to be a tax dodger.

It is hard to find a modern-day hero in this milieu. Sure, there are great stories out there in the organizing trenches, workers standing up for their rights against vicious management tactics, but the wins are getting harder to come by, particularly in the private sector. The laws, and the lack of enforcement, allow employers to stifle organizing drives, retaliating against organizers and intimidating workers. If you don’t like it, well, your job could be performed in Juarez or Kuala Lumpur.

So, instead of labor heroes the movie mavens give us corporate anti-heroes, people like Gordon Gecko, who proclaimed, “Greed is good” in “Wall Street.” In the Hollywood movie today, the Great Gatsby is in and Tom Joad is out. It’s a sad commentary on Hollywood, but it’s all about making money, and labor just isn’t selling in the mass market nowadays.

We can appreciate Norma Rae for what she says and what she stands for, but no sense looking for the sequel. Better to find the spirit of these times in the stories, the poetry, the songs of our generations, not necessarily in film. The storytellers become the heroes, and I like that just fine. Listen to this modern-day poet conjure up the spirit of America, suffering in Youngstown:

That’s bleak, like many of the songs on “The Ghost of Tom Joad,” a Bruce Springsteen masterpiece that elegantly tells the stories of struggle and hope in search of the American Dream. That dream is getting harder to find, but unions still provide a concrete path to success, despite the roadblocks being set up by the corporate class and their political lackeys.

For this Labor Day, let’s turn to a voice of hope and vitality – what happens in our cities when people come together and demand what’s right, confronting the rich and their political agents. That’s the power of unionism, and few tell it with such vibrancy as Tom Morello of the Nightwatchmen, formerly with Rage Against the Machine and Audioslave. Wherever you are this Labor Day, make it a “Union Town.” Fight for what’s right:

Kentucky Blues

During a break in Kentucky’s dismantling of Alabama on the hardwood Saturday, announcer Kara Lawson noted that the movie “Selma” was playing in theaters around Tuscaloosa, as it was in theaters across the country. “We can’t forget the image of Governor George Wallace at the Alabama campus, standing in the school doorway, denying entrance to African American students,” she said, invoking the spirit of Martin Luther King on the weekend of his holiday.


The colorful Alabama contingent: At least it wasn’t white sheets.

No, we can’t. Thank you Kara for bringing a little reality to this college game, my favorite game, on this important holiday weekend. There is an important back story about these young men, these students and dreamers who play this game at such extraordinary levels. In this game, as in many other college games across the country, they are almost all African Americans, and they are living the Martin Luther King dream as fully as anyone who strives to achieve in our society.

Kentucky has nine McDonald’s High School All-Americans, half just out of high school, almost all on the threshold of becoming millionaires. I hedge that bet, since I don’t know who among them will not make millions playing basketball, here or abroad. The record suggests that none will fail.

Basketball truly is an international game nowadays, and many of the most talented, skilled white players come from Europe. But in the college game, African Americans still dominate. The fact that they are the heart and soul of Kentucky, the winningest team in college basketball history, and perhaps fielding the greatest team ever with this 2014-15 group, is a testament to how far we have come in the past 40 years.

As a native Kentuckian, I am keenly aware of the ugly legacy of racism that accompanies the fabulous basketball tradition of my home state, and particularly its university. Adolph Rupp was one of the greatest basketball coaches of all time, but the evidence suggests that he did not seriously recruit the great black players – some of whom were Kentucky schoolboys. Was he a racist? Well, he was not doing the right thing.

I remember, as a high school senior working the sports slot at my hometown newspaper, the Henderson Gleaner, in March 1966, listening (only radio back then) in disbelief as Kentucky fell to Texas Western for the NCAA title. It was insane, Pat Riley and Louie Dampier and Larry Conley and that whole cast of brilliant Rupp’s Runts, losing to a bunch of unknown black players from a minor school in Texas.

Rupp had made half-hearted overtures to Clem Haskins (1963), Wes Unseld (1964), Michael Redd (1963) and Butch Beard (1965), all great Kentucky high school players who happened to be black. Now, in 1967, the year after being dispatched by an all-black starting five in Texas Western, Rupp had a chance to make amends, and to face reality.

Instead, in a year in which Kentucky schoolboys included 7-foot center Jim McDaniels and fellow African-American hotshots Jim Rose, Clarence Glover and Jerome Perry, Rupp whiffed. All those players ended up at Western Kentucky University, which beat Kentucky, 107-83, in the 1971 NCAA regional finals and finished third overall in the tournament that year.

Rupp retired in 1972 and Kentucky basketball hasn’t been the same since, except for the winning. Joe B Hall recruited two great black players from Lexington, Jack Givens and James Lee, in 1974, and the two led the Wildcats to the NCAA championship in 1978.

Kentucky has won eight NCAA championships, second only UCLA’s 11, the remarkable record of the Wizard of Westwood, Coach John Wooden, another Hoosier refugee. This year Kentucky could have No. 9 in its sights.

