Jim Acosta announced earlier this week he is leaving CNN, and he had a message for viewers.
Acosta announced his departure Tuesday at the end of his one-hour morning show on the network, telling viewers: “Don’t give in to the lies. Don’t give in to the fear.”
The CNN anchor, described by The Associated Press as “an irritant to Trump,” said he was grateful to the network.
CNN announced last week — Trump’s first week back in office — that it was shuffling its daytime lineup to move Wolf Blitzer into Acosta’s 10 a.m. Eastern time slot, paired with Pamela Brown. The network said it had offered Acosta a job at midnight and would move him to Los Angeles, where his show would air at 9 p.m., and also simulcast the program on CNN International.
But Acosta, who has been at CNN for 18 years, said Tuesday he had turned that down.
Trump followed with a post on his Truth Social celebrating Acosta’s departure.
“Wow, really good news!” he wrote. “Jim Acosta, one of the worst and most dishonest reporters in journalistic history, a major sleazebag, has been relegated by CNN Fake News to the Midnight hour, “Death Valley,” because of extraordinarily BAD RATINGS (and no talent!). Word is that he wants to QUIT, and that would be even better. Jim is a major loser who will fail no matter where he ends up. Good luck Jim!”
CNN, in a statement, said “Jim has had a long, distinguished, nearly 20-year career at CNN, with a track record of standing up to authority, for the First Amendment and our journalistic freedoms. We want to thank him for the dedication and commitment he’s brought to his reporting and wish him the very best in in the future.”
For decades, some of the South’s most talented photographers have brought color and personality to the glossy pages of one of the region’s most iconic magazines, Southern Living.
Now, a new photo exhibit showcases some of those photographers’ work from outside the pages of the magazine.
Eighteen former Southern Living photographers have shared some of their favorite images from their personal collections for the exhibit, which is currently on display at Aldridge Gardens in Hoover.
“Some people had stuff printed and mounted just for the show; some people just took stuff off the wall at home,” former Southern Living photographer Art Meripol, who curated the exhibit, tells AL.com. “It’s a little bit of everything. . . . The only thing in common is we all worked at Southern Living.”
Each photographer contributed two or three images for the show, Meripol says. All but three of the photos in the exhibit are available for purchase.
The photographers’ various careers at Southern Living span the 1970s to the early 2010s, Meripol says. They shot for the magazine’s travel, food, gardens, and homes and interiors sections.
Since none of the photos in the exhibit appeared in the magazine, though, they get to show a different side of their work.
That is one of the themes of the show, Meripol adds.
“Very much so,” he says “It’s like, ‘What represents you or your name now and how do you see yourself? Not shooting for someone else but for you?’”
Former food photographer Beth Hontzas, for instance, contributed two tranquil beach waterscapes to the exhibit, while the widow of the late Bruce Roberts, the former director of photography for the magazine, provided a couple of his black-and-white photos from his newspaper days in the 1960s.
Former Southern Living photography director Bruce Roberts shot this black-and-white photo of an unidentified police officer standing in the rain sometime in the 1960s. The photo is part of an exhibit featuring the works of former Southern Living photographers that is on display at Aldridge Gardens in Hoover.(Photo by Bruce Roberts; used with permission)
Meripol, a former travel photographer at Southern Living, has three photos in the exhibit, including one of the Edmund Pettus Bridge in Selma, another of the Lincoln Memorial in Washington, D.C., and a third of the interior of Muscle Shoals Sound Studio in Sheffield.
Gary Clark, another former travel photographer for the magazine, has two photographs of the Space Shuttle Endeavor in the exhibit, as well as one of Willie Seaberry, the late proprietor of the legendary Bolivar County, Miss., juke joint Po’ Monkey’s.
“There’s black and white. There’s color. There’s print on boards. There’s printing on metal,” Meripol says of the exhibit. “I mean, there’s all kinds of media.”
