Baseball used to be just the National Pastime, but now, America’s greatest game belongs to the world. Official Opening Day rosters haven’t been decided upon yet, but there’s a good chance the percentage of players born outside the United States could top 30% for the first time in history, further cementing baseball as the most diverse of the three major American sports (if Canadian and U.S. players are considered “domestic”, baseball’s international participation is also greater than the NHL’s).
Comparison of International Participation Among Major Sports
Note: For NHL, domestic includes the U.S. and Canada. Source: baseball-reference.com (2011); profootball-reference.com (2011-12); NHL.com (2010-11); rpiratings.com (NBA: 2011-12)
For much of its first 100 years, baseball was mostly composed of American born players. However, when Jackie Robinson broke the color barrier in 1947, that started to change. Soon after Robinson’s debut, an increasing number of international players, particularly those hailing from Cuba, Mexico, and Puerto Rico, began filtering into the league. As a result, the percentage of foreign born players increased from 3.6% in 1947 to 9.0% in 1961, the first year of expansion.
Domestic vs. International Participation in MLB, 1901 to 2011
Note: Data is not continuous, but based on five-year segments. Source: Baseball-reference.com
With more teams came the need for a deeper talent pool, so over the next decade, international participation continued to trend up, reaching 12.5% by 1976, even though the number of Cuban born players was significantly curtailed by Fidel Castro’s revolution. Filling the void left by the absence of Cuban players was an influx of talent from Venezuela and the Dominican Republic as well as even greater participation from Mexico and Puerto Rico.
For the next 10 years, the number of international players remained stagnant. Perhaps not coincidentally, that was also the first decade of free agency. With a ready of supply of proven major league talent now regularly available, perhaps teams became less inclined to spend on international scouting? Whatever the reason, the number of foreign born players began to increase again in the mid-1980s, right around the time free agent salaries began to skyrocket. Since that point, the trend toward greater diversity has continued unabated.
Percentage of International Players, By Country
Note: Data is not continuous, but based on five-year segments. Percentages are based on international segment only. Source: Baseball-reference.com
In 2010, the international presence in the major leagues peaked at 28.2% (the all-time high based on Opening Day rosters was 29.2% in 2005). Considering the increasing number of high profile international free agent signings and gradual development of foreign born prospects, both of those rates could be eclipsed in 2012, but for how much longer will the trend continue?
One of the key components of baseball’s new CBA is a provision that effectively creates a salary cap for amateur international free agent signings. Although not as extreme as folding foreign born amateurs into the Rule IV draft, this new system could have similar effects. In particular, there has been concern expressed about whether budgetary restrictions placed on international signings will discourage teams from investing overseas (i.e., why fund an academy if the ability to sign the prospects is limited?). Worth noting in relation to this concern is that since Puerto Rican players were added to the draft in 1990, the number of major leaguers hailing from the island has declined from 3.4% of all players and 24.3% of international players to 2.2% and 8%, respectively, in 2011. Needless to say, if a similar effect results from the new CBA, the percentage of foreign born players in the majors could reverse course.
Not only has there been a significant increase in the number of international players, but baseball has also experienced demographic shifts within the domestic population. For the first 30 years of the modern major leagues, the Rust Belt contributed the highest percentage of players, with Pennsylvania, Ohio, Illinois, and New York leading the way. By the 1930s, however, warmer weather states like California and Texas, which not coincidentally hosted some of the best minor leagues circuits in the country, began to take over.
Domestic Participation in MLB, 1901-2011
Note: Data is not continuous, but based on five-year segments. Source: Baseball-reference.com
Baseball’s state demographics remained relatively stable from the 1930s to the 1960s, at which point the number of players hailing from California and abroad began to take its toll on the rest of the country. More recently, however, the Golden State’s share of the player population has started to abate, dropping from nearly 25% in the mid-1980s to the current rate of 16.1%. This decline allowed the number of foreign born players to surpass the individual rates of every state for the first time in 1996.
Over the past five years, there has been an uptick in the percentage of players born in Texas and Florida, which seems like a trend that will continue. On the other hand, every other state now falls below the 3% level, meaning nearly one in two American born players is a native son of California, Texas, or Florida. Of course, it should be noted that those states have three of the four highest populations, but even on a per capita basis, they rank among the leaders.