If you haven’t already bet on Kentucky to win it all, sorry, it’s too late. The Wildcats are the prohibitive favorites. They feature two teams, actually, each of which could play in the NBA, and will play in the NBA. Six of these players came back from last year’s national championship game, rather than going on to play in the NBA, including the twin guards, Andrew and Aaron Harrison, at 6-6 bigger than a lot of front-court players they’re playing.


The Harrison twins, Andrew and Aaron, tower over opposing guards.

Willie Cauley-Stein is a 7-foot defensive demon who is an NBA lottery pick even without a legitimate offensive game. Karl Anthony Towns is a skilled 6-11 freshman center who may be the second player picked in the NBA draft this year. Trey Lyles, the smooth 6-10 freshman from Indianapolis, completes the first team, the White platoon. They are imposing, to say the least, from 6-6 to 7-foot.

And there is a second platoon, the Blue team, that features 5-11 sparkplug Tyler Ulis and 6-6 shooting phenom Devin Booker, who leads the team in scoring. Dakari Johnson is a 7-footer with muscle who pounds the ball inside. And 6-10 Marcus Lee is a shot-blocking machine. Kentucky’s most athletic player, Alex Poythress, suffered a season-ending knee injury early in the campaign, but that has made room for Kentucky’s high school Mr. Basketball Dominique Hawkins, now a sophomore.

This is a bunch of individual high achievers, playing like one smooth machine, in large measure thanks to Coach John Calipari, the maestro of the “one-and-done.” Yes, they’re all African Americans, and they’re the best of the best. And they’ve all come together to sacrifice for a common goal, to win a championship, playing together as a team. I don’t see the Wildcats losing a game this season, and I have decidedly mixed emotions about that.

In another of my graduating years, 1976 at Indiana University, one of the greatest college basketball teams of all time finished undefeated, 32-0. The previous year, the Hoosiers had only lost one game – to Kentucky in the NCAA regional finals. That was a team – with Quinn Buckner, Scott May, Kent Benson, Bobby Wilkerson, Tom Abernethy and John Laskowski – that played together flawlessly. No team has gone undefeated since.

I believe they’ve met their match with this Kentucky team. Just look at the stats. The Wildcats are choking other teams, setting defensive records, leading the nation in multiple categories. Even the two overtime victories during the SEC season show their resilience more than vulnerability.

I believe Dr. King would be proud of this advancement too, that Kentucky may be a little more color blind today because of the preeminence of African-American heroes. Whether it’s sports or cinema or business or politics, black leaders are assuming their roles in our society, and that is good for everyone.

Take Kara Lawson, for example, our sports narrator during the Kentucky-Alabama game. Kara is an African American woman who rose to stardom playing basketball in my neighborhood, at West Springfield High School in Fairfax, Va., while I was coaching my daughters in a neighborhood league. She went on to star at the University of Tennessee for the great coach, Pat Summitt, and on to a WNBA championship and an Olympic gold medal.

She may be the best basketball commentator on television today, able to reflect on the messages of our times as well as the plays of the game. But her most important role may be leading my Washington Mystics back to the WNBA playoffs this season. I’m counting on her.

The Koch Machine

We’re about to learn a lot more about the Koch (pronounced “Coke”) brothers, despite their best efforts to hide behind the myriad front organizations they use to funnel cash to politicians who’ll do their bidding. “Citizen Koch,” a documentary about their power play in Wisconsin to eliminate bargaining rights of public employees and undermine labor protections generally, begins a limited run in theaters next month after being pushed off the PBS calendar by the Koch brothers, among the biggest contributors to the Corporation for Public Broadcasting.


Another movie, Robert Greenwald’s 2013 “Koch Brothers Exposed,” has been updated with a 2014 edition to show how the industrialists have been further empowered by Supreme Court rulings allowing corporations and individuals to spend unlimited sums in election campaigns. The Kochs have attacked Greenwald’s film relentlessly, right up to the preview this week by House Minority Leader Nancy Pelosi on Capitol Hill. You can view it here.

Greenwald reveals how the family’s $100 billion fortune has been amassed through oil and gas pipelines – beginning with father Fred’s business laying pipelines for Josef Stalin in the 1930s – and investments in industries like paper and plastics. Koch Industries is one of the nation’s top 15 polluters, accounting for more than 300 oil spills. It was found guilty by a federal jury of stealing oil from Native American lands. The company has paid more than $100 million in fines.

After spending $122 million trying to defeat President Obama and other Democrats in 2012, the billionaire oilmen are reportedly spending $125 million during this off-year election, flooding different regions with market-tested ads, trying to lay the ground for more gridlock and their own guy in 2016. The unrestrained power of “Citizen Koch” is scary, frankly. If the Kochs go unchecked we are facing the threat of corporate oligarchy. It may already exist in practice.


That’s why I’m watching both these Koch films (Citizen Koch plays downtown D.C. on June 20) and passing along as much information about them as I can. Here‘s the nationwide schedule for the Citizen Koch showing. Check out the links in this blog, and tell me what you know. Nicholas Confessore of The New York Times recently penned a revealing portrait of the Kochs’ political odyssey over the past few decades. Back in 1980, when David Koch was running for vice president on the Libertarian Party ticket, which favored “the repeal of the fraudulent, virtually bankrupt, and increasingly oppressive Social Security system.” his brother Charles objected to a $2.5 million political expense. Today they spend that much in a week.