The other photographers whose works are featured in the exhibit are: Michael Clemmer, Mac Jamieson, Sylvia Martin, Meg McKinney, Jean Allsopp, Mary Margaret Chambliss, Van Chaplin, Tina Cornett, Colleen Duffley, Melissa Springer, Joe De Sciose, Jennifer Davick, Marygray Hunter and Kim McRae.
The Southern Living Photographers Exhibit is on display through the first week of March in the gallery at Aldridge Gardens, 3530 Lorna Road in Hoover, Ala. Gallery hours are 9 a.m. to 4 p.m. Mondays through Fridays. Visitors are encouraged to call 205-739-6558 before visiting the gallery to make sure it is not closed for a private event. For more information, go here.
The basic premise sounds like a “Saturday Night Live” skit. A rapper from a yesteryear superstar group finally releases his long-awaited debut album, except now he’s a flautist and the album’s all meditative instrumentals with zero vocals. It’s just as silly if you substitute “rocker” or “country singer” for “rapper.”
Somehow, André 3000, who rose to fame with “Hey Ya!” hitmakers OutKast, pulled it off. His 2024 solo LP “New Blue Sun” is nominated for Grammys not just in a niche category, Best Alternative Jazz Album, but also a biggie, Album of the Year. Whether André 3000, an Atlanta native, wins zero, one or two Grammys this Sunday, the album’s already received Pitchfork’s imprimatur. And soundtracked many a yoga sesh.
André 3000 is shown in 2015. (Photo by Jordan Strauss/Invision/AP, File)Jordan Strauss/Invision/AP
As weird and wonderful as André 3000’s album is, Herbie Mann’s 1971 LP “Push Push” says, “Hold my flute.” The cover art features a waist-up photo of a shirtless, middle-aged Mann with a flute slung over his right shoulder like a gun. But like “New Blue Sun,” the music on “Push Push,” also all instrumentals, is better than one might expect. Partly because Mann’s album features Southern rock’s greatest guitarist, Duane Allman of the Allman Brothers Band.
“Push Push” opens with a jazz-funk title track. Following Mann’s extended flute salvo, Allman plays his first guitar solo on the album 3:18 into this 10-minute track. Playing off R&B drum great Bernard Purdie’s groove, Allman’s solo starts slow and over the next two minutes builds into bluesy fire.
After more butterfly-like lines by Mann, Allman’s lead playing returns to the conversation around 6:22. This time he’s playing slide, the guitar technique he’s most associated with, from Allman Brothers cuts like “Dreams.” Fluid improvision was Duane’s wheelhouse. The Allman Brothers were wizards of jazz-inspired jamming, as heard on “At Fillmore East,” the now-classic live album which released about a week after “Push Push” in July ‘71.
Lithe and greasy Allman solos can be heard on tracks like “Spirit in the Dark” and “Man’s Hope.” There’s some lovely subtle slide at the end of “Never Say Goodbye.” Allman opens up more on a cover of Ray Charles R&B raver “What’d I Say.” Allman’s playing on album closer “Funky Nassau” evokes trippy explorations from Allman Brothers songs like “In Memory of Elizabeth Reed.”
Tragically, Duane Allman died in a motorcycle accident just three months after “Push Push” and “At Fillmore East” were released. He was just 24. In an interview with rock magazine Creem published posthumously in 1973, writer Laurel Dann asked him if he was pleased with the sessions for Mann’s album.
“Hell, yeah,” Allman replied. “Herbie Mann’s a really talented guy. I felt real good when he asked me to play with him. These sessions are goin’ good because everybody’s free. Any session is as creative as you make it. You’ve got to feel free to introduce your own ideas.”
Allman told Creem his early career experience as a studio musician prepared him for recording with Mann. “Like, when I worked on the Wilson Pickett sessions in Muscle Shoals,” Allman said, “I suggested he cut [The Beatles song] ‘Hey Jude.’ It ended up that he used my arrangement, and it worked out just fine. Everybody was happy.”