Per CapitaDomestic Participation in MLB, Top- and Bottom-10, 2011
Source: Baseball-reference.com and 2010 U.S. Census data
Despite the increased concentration among domestic players, baseball’s international presence has fueled its unprecedented diversity. This melting pot has been a recipe for success, not only on the field, but in the board room as well. So, the next time someone tries to argue that baseball is no longer the National Pastime, just smile and nod your head. They’re right. Baseball is now the International Pastime.
From the Pat Jordan archives here’s “Bad,” a piece he wrote on Rorion Gracie. It originally appeared in the September, 1989 issue of Playboy.
Rorion Gracie is willing to fight to the death to prove he’s the toughest man in the west.
The toughest man in the United States holds no official titles and has had only one fight in years. He lives with his pregnant wife and four children, three small sons and a baby daughter, in a modest ranch house on a tidy little street of similar homes in Torrance, California. He is 37, tall and skinny at 6’2″, 165 pounds, and he does not look very tough. He looks mor like Tom Selleck than like Mr. T. He is dark and handsome like Selleck, with wavy black hair, a trim mustache and a charming, self-deprecating smile. He spends more time in the kitchen than his wife does and wears a woman’s apron. He has an idiosyncratic high-pitched laugh. He picks up a yellowed newspaper with an account of one of his father’s fights, adjusts his bifocals and reads. “‘The most savage, stupid bloody desires of the audience were satisfied,'” he says. Then he laughs. “Heh-heh!”
“I never spank my sons,” Rorion says, “because my father never spanked me.” He spends as much time as possible with his sons. He drives them to their soccer practice in his station wagon. He spends the day with them at the beach.
Rorion once fought a kick-boxing champion and made him beg for mercy in less then three minutes. Before the fight, the kick boxer had stood in his corner of the ring and flexed his muscular arms. He cut the air with savage kicks. The crowd oohed and aahed. Rorion, skinny and stoop-shouldered, stood in his corner and waited. Two minutes and 15 seconds after the bell sounded, he was straddling the kick boxer on the mat in such a way that, if the kick boxer had not surrendered, Rorion would have “choked him out.”
Rorion has made a standing offer to fight anyone in the United States, winner take all, for $100,000. So far he has had no takers – for one simple reason. Rorion’s fights are fights to the finish with no rules. His fights are merely street brawls in a ring bounded by ropes. Kicking, punching, head butting, elbow and knee hits are all fair play in a Gracie fight. Only the accouterments of a street brawl – broken bottles, ash cans, bricks – are missing. The only purpose of referee serves in a Gracie fight is to acknowledge his opponent’s surrender when he taps the mat with his hand or passes out from a choke hold.
Rorion (pronounced Horion, in the Portuguese way) is a master of a kind of no-holds-barred jujitsu practiced by his family in Brazil for 60 years. Gracie jujitsu is a bouillabaisse of the other martial arts: judo (throws), karate (kicks, punches), aikido (twists), boxing (punches) and wrestling (grappling, holds). Its primary purpose is defensive; i.e., to render attackers immobile. Rorion believes that since most real fights end up on the ground 90 percent of the time, Gracie jujitsu is the most devastating of all martial arts, because it relies on a series of intricate wrestling-like moves that are most effective when the combatants are on the ground. All a jujitsu master must do is avoid his attacker’s kicks, punches and stabs until he can throw him to the ground and then apply either a choke hold to render him unconscious or a hold in which he can break his attacker’s arm, leg, back or neck. A jujitsu fight is like a chess match, in that the winner is usually the one who can think the most moves ahead of his opponent.
Jujitsu originated in India 2000 years ago, travelled to Japan (via China) three centuries ago and was introduced to Brazil through Rorion’s family 60 years ago, when a touring Japanese master taught Rorion’s uncle some basic moves. His uncle taught Rorion’s father and the two men grew enamoured of it, as only two small men with monstrous egos could. They took Japanese jujitsu a step further than their teachers by introducing techniques that required less strength than Japanese style and would make their family the most feared and famous in all of Brazil. Rorion’s father, Helio, once fought an opponent in the ring before 20,000 screaming spectators for three hours and 40 minutes, nonstop, before the police finally separated the bloodied combatants. In another ring fight, he so savaged his opponent with kicks to his kidney that many attributed his subsequent death to the fight. When a rival martial-arts teacher once accused the Gracie family of fixing its fights, Helio, surrounded by a taunting crowd, confronted him on the street. He had broken the man’s arms and ribs before the police arrested him. He was sentenced to two and a half years in jail for that beating, but the president of Brazil, a fan of the Gracie family, pardoned him within a week.