Besides more than a hundred million Koch dollars that go to front groups like the ubiquitous Americans for Prosperity, which in turn fronts for numerous Tea Party chapters, hundreds of millions more are leveraged from other right-wing individuals and groups. The Kochs, in effect, are the bagmen for a vast right-wing conspiracy that Greenwald estimates spent $400 million in 2012 alone. This is not including the right-wing think tank echo chamber headed by the Kochs’ own The Cato Institute.

While the media has focused largely on the Kochs’ massive national political machine, the brothers have been even more diabolical at the state level, where they fund the American Legislative Exchange Council (ALEC) to draft model legislation and talking points for state legislators, and canned editorials promoting the legislation that local newspapers snap up to fill column inches.

The result is a rash of bad, even dangerous, legislation – including the “stand your ground” laws that George Zimmerman used as a shield to shoot and kill an unarmed Trayvon Martin. Especially troubling to me is the Kochs’ assault on unions, not only collective bargaining but also pension security. Most recently, the Koch brothers’ Americans for Prosperity mounted a targeted strategic campaign to scuttle a Michigan state relief plan for the City of Detroit that would move the city toward solvency while minimizing pension cuts and saving the art library.

MSNBC’s Chris Hayes asks the right question here: “Who do you want to see suffer?”

As the New York Times’ David Firestone opined in the paper’s editorial blog:

“Under the circumstances, the proposed state contribution on behalf of vulnerable pensioners is a modest way to make up for Lansing’s decades of abandonment. But it’s too much for the Kochs to stomach. They apparently want city workers and retirees to publicly suffer for the sin of having been union members. They want bondholders and insurance companies at the front of the creditors’ line, and don’t seem to care if the Detroit Institute of Arts has to sell off its paintings and sculptures to put them there.

“As they have in so many other areas of public life, two of the country’s wealthiest citizens are using their good fortune to make life far more difficult for those at the bottom of the ladder.”

The Kochs’ pension shakedown is in keeping with the brothers’ longtime effort to change Social Security insurance into a more Wall Street-friendly investment fund, spending millions to scare Americans into believing Social Security is in peril, when it’s not. They want all pension money invested in the stock market, where the risk is high for individual investors and the reward high for the institutions. The Kochs want a piece of that giant pension pie.

We can’t let the Koch Machine run our country. Arm yourself with information. Spread the word.

Labor Memorial Day

Growing up, May Day always conjured up Maypole dances and the smell of beautiful flowers at church festivals celebrating Mary, a reputed virgin mother. I learned that it was the day to celebrate St. Joseph the worker, the patron saint of workers, which I know today only partially acknowledges the importance of the holiday.

May 1 has been observed around the world as International Workers Day since 1889, in memory of the protesters killed at Haymarket Square, Chicago, campaigning for the eight-hour workday. The labor activists had set May 1, 1886 as the day for a nationwide strike for better working conditions, but the peaceful May 4 Chicago rally quickly became a confrontation with police and agitators.

The “Haymarket Massacre” became a rallying cry for the union movement in the United States and around the world. Through the struggle of those unionists and others who have followed in their footsteps, we have won not only the 8-hour day and the 40-hour workweek, but also overtime pay, fair labor standards and protections, job safety regulations, and laws that allow us to bargain with employers over pay and conditions of work, including pensions and health care.

So, May Day is something to celebrate. It doesn’t require a march with the trappings of war, as the despots in Moscow, Beijing and Pyongyang have staged, or even with bullhorns and protest signs at the local Wal-Mart – although that would be appropriate. But it does require an understanding that nothing will be won in our society without a unified struggle against the corporate powers that control industry and, to a great degree, government.


Mother Jones, right, helps a little girl with her shoe at the tent encampment of miners in Ludlow, Colo., in 1886.

It’s also a good time to remember those who have paid the ultimate price in the pursuit of economic justice – not only at Haymarket Square but also in other seminal labor fights. This is a time when the United Mine Workers honor the memory of the 66 men, women and children who were killed in April 1914 in an attack on striking miners’ camp at Ludlow, Colo., and in the protests that followed – one of the deadliest labor confrontations in our history.

The attack on the miners, orchestrated by oil baron John D. Rockefeller Jr. and a detective agency he hired, with the assistance of the governor of Colorado and the National Guard, is one of the saddest chapters in the long-running war on organized workers in this country. While the violence may have dissipated over time, corporations still take no prisoners in their systematic assault on worker rights.

May 1 also is the day famed schoolteacher, dressmaker and union organizer Mary Harris “Mother” Jones claims as her birthday, although the record is not clear on her birth. But she made sure the record was clear about Ludlow, where she went to help the families during the strike. Here’s her first-hand account from her 1925 autobiography:

“All day long the firing continued. Men fell dead, their faces to the ground. Women dropped. The little Snyder boy was shot through the head, trying to save his kitten. A child carrying water to his dying mother was killed. By five o’clock in the afternoon, the miners had no more food, nor water, nor ammunition. They had to retreat with their wives and little ones into the hills. Louis Tikas was riddled with shots while he tried to lead women and children to safety. They perished with him.