While growing his band’s career, Allman continued to play on other artist’s records. Most famously, he was a vital contributor to Eric Clapton’s Derek & The Dominoes album “Layla.” Besides those early Shoals sessions and Mann’s album, Allman’s guitar-elevated tracks like Aretha Franklin’s version of The Band tune “The Weight” and Delany & Bonnie cut “Living On The Open Road.”
According to music website Something Else, Allman and Mann connected through soul-rock husband and wife duo Delaney and Bonnie Bramlett. From his apartment one night, Mann heard Allman jamming with Delaney & Bonnie nearby. He brought his flute, went over and joined the jam. Mann and the Allman Brothers were both on Atlantic Records imprints, so a studio session made sense business-wise as well as artistically.
Arif Martin, whose resume also boasts work with artists from Aretha to Queen, produced the “Push Push” album. Besides Allman and drummers Purdie and Al Jackson, Jr., ace musicians on the record include bassist “Duck” Dunn, guitarist Cornell Dupree, pianist Richard Tee, among others.
Mann’s “Push Push” album was a mild commercial success, reaching about midway on the Billboard 200 albums chart while hitting 21 on the R&B albums chart. The Brooklyn native later hit paydirt with dance-chart topping 1974 single “Hi-Jack.” He died in 2003 at age 73 at his New Mexico home. In more than 50 years since “Push Push” released, the album has become a cult classic among crate-digging vinyl collectors.
Flute has been memorably featured on many mainstream hits. For example: Mama & the Papas’ folk-pop hit “California Dreamin’”; Marshall Tucker Band’s Southern rock anthem “Can’t You See”; Eric Burdon and War’s surreal funk “Spill the Wine”; and Men at Work’s ‘80s fave “Down Under.”
Jethro Tull’s classic-rock sound is distinguished by singer Ian Anderson’s flute playing, as heard on songs like “Locomotive Breath.” More recently, rappers like Lizzo and Future incorporated flute into their tracks. Now with his Grammy-nominated album, André 3000 is giving the instrument a spotlight once again.
He’s not from around here. Isn’t really into sports and has never watched a college football game.
But you know his face.
And you certainly know his voice, at least through two words that’ll forever connect him to Alabama football pop culture.
HIGH TIDE!
HIGH TIDE, GUYS! HIGH TIDE!
Yes, he’s that guy.
And the British actor is quite amused to learn his brief appearance in an Allstate commercial has become something of a cult classic on this side of the Atlantic.
Speaking with AL.com this week via Zoom, Kane had a good laugh discussing his fame over here while recalling some of the details behind the filming. It’s funny because the actor who delivered the now-famous line didn’t exactly get the joke in the context of the bit.
It’s a classic goof where the hat-wearing Crimson Tide fan flubs the brand’s foundational vocabulary as the team bus arrives for a game is a simple yet unforgettable hook.
The volume of its usage made sure of that.
So, if there’s a TV ad equivalent of a musical earworm, High Tide is it.
Kane did some research before filming, but it’s fair to say he’s never uttered any variation of Roll/High Tide before this gig. His understanding of American football is rather basic.
“Someone blows the whistle,” he said with a smile, “everyone falls over.”
He’s an actor who appeared in small roles on British television — most notably on the BBC show “Ghosts” that has an American adaptation airing on CBS.
In fact, the commercial was filmed quite a distance from Bryant-Denny Stadium. Just in the other direction.
Before filming in Vancouver, Canada, Kane said his audition process began with a video submitted a self-filmed video. He was then called into an in-person try-out in London with his female co-star in the commercial.
They aced it, and last August, they flew to British Columbia for filming.
“I got a manicure for it,” Kane said. “One day in Vancouver by myself, had a manicure. Then, the next day, shot this about 47 times with a lovely bunch of supporting artists.”
What you can’t see in the ad was the giant canopy Kane remembers serving as a “building-sized umbrella” to protect the shoot from a huge rain storm that hit the set during filming.