Rorion laughs and says, “Heh-heh! My dad kicked his butt.” He is sitting in the den of his tidy little house, sifting through the many newspaper and magazine articles written about his family, while his sons wrestle, jujitsu style, on the floor.
Rorion holds up a photograph of his father in a kimono taken when Helio was 34. He is small, slim man at 5’8″, 135 pounds, with slicked-back hair, an aquiline nose and a pencil-thin mustache. He is hip-tossing his older brother, Carlos, in an open filed. “That was the year my dad read a Reader’s Digest article that said a boxer beat a jujitsu guy,” Rorion says. “Heh-heh! My father offered to fight five boxers in one night. At various times, he offered to fight Primo Carnera, Ezzard Charles and Joe Louis. He put up sixteen thousand dollars and told Louis he’d fight with Louis having no gloves, just taped hands. No one took up his challenge.” Rorion shrugs. “Louis was on vacation and here was this little bee buzzing in his ear and giving him no peace. Heh-heh!”
Helio reigned as the self-proclaimed toughest man in the occidental world for 25 years. He fought 14 fights in the ring and lost only two of them, one to Japanese master Kimura and the other to a much younger man – in fact, his protege – when Helio, at 42, was out of shape. Helio is 75 now, the patriarch of a family of nine children, including seven sons, and 18 grandchildren. Rorion has a photograph of his father at 73, still fit, gaunt-faced, with his aquiline nose and menacing pale-blue eyes. He is posing in his kimono with three of his sons, Rorion, Relson and Rickson, in their kimonos. Father and sons are standing identically – legs spread, arms crossed at their chests, eyes glaring at the camera – underneath a seal of the Gracie Jujitsu Academy, which Carlos and Helio founded in Rio in the Twenties. Helio’s sons have all taught at the academy at one time or another. They are black belts. They are bigger than their father, darker, but the look in their eyes is only a parody of their father’s truly menacing look. Except for Rickson. He has his own look. Not menacing but devoid of emotion. The blankness of the supremely confident. Rickson is 29, as muscular as a bodybuilder, with a Marine’s crewcut, the high cheekbones of an Inca Indian and a square jaw. If Rorion is amiably handsome, Rickson is devastatingly handsome. Noted photographer Bruce Weber devoted 36 pages of his book on Rio (O Rio De Janeiro) to the Gracies and Rickson. Rickson as a baby being tossed high into the air by his father. Rorion and Relson as small boys on the beach, Rorion hooking his leg behind his brother’s before throwing him to the sand. Rickson, in bikini shorts, on his back on a mat in a ring, his legs wrapped around the hips of a muscular black man, also in bikini shorts, who is trying to strangle him.
“Zulu,” says Rorion. “A street fighter. He was thirty pounds heavier than Rickson. He threw Rickson out of the ring four times in their fight.” Rorion gets up to put on a video tape of Rickson’s fight with Zulu for the title of the toughest man in the occidental world. A grainy image flickers on the screen. Zulu is sitting astride Rickson, on his back. He trying to gouge out Rickson’s eyes. Rickson keeps twisting his head left and right to avoid Zulu’s stabbing fingers while, at the same time, he is kicking his heels in the sides of Zulu’s back where his kidneys are. Rorion laughs and says, “Heh-heh! After the fight, Zulu was pissing blood for weeks.”
The two men, locked in combat, roll toward the edge of the ring. The crowd surges forward. Hands reach out and slap at the combatants. The referee kicks at the hands, trying to drive the crowd back, while he grabs the combatants’ legs and pulls them back to the center of the ring. A rain of crushed paper cups descends on the ring. The referee kicks the cups out of the ring like a soccer player.
“Wild people, huh?” says Rorion. “Brazil is a violent country. Watch here.” Rickson stops kicking Zulu’s kidneys, locks his legs around his hips and rolls him over so that now he is on top. He unleashes a barrage of bare-fisted punches to Zulu’s face. Zulu tries to block the blows with his hands.