“Night came. A raw wind blew down the canyons where men, women and children shivered and wept. Then a blaze lighted the sky. The soldiers, drunk with blood and with the liquor they had looted from the saloon, set fire to the tents of Ludlow with oil-soaked torches. The tents, all the poor furnishings, the clothes and bedding of the miners’ families burned. Coils of barbed wire were stuffed into the well, the miners’ only water supply.

“After it was over, the wretched people crept back to bury their dead. In a dugout under a burned tent, the charred bodies of eleven little children and two women were found – unrecognizable. Everything lay in ruins. The wires of bedsprings writhed on the ground as if they, too, had tried to flee the horror. Oil and fire and guns had robbed men and women and children of their homes and slaughtered tiny babies and defenseless women. Done by order of Lieutenant Linderfelt, a savage, brutal executor of the will of the Colorado Fuel and Iron Company.

“The strikers issued a general call to arms: Every able bodied man must shoulder a gun to protect himself and his family from assassins, from arson and plunder. From jungle days to our own so-named civilization, this is a man’s inherent right. To a man they armed, throughout the whole strike district. Ludlow went on burning in their hearts.”

Ludlow burned into the conscience of a nation, helping to improve the lot of workers everywhere, as Colorado historians explain in a Rocky Mountain PBS documentary:

The UMWA’s two-day centennial anniversary event at Ludlow May 17-18 includes family activities including a simulated coalmine, a craft area for kids and performances by local musicians. Noted authors and academics join political and labor leaders in addressing the crowd.

Arlo Guthrie is not scheduled to play, but if he were he would certainly sing his tribute to the brave miners and their families:

For more information about why Ludlow matters, check out this article in The New Yorker.

The Revolution Will Be Blogged

Journalists are not what they used to be. The profession and the news industry have changed dramatically over the past few decades, reshaped by information technology and new media innovation that googles the mind, literally. It remains to be seen if the public is benefiting from this evolution, even as its buying habits help to shape it.

ImageNo, I’m not mourning the loss of the “ink-stained wretch” of yesteryear’s newsroom or the film editor in the broadcast booth. Journalists generally have adapted just fine, learning to love multiple platforms for story telling, or they move into another field. Some may feel like Rick Redfern of Doonesbury fame, the former Washington Post correspondent pushed onto a blogging platform … or is it a plank? Many blogs reward contributors with celebrity rather than hard cash, as Redfern discovers when word surfaces he’s out of print.


As the industry shakes out, working journalists shake with it, incurring some bumps and bruises along the way. My friend Roger was in his mid-50s when he was mustered out of a newspaper job in North Carolina. He languished for more than a year before accepting a one-year assignment teaching English in rural China. For his perseverance, Roger got a tryout and regular copy-editing gig at The New York Times. May we live in interesting times.

These changes not only dramatically affect the lives of working journalists, but also those preparing for careers as journalists – or new graduates who are searching for work in the industry. How do you prepare young journalists for a field in flux, when the job market is moving farther away from the traditional news-gathering and reporting exercises? And how do you retain the integrity of a profession founded on the public trust to inform and educate in a Wiki world?

These are questions being raised today in many Journalism schools across the nation, including my alma mater, Indiana University. To stay current, IU is creating a new Media School, combining Journalism and Broadcast with Communication and Culture (Film, TV and Digital Media), and affiliated with Computer Science/Informatics and other departments through the College of Arts and Sciences. The reorganization is not without critics and skeptics among IU Journalism alumni, a long and distinguished list of working and retired journalists.

IU-trained journalists want to know what happens to the legacy of Ernie Pyle, the legendary Hoosier war correspondent whose name graces the longtime Journalism building – and what happens with that building, long in disrepair? How will IU attract top-notch J-school faculty and scholars if it is diluted with nonprofessional communications studies, and administered through the huge liberal arts school?

These were some of the questions that the IU Media School’s Associate Dean Lesa Hatley Major and Arts and Sciences Executive Dean Larry Singell sought to answer during a “Media Roundtable” held recently at the National Press Club. I joined about 50 alumni during the informal briefing, which featured finger food and a full bar. Everyone wanted to know if IU would be able to provide the same sort of quality education that journalists across the country have come to expect.

“Well, to be perfectly candid, we haven’t been providing the quality education we have in the past,” said Major. “We have fallen down in key areas, particularly in keeping up with new media platforms, new ways to gather information and tell stories. That’s what we hope to fix with The Media School.”

Singell promised the housing of The Media School within Arts and Sciences wouldn’t diminish the principles and values of IU Journalism education. “Let’s face it: everyone is publishing today,” he said. “All you need is a PC and you can broadcast to the world. It’s the quality of information that we are concerned with, the highest standards for storytelling, and our Media School is dedicated to that.”

I am going to trust these administrators with their words, and the promise of this new Media School. I’ve read the proposal and the step-by-step plan to create the J School of tomorrow, Media writ large. It makes good sense.