Nailing the line was key, and a distinctly British accent wasn’t in the script. He’s just supposed to be a professor, as the frumpy dress shirt and blazer would indicate.
“I didn’t want my accent to confuse people, he said. “Because you only have two words.”
Kane said he tried to channel a fellow Brit, John Oliver for how it should sound.
“So I go, high Tide,” Kane said. “I thought people would hear that and go, oh, he sounds like a bit like John Oliver.”
He also remembers crew members getting autographs from the actors who played the parts of Alabama football players exiting the team bus.
Were they famous players in real life? Kane has no idea.
The commercial’s star didn’t get any keepsakes from his day spent as a confused Alabama football fan.
The script-A hat he awkwardly wore is lost to history, but the lesson learned returned with the actor to London. Among his many jobs, Kane had a role in an immersive experience at a park called Phantom Peak where he leads teams in camp games.
The team’s cheer?
“Roll Tide,” he said with a grin.
“And no one else knew what the heck I was doing,” Kane said.
It’s unclear if the Allstate ad will remain in heavy rotation now that the college football season is over. Kane said he hasn’t heard of any talk about a sequel to seize on the popularity of High Tide.
In terms of the fame, Kane said he’s not been recognized in public for his role in the Allstate ad, mostly because it doesn’t air over there. He has, however, heard from every friend he has in the United States who couldn’t miss the commercial if they tried.
The spot was certainly everywhere during the football season. It was a staple on big-game broadcasts and gained internet fame along the way. The 15-second version of the ad has north of 20 million views on YouTube.
Alabama players visiting Busch Gardens in Tampa this past December were greeted by a fellow guest who shouted “High Tide,” as captured in an AL.com video.
Work is continuing on Alabaster’s new District 31 development, a sprawling $242 million multi-use project that could see its first tenants open by Black Friday.
It’s the latest in a series of large scale retail projects in the Shelby County city, which has seen rapid residential and commercial growth over the last 25 years.
Friday brings an anniversary no one will want to celebrate: It’ll be three years since Mobile County shut down its biggest public park for a makeover.
There is some happier news: Officials said this week that they’re very close to announcing a grand opening date for Chickasabogue Park – and they expect that date to fall somewhere in late February.
After three years and a ballpark of $9 million spent, the work won’t be finished. But visitors will once again be able to enjoy a sprawling facility frequently described as the crown jewel of the county’s park system.
Chickasabogue lies just to the north of Mobile, nestled in between Prichard, Chickasaw and Saraland. Southbound travelers on I-65 can see its beach, which was among its most popular features prior to Jan. 31, 2022. But the beach, which has had a weedy, neglected look during the closure, is only a fraction of Chickasabogue’s attraction. Among other things, the 1,100-acre park offered extensive disc golf facilities, trails for hikers and mountain bikers, RV and primitive camping, athletic fields, a boat launch and canoe rentals on its namesake Chickasaw Creek.
A new mountain biking trail in Chickasabogue Park in Eight Mile, Ala. The trails were constructed in consultation with biking groups and a mountain biking trail engineer. (Photo by Margaret Kates | [email protected])Margaret Kates
Most of that will be back soon, according to Mobile County’s Director of Environmental Services, Tina Sanchez, and Deputy Director of Environmental Services Matthew Jones. The two said Monday that they think the county will announce an opening date in the very near future, and that date will be around a month away.
“The good news is, we’re getting close. The contractors are working on a punch list,” said Jones.
“We’re planning an opening event and hoping for good weather,” said Sanchez.
At that point, officials said the work done so far included a major infrastructure overhaul of water, sewer and power, among other things. The work yet to come included demolition of the entry area and construction of new entrance facilities, plus construction of restrooms, a splash pad and a large pavilion.
The county said that the Chickasabogue renovation, like other projects, was “experiencing delays related to supply chain, materials, labor and increased construction costs.” District 1 Commissioner Merceria Ludgood said it was “frustrating for everyone that this and other major Mobile County construction and renovation projects are slower than anticipated and we sincerely appreciate everyone’s patience as we work to build this park and a Mobile County Parks System of which we can all be proud.”