Zulu manages to roll Rickson over now so that his is on top of him, close to the edge of the ring again. Before Zulu can set himself, Rickson twists Zulu’s body so that Zulu is lying on top of him, both men facing the overhead lights. Rickson gets Zulu in a choke hold and squeezes. Zulu’s eyes begin to roll back in his head.
Rorion, smiling, turns off the video and says, “I used to change Rickson’s diapers. Now he’s the best in the world. Heh-heh!” It amuses him that he is the toughest man in the United States and yet he is not even the toughest man in his own family. “Rickson has never been beaten,” he says. “No on will challenge him after Zulu. It’s been three years. The Gracie family is the only family in history that will fight anyone with no rules. The Gracies don’t believe in Mike Tyson. Rickson issued a public challenge to Mike Tyson, but he has not responded.”
All the while Rorion has been talking. His three sons have been grappling on the floor, like monkeys, in a silent parody of their father and uncle Rickson. Their names are Ryron, Rener and Ralek. Nearby is his daughter Segina. Rorion has two daughters by a previous marriage in Brazil, Riane, 12, and Rose. Rorion believes that the letter R has mystical powers. He also shuns common names, like Robert, because they carry their own associations. “An original name has only the aura you give to it,” he says. It is a belief, one of many, that Rorion inherited from his father, whom he worships almost as a god. (Rorion’s other siblings besides his brothers Relson, 36, and Rickson are brothers Rolker, 24, Royler, 23, Royce, 22, Robin, 15, and sisters Rherica, 20, and Ricci, 12.)
Rorion’s beliefs were fashioned out of Helio and Carlo’ devotion to jujitsu, not merely as a martial art but as the cornerstone for a way of living that encompasses every aspect of a man’s life, from morality and sex to diet. Rorion, for instance, eats only raw fruits and, occasionally, vegetables, and only in certain combinations as prescribed by his uncle Carlos, a nutritionist. His back yard is a greengrocer’s market of boxes of apples, watermelons, bananas, mangoes and papayas he has bought in bulk. A typical Gracie meal might include watermelon juice, sliced persimmons and a side of bananas, and the talk around the Gracie dinner table between Rorion and his wife invariably concerns such questions as whether apricots should be combined with mangoes at a meal. His sons have only a passing acquaintance with foods other than fruits. They have had chicken maybe three times in their lives, and once, at a friend’s birthday party, they were given lollipops, which they began smacking against the side of their heads because they didn’t know what they were.
If the Gracie family’s belief in the efficacy of fruits and the letter R seems nutty, if harmless, then their devotion to warrior values such as courage, honour and chivalry borders on the fanatical. Gracie men do fight at the drop of an insult, with predictably savage results. When Carlos and Helio returned home one night and found a robber in their house, they offered him the choice of fighting or going to jail. He chose to fight. In minutes, his screams woke the neighbourhood: “Jail! Jail! Jail!” When Uncle Carlos fought, he was not content merely to beat an opponent, he also wanted to teach him a lesson, or, as Uncle Carlos likes to say, “He’s gonna get to dreamland all right, but first he must walk through the garden of punishment.”
Rorion laughs and shakes his head. “Uncle Carlos was a bratty little kid. WHen he saw a Japanese guy carrying heavy loads of laundry, he liked to trip him. Heh-heh! He was very aggressive.” When Carlos found opponents scarce for his ring fights, he advertised for them in the newspaper under the headline that read, “IF YOU WANT A BROKEN ARM OR RIB, CONTACT CARLOS GRACIE AT THIS NUMBER.”
Rorion Gracie first visited the United States in 1969, when he was 17. He bummed around New York, L.A. and Hawaii for a year. He worked in a restaurant and on a construction site, where he slept. “I was always the first one on the job in the morning,” he says. When his finances got precarious, he panhandled on the street. After years of being protected in the Gracie bosom in Rio, he learned to live on his own. “I grew a lot,” he says. “Trouble only comes to test our reactions.”
When Rorion returned to Brazil at the end of 1970, he went to college, got a law degree, though he has never practiced law, got married, had two children and then got divorced. In 1979, he decided it was time to cut the Gracie umbilical cord and return to the States for good to establish Gracie Jujitsu in the States.
“I felt there were more opportunities in America to spread the work of the Gracie myth,” he says. “I felt that in Brazil, the Gracie family had reached the top and I didn’t want to stay there and live off of my father’s fame.”