Change is inevitable, so let’s get out ahead of it, anticipate as best we can. But Indiana University must build on the tradition that makes the program great – including the daily news coverage through the Indiana Daily Student and other campus and community outlets. New media platforms can enhance the IDS and other fine media already serving the IU community.

Friendships and East Asian studies were the catalysts for my interest in IU, but the IDS sealed the deal. The award-winning daily newspaper was the perfect platform for practicing daily news journalism. Most of IU’s finest alums honed their editorial skills in the IDS newsroom at Ernie Pyle Hall. I wrote editorials and columns, and some feature stories, including a 1973 interview with Kurt Vonnegut, Jr., one of my fondest memories, when he was giving a commencement address, getting an honorary degree, and effectively dismissing all his characters with the publication of “Breakfast of Champions.”

Vonnegut grew up in Indianapolis and studied journalism for two years at Cornell before shipping out to World War II, the life event that haunts his fiction. Although he worked as a Chicago police reporter after returning from the war, and his journalism training is evident in his spare declarative writing, he grew to dislike how the profession was evolving – particularly in its pursuit of celebrity.

Quoting Ralph Nader, Vonnegut told one interviewer that “reporters have given up on their jobs and instead are causing us to focus, as long as possible, on stories like O.J. and Princess Di,” he said. “But they never get around to having us consider what the real problems of the country are.”

Certainly this propensity for celebrity and spectacle has moved onto the Internet, alongside more sober sources of news and information. But like it or not, our media will be driven largely by consumer demand – even if big-money advertisers wield the biggest influence. We can console ourselves that at least we’re getting thousands of channels of information, however cluttered by noisemakers.

Meanwhile, I’m sure that Indiana University will continue to turn out first-class journalists and communicators – such as Suzanne Collins, who in 1985 graduated from IU with a double major in theater and telecommunications, then went on to write The Hunger Games trilogy. There is more to world-class communications than a journalism degree, as this list of IU’s distinguished graduates of arts and humanities reveals. Journalists, authors, playwrights, lyricists, sportscasters, actors, poets, folklorists and assorted other storytellers enhance us all with their gifts, and we can thank the university that stoked their imaginations and refined their talents.

A Fine Madness

March is roaring in but who cares if the weather is frightful? Inside gyms and arenas across the land, college basketball players are reaching for the brass hoop, and the crowds roar. It’s a beautiful thing, this March Madness. This year, it’s anyone’s game to win. Will Cinderella crash the party?


Few college basketball seasons in recent memory have produced such a competitive field. Any one of a dozen teams could win it all, with the right breaks. This year more than many others, it may come down to the breaks. It will pay to know the players, and consider wild cards.

Some of the traditional powers don’t even make the field this year, including Georgetown and my beloved Indiana Hoosiers, who didn’t even deserve an invite to the consolation NIT after stumbling through the home stretch. Upstarts are legitimate: Wichita State is the first team to go undefeated through the regular season since UNLV in 1991, playing in Larry Bird’s old conference. Virginia got a No. 1 seed after winning the ACC for the first time since 1976.

Naturally, I’m tracking the event closely, as the inveterate basketball junkie, with a “virtual office pool” for friends and associates that is largely for bragging rights. Bracket mania sweeps the cubicles heading into Thursday’s opening games, and Yahoo and Quicken Loans are teaming for a $1 billion payoff (maybe, if you act fast, and tell about your finances and take loan pitches, etc.). Games are cropping up all over.

The Big Game is on the court, and I’ve been watching closely.  Front and center are the shooting stars, the one-and-done freshman phenoms who are positioning themselves for a top NBA draft slot. Jabari Parker (Duke), Julius Randle (Kentucky) and Andrew Wiggins (Kansas) are auditioning for the pros. Kentucky has at least three other freshman players who will turn pro after this tournament, and many others will come out.


Will Tom Izzo lead the Spartans back to the Final Four?

While the traditionalists may mourn the passing of the old college spirit, the steady turnover of all-stars hasn’t hurt the game that much, thanks largely to the coaches. If you follow college basketball, you know the coach is the most important part of the game – a teacher and motivator as well as crafty tactician, and strategist. Nowadays, he also has to be restoration artist, building a new team every year.

Chances are good, once again, that Rick Pitino (Louisville), Tom Izzo (Michigan State) and Billy Donovan (Florida) will guide their teams into the Final Four, with five championships between them. The other guy could be Bo Ryan, the steady if unspectacular defensive guru at Wisconsin, who is due (and who may have the easiest road, through the West Region).

But others are worthy, and I’ll probably change my mind before the ball goes up on Thursday. The phenoms at Kentucky, Kansas and Duke could will their teams into Final Four. Three great coaches lead those teams – John Calipari, Bill Self and Mike Krzyzewski – with multiple championships among them.


Does the Cinderella slipper fit Steve Alford and UCLA?

Cinderella, oddly, this year could take the form of the winningest NCAA tournament basketball program in history, UCLA, with 11 national championships. The Bruins are back after many lean years, beating No. 1 seed Arizona in the PAC-10 tournament. Guiding UCLA is first-year coach Steve Alford, the shooting guard for Indiana’s 1987 NCAA champions.