But it hasn’t helped polish that centerpiece. After the County Commission approved that big contract, another year passed. In April 2024, the county held a media preview showing off what had been completed so far. New features included a splash pad; an improved playground; two multi-sport courts suitable for basketball, tennis or pickleball; a new pavilion area; and a family friendly hiking trail connecting to the pre-existing hiking and biking trails, which got upgrades of their own.
At the time, the expectation was that the park would re-open, at least partially, by late summer or early fall 2024. That didn’t happen. Sanchez and Jones said that hope was thwarted by some familiar bugaboos such as supply chain issues, and by the fact that the park’s entrance area was still a construction zone.
The new basketball court at Chickasabogue Park in Eight Mile, Ala. The court is painted for basketball, tennis and pickleball games. (Photo by Margaret Kates | [email protected])Margaret Kates
Jones said that once the park reopens, shortly, work will continue in some areas. But that work won’t require the park as a whole to be closed.
After three years and $9 million, there’s more to come. The RV area won’t be complete when the park reopens, which probably means the park won’t be open for primitive camping either for a while. But the money has been allocated for all that work, so it’s just a matter of finishing up.
The biggest outstanding piece of work is on the waterfront. The beach area will open with the rest of the park. But at some point it’ll have to close again for an overhaul of its own. That will bring in a new playground, among other upgraded amenities. It’ll also relocate the boat ramp and give it better parking.
The contract hasn’t gone to bid yet, so it’s hard to pin down the timetable and cost. It’s also unknown how long the beach will be open before it closes down. It’ll remain open until a contract is awarded, Sanchez and Jones said.
The immediate goal is to finally reopen the gates. And that’s close.
“I’m looking forward to having people back and seeing them enjoy it,” said Sanchez.
At its January meetings, Birmingham’s Design Review Committee approved three demolition projects across the city, as well as signage, residential projects, and new development and redevelopment projects including in Woodlawn.
The R&J Mechanical Avondale campus demolition project sparked a detailed discussion. The building is a contributing historic structure suffering from neglect and the plans are to raze the structure down to a concrete slab. The owners cited safety concerns as the reason for the demolition.
Committee members questioned those safety claims because similar arguments have been used to justify the deliberate neglect of buildings, they said. Ultimately, the committee approved the demolition, noting the building’s lack of visibility, its location away from the street, and the diminishing historical value due to years of owner neglect.
Projects located in Five Points South and Woodlawn involve former convenience stores and gas stations that have been vacant for years and are deemed nuisance properties. Both demolitions were approved without issue.
The Five Points South site, previously home to Zula’s, will be replaced with an office building similar to neighboring structures. Construction is anticipated to begin later this summer once hurdles are cleared with the Alabama Department of Transportation, the Birmingham Department of Transportation and the Alabama Department of Environmental Management.
In Woodlawn, the former convenience store site will be incorporated into the redevelopment of the entire block. Woodlawn United is partnering with REV Birmingham to redevelop the block in a phased implementation beginning with this project. They are expecting 18-24 months for development. The other two properties on the site will feature a restaurant and low-density housing.
Signage and New Developments
Some neighborhoods will see businesses with new signage. Downtown, a window sign will be installed along Second Avenue North for the new restaurant, Rêve, opening in the Pizitz building. Tech Row at the John Hand Building will be marked with a blade sign along 20th Street.
The American Cancer Society’s Joe Lee Griffin Hope Lodge and a new coffee shop in Courtland Vista will also feature new signage in Five Points South. In Lakeview, UAB-St. Vincent’s campus will showcase new signage as part of its rebranding following the UAB acquisition.
The committee approved a Master Signage Plan for the new Lakeview Marina development and Midtown’s Residence Inn near UAB will update its signage to align with its parent company’s rebranding.