The Gracie myth in Brazil began with George Gracie, a blue-eyed Scottish sailor who settled in Brazil in the early 1800’s. His descendants were bankers, diplomats, rubber-plantation barons and confidants of Brazilian emperors. A different kind of fame commenced with Carlos and Helio, whose fights were the stuff of legends. Helio was the first jujitsu master in the occidental world to defeat a Japanese master, Namiki, in 1932. He challenged any and all comers to fight in the ring with him, without rules, to the death. He fought a man to the death, only to have him surrender after four minutes. A newspaper story the following day said that the man had chosen not to die and dubbed him “The Dead Chicken.” Helio fought Fred Ebert for 14 rounds of ten minutes each, until the police climbed into the ring to separate the two combatants, who had broken noses, lost teeth, welts over their eyes and blood streaming down their faces. The fan rioted at the halting of the fight. When Helio challenged a famous Brazilian boxer known as The Drop of Fire to a fight to the death, more than 20,000 fans showed up at the stadium. Only The Drop of Fire never showed, and overnight, the press dubbed him The Drop of Fear. Once, Helio dived into the turbulent, shark-infested Atlantic Ocean to save a man from drowning and was given his nation’s Medal of Honour for his heroism.
Finally, in early 1951, Helio choked to unconsciousness Japan’s number-two master, Kato, in a fight in Brazil that earned him a shot at Japan’s premiere jujitsu master, the toughest man in all the world, Kimura. The fight took place in October of 1951 before thousands of Brazilian fans. kimura, 80 pounds heavier than Helio, agreed to the fight only if Helio, who had a reputation for never surrendering, would promise to tap the mat in surrender if his position seemed hopeless. “kimura was a gentleman,” say Rorion, “and he didn’t like to go to sleep at night dreaming of the sound of broken arms.” The fight lasted 13 minutes. Kimura got Helio in a choke hold and noticed blood coming out of Helio’s ear. “You all right?” Kimura said. “Yes,” Helio said. “Good,” Kimura said, and grabbed Helio’s head and began to crush it like an overripe melon. Carlos threw in the towel.
The next day, Kimura appeared at the Gracie academy to invite Helio to teach at the Imperial Academy of Japan. Even though Helio wasn’t scheduled to fight, Kimura could not guarantee his safety in Japan, where the fans often threaten to kill non-Japanese masters to maintain their monopoly of that martial art. Helio refused the offer. None of the current Japanese masters have dared venture to Rickson’s home turf of Rio.
“The Brazilian youth had no idols before my father,” says Rorion. “They felt there was nothing important known about Brazil. My father gave them hope. Something to believe in.”
Rorion was 27 when he decided to come to the States to spread the word of the Gracie myth. He felt that the seed of Gracie jujitsu would flourish in the fertile soil of America, where men are bigger and stronger than in Brazil. He felt that American men could become a kind of master race of jujitsu warriors. Furthermore, he felt that men, and their women, too, were tired of their world image as the wimps of feminism. As proof, he could point to the popularity of such American movie actors as Sylvester Stallone, Arnold Schwarzenegger and Chuck Norris, who personified in their movies the kind of macho warrior that bore the striking resemblance to the roles assumed by Gracie men in real life in Brazil. Only the Gracie men did not need bazookas and machine guns.
Rorion moved to Southern California in 1979 and began to spread the word of Gracie jujitsu while trying to support himself in a strange country. He took a job cleaning houses. He met a woman whose husband was a movie producer. “You should be in movies,” she told Rorion. Her husband took him to Central Casting and soon he was appearing as an extra in such TV series as Hart to Hart, Starsky and Hutch and Hotel. Rorion left the housecleaning business and set up a jujitsu mat in his garage, where he began to teach students. The youngest was the four-year-old son of a movie producer and the oldest, a 75-year-old retired Marine general. When a movie producer saw his fight against Ralph Alegria, the kick boxer, he hired him as a consultant for Lethal Weapon. Rorion choreographed the final fight scene between Mel Gibson and Gary Busey in that movie. Then he met Chuck Norris and began to teach him jujitsu for his movie Hero and the Terror.