Also resembling Cinderella is Wichita State, which has a shot at being the first undefeated champion since Indiana in 1976.  (I just can’t stop saying Indiana! Indiana! Indiana!) Leading the Shockers is Gregg Marshall, a Roanoke, Va., native who coached little Winthrop University to a series of NCAA tourney appearances before leading Wichita State to the Promised Land. Hmmmm.

But the tournament poobahs appear to have stacked the deck against Wichita State, which will come out of the Midwest Region. Hurdles include Kentucky, Louisville, Duke and Michigan, coached by John Beilein, one of the smartest coaches around. Maybe it’s his turn to win a championship.

Grab those brackets and jump in a pool! It’s March and the water’s fine.

The Big Fix to Income Inequality

Income inequality is the defining and dividing issue of our time, as President Obama has reminded us in a series of speeches over the past few months. The huge gap between the richest 1 percent and the rest of us has been the subject of much debate and even “occupy” demonstrations targeting Wall Street greed and government inaction. But little is done, even though we have a prescription to reverse inequality and restore the middle class to our economy.

ImageThe remedy is presented by former Clinton Secretary of Labor and economics guru Robert Reich, who recently took us on a Mini Cooper spin through income inequality and what it means to our society. Reich is the impassioned lecturer-in-chief in “Inequality for All,” a smart and insightful documentary detailing the historic nature of the inequality problem, and how it has come to a head.

“Inequality for All” won a special award for documentary films at last year’s Sundance Film Festival but was ignored by the Academy of Motion Pictures.  The Oscar-nominated documentaries were more dramatic and visual than “Inequality for All,” I grant you, but perhaps none of them as important. Without a major commercial ad campaign, Reich nonetheless is able to push it relentlessly through his social media network – and I’m happily caught up in that loop.

The film is available via Netflix, Amazon and on-demand services. You will have to put up with the recurring lecture format to get to Reich’s keen insights and observations at the heart of the film, but you will be rewarded for your attention with a better understanding of a very serious problem in our nation. Fortunately, Reich uses humor and clever graphics to help tell the story:

The image of the suspension bridge frames the largest income gaps — between 1929, ahead of the Great Depression, and then again in 2007, just before the housing bubble burst and our extended Great Recession. We have reached a period not unlike that of FDR’s New Deal in the 1930s, when we should be changing the rules of the game so that the destructive nature of income inequality doesn’t eat our middle class and collapse the social order.

But the political system is responding slowly, choked by influence peddlers with a vested interest in the status quo. The robber barons of today have a lot more resources at their disposal for influencing both public opinion and political alliances. The Supreme Court ruling in the Citizens United case, allowing unlimited spending on political campaigns, has further stalled political action.

In fact, since the beginning of the recovery from the 2007-09 recession, the top 1 percent has resumed its accelerated income gains while the bottom 99 percent has returned to stagnation and loss, according to the Economic Policy Institute, which has been tracking the trends in unshared prosperity since the 1970s. A state-by-state EPI study released Feb. 19, found that in 33 states the top 1 percent captured between half and all income growth from 2009-2011. This is continuing an alarming trend:

“The lopsided growth in U.S. incomes observed between 1979 and 2007 resulted in a rise in every state in the top 1 percent’s share of income,” EPI reported. “This rise in income inequality represents a sharp reversal of the patterns of income growth that prevailed in the half century following the beginning of the Great Depression; the share of income held by the top 1 percent declined in every state but one between 1928 and 1979.”

You can find out how your state ranks in income disparity with the EPI’s interactive feature linked to its report here:

Still, nearly seven in 10 Americans say the government should act to make sure the rich pay their fair share and more Americans share in economic prosperity, according to a CNN survey a few weeks back. And that view has held remarkably steady: in 1983, 68 percent of Americans favored government action to narrow the divide. Today, that number is 66 percent.


So, what’s to be done? Part of the solution is to get the big money out of politics. Other laws and reforms are necessary. Here’s Reich’s prescription, which you can find at

  • Raise the minimum wage. Many states have raised the minimum on their own, but it’s long past time for the United States to raise the federal minimum wage. We must ensure that fulltime jobs have wages and benefits that allow people to afford the basics.
  • Strengthen workers’ voices. Unless employees enjoy the fundamental right to form and join unions to bargain collectively with their employer, they will continue to be undervalued and disrespected in the workplace.
  • Invest in education, ensuring that everyone has an opportunity to a quality education, from early childhood to college.
  • Reform Wall Street. We must ensure the financial sector is working honestly and accountably to prevent it from taking over our economy.
  • Fix the tax system so that everyone is contributing a fair share. We must reverse the Ronald Reagan tax shift that benefited rich individuals and corporations and dumped on the rest of us.
  • Get big money out of politics. New laws are needed to overturn Citizens United so that corporations can’t spend unlimited amounts of money on campaigns and in return affect public policy and spending priorities.