The city of Birmingham Design Review Committee approved Urban Supply, which developers hope might become part of a new entertainment district.City of Birmingham Design Review Committee
Urban Supply, a new development on 13th Street South, returned to the committee for an update on both the single tenant and the overall campus. Committee members reviewed the project in three parts, as the tenant architect and the subdistrict developer opted to present it as a unified proposal.
The committee instructed staff to work with the developer to ensure the necessary information is recorded in the records. Orchestra Partners, the developer, plans to eventually apply for entertainment district designation once the development is complete. Any additional signage for the subdistrict will require a Master Signage Plan and must return to the committee for approval.
The Lakeview Regions Bank branch exterior renovation project was carried over to a future meeting due to concerns over the entry’s architectural elements, pedestrian accessibility, and landscaping. The project was initially presented at the January 8 meeting but did not return to the agenda on January 22.
Residential
The committee denied a request to overturn the neighborhood as well as provide “forgiveness” for a residential renovation project in Norwood. The neighborhood committee denied the project due to existing neighborhood restrictions on vinyl siding and replicating historic window designs. The contractor requested forgiveness for the denied windows that he said were “accidentally” installed before the completion of the permitting process.
The Design Review Committee needs a 2/3 majority vote to overturn a neighborhood ruling. While applicants asking for forgiveness or hardship allowances have not been a frequent issue, committee members acknowledged that it is becoming a problem in Norwood.
On the other hand, the DRC approved residential projects approved by neighborhood committees in Forest Park and Highland Park.
January Committee Decisions by Neighborhood
The DRC meets twice a month, and the decisions it makes regarding structures in historic districts are binding, although the committee will consider applicants who want to alter plans. On January 8 and 22, 2025, the committee considered the following:
Avondale / 41st Street
Demolition – R&J Mechanical, 3150 First Avenue South – The committee approved the demolition on the basis that the structure is 1) not visible from the street, 2) located in the interior of the campus and surrounded by non-contributing structures, and 3) no longer historically valuable due to the neglect and the materials of the surrounding structures.
Downtown
Signage – Pizitz, 1821 Second Avenue North – The committee approved as presented.
Signage – John Hand Building, 9 20th Street North – The committee approved as presented.
Five Points South
Zula’s in Five Points South, slated for demolition, will soon become the site of an office building.City of Birmingham Design Review Committee
Demolition – Zula’s Restaurant, 2125 Highland Avenue South – The committee approved the demolition.
Signage – Cortland Vista, 2173 Highland Avenue South – The committee approved as presented with the conditions that the applicant resubmit the plans to staff with the appropriate heights and the new depth dimension.
Signage – American Cancer Society, 1104 Ireland Way – The committee approved as presented.
Forest Park
Residential – The committee approved as presented.
Highland Park
Residential – The committee approved as presented with the neighborhood conditions.
Lakeview
Exterior Renovation – Regions Bank, 3121 Third Avenue South – The committee thanked Regions Bank for investing in this area and carried over the item until the next meeting.
Signage – UAB/Ascension, 810 St Vincent’s Drive – The committee approved as presented, with one recusal.
Signage – Lakeview Marina, 512 32nd Street South – The committee approved as presented with one recusal and the condition to return with plans for the pole sign.
Midtown
Exterior Renovation – Urban Supply District, 114 13th Street South – The committee approved the Fairway Social project and the subdistrict signage and landscaping as presented.
Signage – Residence Inn, 821 20th Street South – The committee approved as presented.
Norwood
Residential – The committee denied the request.
Woodlawn
Demolition – Former Convenience Store, 5612 First Avenue South – The committee approved the demolition.
Birmingham Mayor Randall Woodfin did not whisper when it came to criticizing one of President Donald Trump’s signature campaign promises following his re-entry into the White House.
Woodfin’s critique of Trump’s pledge to dismantle diversity, equity, and inclusion (DEI) programs and other activities has garnered national attention.
Woodfin appeared on “CNN This Morning” last Thursday where he detailed his disapproval of the new administration’s policies.