While he waited for Gracie jujitsu to catch on in the States, Rorion busied himself with his movies, his students, demonstrations for law-enforcement agencies and colleges and an occasional challenge from a beach bully. He issued a $100,000 challenge, winner take all, to a fight to the death. Finally, a few months ago, a producer called to tell him about a documentary movie he was filming on the martial arts. A kick boxer in that movie, who claimed he was “the baddest dude in the world,” had put up $100,000, winner take all, to fight anyone. Rorion accepted the challenge immediately and then told the producer, “First you better tell him who he’s going to fight.”
Rorion laughs and says, “I sparred a few times with him before. I was very gentle with him. I took him to the mat a few times, showed him some nice choke holds and he tapped the mat. Heh-heh.”
The next day, the producer called back and said that the kick boxer would fight Rorion only under the following rules: Rorion had to put up the entire $100,000, the fight would consist of ten rounds of five minutes each and the two combatants could not stay on the mat for more than a minute at a time. Rorion laughed. “But that is not a street fight,” he said. The producer never called him back.
In the den, Rorion passes his time browsing through the many books, newspapers and magazines with stories about the Gracie family. He holds up pictures of his father fighting Kimura and studies them. “See here,” he says, “the choke.” He memorizes that choke hold and the many facts of Gracie history: the names of long-dead ancestors; the dates of famous fights; the nicknames of vanquished opponents; Dudu, The Elephant, The Drop of Fire, The Dead Chicken, Zulu. He glances at his young sons in kimonos, wrestling on the rug. They grapple, silently, trip one another, tap the mat, stand, begin again. He looks outside to the garage, where two men in kimonos stand in front of the closed door. One man opens it to reveal a spotless, empty room with a grey mat on the floor. There is a photograph of a gaunt, mean-eyed old man, his arms folded across his chest, underneath a seal that reads ACADEMIA GRACIE. The two men step inside onto the mat. They are barefooted. They face each other, plant their legs wide, like crabs, and begin to circle each other like ancient warriors. They circle and circle, looking for an opening on this peaceful day on this quiet street in Torrance.
This article appears with permission from the author.
Muscle, in all its meanings, is such a deeply American trope that it feels like part of our national narrative. We’ve made strength the flag of our exceptionalism and believe, however vainly, that our might will prevail in any test of wills against our foes. We’ve even found a way to monetize muscle, building an industrial complex of health clubs and home gyms and their hugely lucrative sideline: nutritional supplements. Thirty years ago, men stopped at a bar for a cold one after work; now those bars are Ballys and Crunches, and the person sweating beside you is as likely to be a woman as the guy who used to buy the second round. Most of them aren’t there to build contest-quality mass or prepare for strongman shows; they go in pursuit of fitness, which is strength by another name — muscle fit for stock traders and internet geeks.
But if you were born anytime after the release of Conan the Barbarian in 1982, it may shock you to learn that as late as the 1970s, Americans were repelled by the sight of brawn. “I’d go to the beach, and they’d give me the wolf whistle, guys on a blanket wanting to fight,” says Eddie Giuliani, the 1974 Mr. America (short division) and one of the early legends at Gold’s. “Nobody liked guys with the lumps back then. They thought we were all morons and fairies.” George Butler, codirector of Pumping Iron — the landmark documentary that made a rock star of Schwarzenegger and almost single-handedly changed America’s view of well-built men — says, “I always liked to walk behind Arnold in the street so I could check out people’s reactions as we passed. They’d point at him and sneer: ‘God, look at that fucking freak. What a clown.’”
Gold’s Gym didn’t blow that bias away the day it opened for business in 1965. But in less than a decade, it became the Athens of muscle, the cradle of a full-blown body culture and the place where the gods of iron inspired millions. Everything we have now, from moonshot-hitting shortstops to film stars busting out of their bandoliers, began in that no-frills bunker by the beach. Joe Gold, the ornery seaman who built the place and has since been largely forgotten, had a lot of timely help from other people, not least of them Butler, whose charismatic film spread the Gospel of Huge to a scrawny nation. None of that would have happened, though, without Gold’s vision. He made a space where titans congregated.
It was the fall of 1975, and I was having such a rough go of it that even my hair was depressed. Styled on David Bowie of Aladdin Sane vintage, it was long in back and purportedly spiked on top, but drooped like Three Dog Night in a two-day downpour. I stood 6-foot-1, weighed 150 pounds, and hadn’t been laid since Nixon’s reelection, making me, like George McGovern, a landslide loser. At the ripe age of 20, I had a mad crush on Ginger from Gilligan’s Island and organized my day around the 4 pm reruns. I had plenty of time to watch, having dropped out of college and been fired from a series of flathead jobs, including two at which I actually volunteered.