As Reich notes in his documentary, solving the income inequality problem will require citizen action, making our voices heard over the thunder of the big-money influence peddlers. I like to think we can go back to basics, a la Dr. Seuss and the beloved Lorax:


Love Story

This week the historic Des Plaines Theatre in suburban Chicago is undergoing a rebirth with the world premiere of “Etude: The Musical,” an ambitious production that tells a love story spanning centuries, connected by myth, music and the arc of history. “Etude” presents a new take on the classic battle between good and evil, challenging the audience to sort it all out while also embracing the bloodthirsty characters.


Music composer Charles-Valentin Alkan (Ryan Bennett) sings in anguish with his fallen vampire queen Regine (Miki Byrne)

“Etude” is based loosely on the life and mysterious death in 1888 of French composer and virtuoso pianist Charles-Valentin Alkan. In the new musical, produced by Jerry and Michael Sigman, nephews of the legendary Tin Pan Alley lyricist Carl Sigman, Alkan never really dies. Instead, he is seduced by the voluptuous vampire Regine, who promises him eternal life and musical pleasure.

The musical brought us to Chicagoland for opening night of “Etude” because daughter Miki stars as Regine. Like other members of the talented cast of 23 singers, actors and dancers, Miki has been working part-time on the musical for nearly a year – and it continues to be a work in progress as they refine and expand the complicated roles and story before live audiences.

More about the musical and opening night performance in a bit, but first let’s consider this love story and how it came to be. There is more here than meets the eye. And the history is both personal and civic for the Sigman Brothers, who grew up in Des Plaines and dreamed of musical adventure and the big stage while attending performances at the old Des Plaines Theatre.

Jerry and Michael Sigman formed The Sigman Brothers Production Company “to foster an artistic environment that inspires the creation and staging of new and original theatrical works of all genres, and to preserve and extend the storied tradition of the American Theater,” according to their website.

The Des Plaines Theatre was built in 1925 by the Chicago Polka Brothers to be a suburban mecca for that unique European dance music. It went through several refurbishments over the next 40 years, hosting vaudeville acts and first-run shows. A fire in 1982 damaged the storefront, but the theater was largely spared. Unfortunately, its fortunes sank with live productions and eventually it was converted into a movie theater that ran mostly Indian-language Bollywood films.

1393680_424473347664632_2039589716_nThe Sigmans mounted a “Kickstarter”-style campaign to raise funds to restore the stage, and wrote “Etude” as the kickoff for a new “artistic environment,” in the Sigman’s vision. Jerry, who has performed in Chicago as an actor, singer and magician over 25 years, wrote the book for “Etude.” Older brother Michael, who composed the music, has earned five degrees in music composition, theory and history. The Sigman Brothers make clear that their work is inspired and directed by the memory of their uncle, Carl Sigman.

If the name Carl Sigman doesn’t ring a bell, it’s because the great American popular music lyricist has not been properly toasted over the years, certainly not in the Chicago area. You will know his songs, for sure, including this revived jazz standard, given words and wings by Sigman after the music, composed by Francis Lai, was a hit movie theme in 1971.

Sigman collaborated with some of the greatest music composers of his day, from Duke Ellington to Johnny Mercer, Lai and Jimmy Van Heusen. His songs were hits for Frank Sinatra, Billie Holliday, Joni Mitchell, Van Morrison and many others.  I have been obsessed by some Sigman tunes since high school, even mastering the karaoke versions of “Ebb Tide” and “It’s All in the Game.”

And then there is this great, fun piece given rhythm and bop by New Orleans Italian jazzman Louis Prima:

Jerry and Mike Sigman would like to return the Des Plaines Theatre to the pinnacle of Chicagoland stage, and the community should applaud them for investing the time and money into “Etude.” As students of music and history, they have created a fantastical tale. I’m especially grateful that Jerry saw the spark in Miki during auditions and selected her for the lead female role.

And you can’t help but be proud of all the cast and creative direction for “Etude.” The music soars in the first act, but seems to make a rough transition to the second act, when the classical composer and his vampire queen return to modern life in a punk rock band. Also, some plot twists are not wrapped up neatly as we move toward the denouement of the tale.

Aside from an uneven dance opening, the dance performances were outstanding – including the nicely choreographed and amplified swordplay as bloodsuckers of every stripe clash again and again. It wasn’t quite clear what the life of these vampire heroes involves, but that is a small detail when set against the timeless love story unraveling onstage.

The Sigmans have created a love story that comes from the heart of the American music experience, channeling their uncle as they explore the music thread that underlines our cultural history. Yes, the plot gets stretched a bit thin in places, but it’s easy to overlook those moments when another lively song and dance ensues. Humor infuses the dialogue, and nice physical comedy helps carry it off.

The Sigmans may be trying too hard to meld the history of 150 years into their tale, and a lengthy historical video that leads into the second act mixes images of politics, war and disaster along with popular culture and vampire movies. They’ve used this video in promotions, but they might have been better served on stage by using dancers to create the allusion of moving through time, communicating not boring topics but the overall themes of the play – love and passion.

It was interesting at the end of the opening night to see the cast gather on stage for champagne and congratulations. How can we make it better tomorrow, they asked. Some among the production team wanted to cut specific scenes, to make it move faster and trim the two-and-a-half hour two-act play to keep the audience riveted to their seats.