“Americans are witnessing the ‘Alabamafication’ of federal government,” Woodfin told the anchor. “We’ve seen in Alabama, legislators create laws to get rid of DEI and the governor sign into law removing DEI from colleges and universities and other aspects throughout the state.”
While Woodfin’s comments made political news and social media waves around the country, some in Birmingham question whether the city will be penalized for the passion expressed by its mayor.
Birmingham activist Kamau Afrika, who is challenging Woodfin in the August mayoral race, compared Woodfin’s action to poking a grizzly bear.
“If I were mayor of any city dependent on regular federal funds for needed projects, I’d humble myself so as not to create a further ‘Dodge City’ or ‘Mad Max’ environment in my city,” Afrika said. “Selling a book is one thing, but at the risk of safety is another.”
Afrika said the mayor should spend more effort focusing on the city’s crime rate and securing more police officers. Afrika further noted that the city of Birmingham is a political island in a state that heavily supported Trump and votes solidly Republican in national elections.
Woodfin said the current climate has made the words diversity, equity, and inclusion bad words.
“There’s no such thing as going too far as it relates to being inclusive,” he said. “There’s no such thing as going too far as it relates to equity.”
Woodfin’s comments created a firestorm in both mainstream, right wing and social media, unleashing a torrent of criticism from Trump supporters.
Woodfin was free in offering his perspective on the national scene, but his spokesman, Rick Journey, declined to comment to AL.com Tuesday when asked about any ramifications from the mayor’s criticisms.
Afrika also warned that some of Birmingham’s progressive policies under Woodfin contradict the national narrative.
As mayor Afrika said he would seek to work with the new administration where consensus could be reached. Failure to do so could have consequences, he said.
“Any mayor in a sanctuary and LGBQIA city in a red sea state must be wise, bridled tongue, non-egotistical, a good listener and non-flamboyant,” Afrika said. “When one’s head is in the lion’s mouth, forget the bite.”
Birmingham did not officially designate itself as a ‘sanctuary city,’ but Woodfin has described it as a ‘welcoming city.’
State Rep. Juandalynn Givan, who is also a candidate for mayor in the August 26 election, said she forecasts challenges for Birmingham at the federal level, but more so because of the city’s shrinking size and status.
“The realization is that Birmingham is going to have more of a problem because Birmingham is no longer the largest city in the state of Alabama,” Givan said. “Right now, most of this money that was going to come to Bham is going to go to Huntsville.”
Regarding a Republican administration in Washington, Givan touted her ability to work across the political aisle in Montgomery as a legislator to sponsor and pass legislation.
“You can say people don’t like me, but check the record,” she said. “I know how to figure out a balance with anybody in leadership whether they be Republican or Democrat.”
Givan dismissed Woodfin’s high-profile appearance and political criticism as an attention-grabbing sideshow.
“It’s the optics of what this mayor wants to show you,” she said.
Woodfin’s comments are risky in the current political climate, said Natalie Davis, professor emerita of political science at the former Birmingham-Southern College. How much of Trump’s ire he might attract is yet to be determined, she said.
“It just depends upon how many other people are ahead of Woodfin in criticizing the reelected president,” Davis said. “Does it hurt the city of Birmingham in terms of money coming in? It’s hard to say until we hear some nasty things coming out of the administration.”
With Birmingham being heavily Democratic, Davis discounted any local political damage from his comments as Woodfin seeks a third term as mayor.
When it comes to offending the president, Davis quipped that Republicans walk an even tighter rope than Democrats, because Trump’s antipathy toward Democratic-run governments is already clear.
“I don’t think the Democrats have as much to worry about in terms of alienating the president as much as Republicans do,” Davis said. “He hates them, so it doesn’t make any difference.”
This one comes against the LSU Tigers, a team that currently sits 1-5 in Southeastern Conference play, but still ranks in the top 75 of both KenPom and the NCAA’s NET rankings.