And so that January, I did what middle-class kids do when life gets bored of beating them senseless — ran, hat in hand, back to college. Though the State University at Stony Brook billed itself as the “Berkeley of the East,” it was fairer, I think, to call it the “McNeese State of the North,” a school whose students were mostly interested in cars and picking up overtime at Sears. To walk the length of my residence hall was to know both the joys of a fierce contact high and the canon of Gregg and Duane Allman.
With the exception of mine, the one door on the hall kept closed belonged to a tall blond kid with big muscles. Actually, big doesn’t begin to give a sense of the guy. The first time I saw Mark, he was leaving the john, wearing a towel so small it gaped at the hip and thigh. He had cannonball shoulders that looked carved from brass — burnished arcs at the top of his arms that flowed into half-moon biceps. His chest was a slab of T-squared boxes, beneath which knelt columns of raised abdominals that bunched and torqued as he moved. I turned around, slack-jawed, and watched him go; it took all my self-control not to applaud.
Think of all the illusions about the National Football League that the revelations of a bounty program in New Orleans shatter. Think of all the silly pretensions those revelations deflate. The preposterous prayer circles at midfield. The weepy tinpot patriotism of the flyovers and the martial music. The dime-store Americanism that’s draped on anything that moves. The suffocating corporate miasma that attends everything the league does — from the groaning buffet tables at the Super Bowl to the Queegish fascination with headbands and sock lengths while teams are paying “bounties” to tee up the stars of your game so they don’t get to play anymore. What we have here now is the face of organized savagery, plain and simple, and no amount of commercials showing happy kids cavorting with your dinged-up superstars can ameliorate any of that.
Which is why Roger Goodell is going to land on the Saints, and on their coaches, as hard as he possibly can. It’s not so much that they allegedly paid players to injure other players. That’s just the public-relations side of the punishment to come. Goodell can see the day when one of these idiotic bounty programs gets somebody horribly maimed or even killed, and he can see even more clearly the limitless vista of lawsuits that would proceed from such an event. But what the Saints will truly be punished for is the unpardonable crime of ripping aside the veil. For years, sensitive people in and out of my business drew a bright moral line between boxing and football. Boxing, they said, gently stroking their personal ethical code as if they were petting a cat, is a sport where the athletes are deliberately trying to injure each other. On the other hand, football is a violent sport wherein crippling injuries are merely an inevitable byproduct of the game. I always admired their ability to make so measured — and so cosmetic — a moral judgment. This was how those sensitive people justified condemning boxing while celebrating football, and, I suspect, how many of them managed to sleep at night after doing so.
by Bruce Markusen |
February 27, 2012 4:56 pm |
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The late Gary Carter never played a game for the Yankees, a fact that should be regretful for any Yankee fan who remembers the 1980s. If Carter had played even one season in the Bronx, the Yankees might just have won a World Series title that proved so elusive during that decade of frustration.
The winter of 1984-85 brought me some of the most difficult times of my life. My mother was dying from abdominal cancer, a horrible experience under any circumstances but particularly difficult for me as I was trying to muddle through a challenging sophomore year at Hamilton College. One of the few diversions that helped me forget about my mother’s terminally ill condition involved the winter meetings that December. Both New York teams made blockbuster trades at those meetings, the Mets acquiring Carter for a package of Hubie Brooks-plus, while the Yankees nabbed Rickey Henderson for a group of young players headlined by Jose Rijo. The news of those two trades, which happened within five days of one another, made that December and that January, when my mother finally passed, a little bit more bearable.
The Yankees ended up with a good team in 1985, a 97-win club that finished only two lengths behind an exceptional group of Blue Jays. Led by Billy Martin, who replaced Yogi Berra after a handful of games, the Yankees came within whiskers of matching the Blue Jays for the AL East title, even with little contribution from their starting catcher, Butch Wynegar. A two-time All-Star, Wynegar was well past his prime at the age of 29, and would later undergo treatment for debilitating depression. What would have happened if the Yankees had added Carter for the 1985 season? Carter, buttressed by a strong left-handed hitting backup in Ron Hassey, would have given the Yankees one of the missing links to an otherwise sterling lineup.