But the music and performances were stellar, so most of the cast resisted efforts to cut their babies. At least subtle changes will be made, for sure, just as the producers of “Next to Normal” refined the future Tony Award-winning musical during its run at Washington, D.C.’s Arena Stage. Unfortunately, “Etude” was not destined to live much longer than Halloween 2013. But these things have been known to come back to life.

The Vast Left-Wing Conspiracy

Sometimes the most vicious political attack ads can be completely ludicrous in presentation. Witness this breathless broadside against, ostensibly, Virginia gubernatorial candidate Terry McAuliffe:

McAuliffe is only nominally the target of the ad, “Don’t Let Them Detroit Virginia,” which vaguely connects him to a broad left-wing conspiracy, a “Gang of Five.” These dangerous radicals are led by Hillary and Obama and fed by the perverted forces of liberal media, foreign-sponsored smear groups (a photo of AFL-CIO President Rich Trumka looms ominously behind that legend), plus “Wall Street liberals” and Hollywood flesh-merchants.

When you stop laughing at the preposterous claims in the ad, however, you see how it is calculated to reach not rational, clear-eyed citizens, but lunatic fringe nutjobs who will buy any conspiracy theory if it pins the tail on Obama. It is coolly calculated and slickly delivered, narrowly focused. I’m sure all the audiences were surveyed, and the majority was dismissed.

ImageFight for Tomorrow, the Texas-based PAC behind the attack ad, waves its ideological agenda around like a freak flag, proud to say they’re on the edge. They’re also very well seeded, with a trail from Northern Virginia/DC officialdom to the Texas boardrooms. They will not provide information about who funds the group, although you can be sure it’s corporate in nature and possibly Koch in personality.

On the Fight for Tomorrow website, the group proudly announces,  “Contributions to Fight for Tomorrow are not deductible as a charitable contribution for federal income tax purposes.” In other words, you can’t deduct this on your taxes because we’re not telling where our funds are coming from.

The Roberts’ Supreme Court decision in Citizens United vs. FEC ensured that rich corporations with vested interests in public policy could spend any amount to influence public policy. Ordinary citizens are left to fend for ourselves, to sort out information that is skewed not only by the partisan interest fringe, but also by the mainstream media, which insists that everybody is making sense.


Moderator Chuck Todd wanted to make a point.

Watching NBC Political Director Chuck Todd moderate the debate tonight between McAuliffe and Tea Party darling Ken Cuccinelli was infuriating, as the Washington talking head sought to corner both candidates with calculated equanimity. For example, Todd persisted in asking McAuliffe, who favors expanding Medicaid to make Obamacare more accessible, if President Obama has shown adequate leadership in promoting his own program.

Perhaps that is a good question, but certainly not in a forum weighing the candidates for Virginia’s governor, with clear differences on the issues. It was a question calculated to elicit liberal criticism of Obama on his program, even though most liberals think Obamacare falls well short of the mark of real health care reform.

Not that McAuliffe is a liberal darling. He’s a businessman with a checkered past in both business and politics, with much intermingling along the way, including as the chairman of the Democratic National Committee. McAuliffe was Clinton’s prime fundraiser, and those years of dedication to Clinton and the Democrats are being rewarded in political and financial support this year.


Virginia gubernatorial candidates Ken Cuccinnelli (R) and Terry McAuliffe (D)

I’m pulling for McAuliffe, though. Cuccinnelli is an ideologue who wants to foist his moralistic religious and political views onto the citizens of Virginia. He’s also a hypocrite who has gone along with the influence-peddling game in Richmond even while feigning the high moral ground.

If we are to judge these candidates by their associates, then we have to give McAuliffe and the Democratic establishment the advantage over Cuccinnelli and the knuckleheads at Fight for Tomorrow.

Lessons from Sifu Rasmus

Additional video from our Frederick, Md., “Science of Elastic Force,” tai chi workshops, with Sifu Mark Rasmus, are now available for viewing on YouTube. As a prelude, check out my three-part series on the workshop in Tai Chi Revelations, Into the Mystic and The Body Electric.

ImageBut the best presentation comes from Sifu Rasmus himself, and these videos are revelatory. Following on The Body Electric, Sifu expands on the notions of vibrations and frequency – how to match vibrations with your practice partner to easily bounce them. Notice his cynical view of martial arts masters who keep these “very, very simple” techniques a secret. One commenter pointedly asks, “(If you keep telling all these secrets), what will become of the tai chi teacher?” Who would not want to experience this demonstration?

Here he describes how a compliant practice partner helps you develop rebounding force, giving you the pressure you need, that you feel down to your root:

Sifu demonstrates how to “touch the elasticity” in the body through the frequency of your practice partner’s push, then control them through the elasticity in your body:

Finally, Sifu demonstrates how you can use the Science of Elastic Force to deliver a strike – in this case with the elbow.

Sifu covers a number of different defensive and offensive moves in his workshops. Videos from other training sessions on his U.S. tour also are uploaded for your viewing pleasure.  Check them out here.