LSU is coming off a seven-point loss at No. 4 Alabama, a game in which the Bayou Bengals were within a possession of the Crimson Tide for most of the night.
Here’s a closer look at LSU ahead of Wednesday night’s matchup:
The season so far
LSU comes into Wednesday’s game 12-7 (1-5 SEC) and having lost each of its last two games.
The Tigers do not have a Quad I win this season, but their two best wins came at home against Arkansas on Jan. 14 and a neutral site win over UCF on Nov. 24. LSU is currently 0-6 in Quad I games, but 4-1 in Quad II games.
Despite not having a Quad I win, LSU still ranks No. 67 in the NET, meaning that Wednesday will be a Quad I opportunity for Auburn, since the game is on the road. Auburn currently has 11 Quad I wins, more than any other team in the country.
LSU’s athleticism is arguably its most recognizable trait and something that Bruce Pearl pointed out when speaking with reporters Tuesday.
“Bouncy, long, young. They like to play fast,” Pearl said. “They do a good job in transition.”
Players to watch
LSU has had issues creating offense for much of SEC play, but most of its production comes from its backcourt of UT-Martin transfer Jordan Sears and Kansas State transfer Cam Carter.
Carter leads the team in scoring (17.6 points per game) and is shooting 39.2% from 3-point range. Sears is less efficient, but still averages 14.2 points per game.
As a team, LSU shoots just 30.8% from 3, but 57.3% from 2-point range, ranking 22nd in the country, per KenPom. The Tigers also score 20% of their points from the free throw line, an effort led by Sears who shoots 87.8% from the line on 82 attempts this season.
LSU freshman guard Vyctorius Miller is expected to return against Auburn, according to Tuesday’s SEC availability report, giving the Tigers another boost in the backcourt. He’s averaging 10.1 points in 16 games while shooting 63.8% from 2-point range.
He missed LSU’s previous two games due to injury, but had double-figures against high-major competition such as Kansas State, Pittsburgh, UCF and Florida State.
In the frontcourt, LSU is lacking consistent scoring after losing Jalen Reed for the season, but Corey Chest and Daimion Collins are both key contributors with their length and athleticism.
Chest had 12 points and 18 rebounds against Alabama and ranks ninth in the SEC in rebounding, averaging 7.5 per game. Collins is LSU’s top rim protector, ranking 52nd in the country in block percentage (8%) and helping LSU to the No. 13 ranking in 2-point defense.
Keys to the game
Control the glass
Offensive rebounds kept LSU in the game against Alabama, and Auburn has had problems at times this season on the offensive glass.
That will be important against a team like LSU, who is relatively inefficient from the field, but can create offense through second chance opportunities, particularly at the rim.
Having Johni Broome back in the lineup will give Auburn a boost in that aspect of the game, but it will take more than just him to take control of the glass and not let LSU keep itself in the game with second chance points.
Make LSU’s guards uncomfortable
As mentioned earlier, LSU’s offensive success begins and ends with its backcourt. However, LSU is in the bottom half of college basketball when it comes to ball security.
Auburn’s defense isn’t necessarily known for forcing turnovers and creating a lot of fastbreak points, but those opportunities will likely present themselves against LSU.
The key is to make that an issue early for the Bayou Bengals, not letting their talented guards play at the pace they want to. Denver Jones will be a player to watch for Auburn, likely getting the assignment of Sears, a guard who can score at all three levels and someone Pearl called “a really tough cover.”
Use your size
Auburn will have a size advantage across the board against LSU, something the orange and blue Tigers can use to their advantage against a solid defense. It’s also an advantage defensively, giving Auburn good length to guard LSU’s smaller, but talented backcourt.
Auburn’s guards are bigger than LSU’s, and while LSU’s front line is long and athletic, it’s not as strong and heavy as Auburn’s with Broome, Dylan Cardwell and Chaney Johnson.
Leaning into that strength advantage will be important on the glass and when going to the basket against a good shot blocking team.