Sure, it would have been a lot to ask Yankee GM Clyde King to swing blockbuster deals for both Carter and Henderson in the same winter, but the Yankees had both the minor league resources and the major league talent to make it happen. They could have centered a package for Carter around Dan Pasqua, who at the time was a top-tier hitting prospect coveted by numerous teams. They could have included a young Doug Drabek (whom they would eventually trade in a regrettable deal for Rick Rhoden) and tossed in a young infielder from among a group of Rex Hudler, Bobby Meacham, and Andre Robertson.
Not only would have Carter solidified the chronically weak catching corps that plagued the franchise in the mid-1980s, but he also would have given the Yankees exactly the kind of rah-rah leader that would have perfectly complemented guide-by-example types in Don Mattingly and Dave Winfield. With Carter behind the plate, improving both a potent offense and perhaps coaxing more from a thin pitching staff, the 1985 Yankees could well have leapfrogged over the Blue Jays into the postseason. And then who knows what might have happened?
Of course, all of this is wishful thinking, and more than 25 years after the fact. Perhaps the Expos would have preferred an established infielder like Brooks, who had the ability to play both shortstop and third base while hitting with game-changing power. Maybe the Expos foresaw that Pasqua would fall well short of the stardom forecast for him. But the idea of Carter-as-a-Yankee was just one of the thoughts that has gone through my mind in the aftermath of his premature death at the age of 57.
I had the privilege of meeting Carter several times; he never failed to deliver the goods with his friendly nature, boyish enthusiasm, and sincere regard for the concerns of others.
Back in 2003, I interviewed Carter at the Waldorf Astoria, exactly one day after he had been elected to the Hall of Fame. Bruce Brodersen, a friend of mine who heads up the Hall of Fame’s multimedia department, arranged and oversaw the interview. Bruce, a diehard Mets fan like few others, immediately took notice of Carter’s 1986 World Series ring. Noticing the interest, Carter told Bruce that he could wear the ring during the duration of our 20-minute interview. I cannot imagine many players, Hall of Fame or otherwise, offering to let a perfect stranger wear a cherished world championship ring. But that was Carter.
Gary Carter as a Yankee? It’s nothing more than a dream. But imagine if it had happened. Any Yankee fan who cares about integrity, character, and winning would have been proud to watch the man known as “Kid” wear the pinstripes.
***
In contrast to yours truly, Yankee hitting coach Kevin Long is legitimately excited about the addition of free agent Raul Ibanez, whom he calls an “RBI machine.” For the Yankees’ sake, I hope Long is right; batting in the lower third of the Yankee order, Ibanez figures to have plenty of RBI opportunities batting behind the likes of Alex Rodriguez, Mark Teixeira, and Nick Swisher.
Of course, while Long drools over the RBI possibilities, he doesn’t mention Ibanez’ relative lack of power in 2011 (as evidenced by a slugging percentage below .450) and an inability to draw walks or to reach base in any kind of consistent manner. These could be concerns for the Yankees, whose collective offense will be one year older and will have to hope for bounce back seasons from A-Rod and Tex. At the very least, the Yankees will have a capable offense in 2012, but will they have a dominant one? If they don’t, Ibanez will be exposed as a less-than-effective DH.
Having said all of that, I’ll be rooting for Ibanez. He visited Cooperstown last summer, accompanying his son during his week-long participation in the Cooperstown Dreams Park. According to my sources, Ibanez made a good impression with his friendly and receptive manner. That jives with what baseball people have said all along, that Ibanez is one of the game’s good guys, a man of character and a powerful presence in any clubhouse.
So this is no Elijah Dukes here. It will be easy, if somewhat frustrating, to root for Raul Ibanez. I just hope that Joe Girardi uses Ibanez with caution. He cannot hit left-handers anymore, so his at-bats against southpaws should be restricted as much as possible. Furthermore, Ibanez needs to be kept out of the outfield. A brutal defender with little arm, Ibanez should only the play the outfield if the game is a blowout–or if the Yankees simply run out of outfielders. If Girardi follows this plan, he can minimize the damage that Ibanez can do, and allow his other role players to pick up the slack.
“Disappointment was the only thing about the game that lasted. You could try not to get your hopes up, but you might as well tell the cat not to kill the birds.”
The time is 1953; the place, Los Angeles. A burned-out detective, Packard, watches Train, an 18-year-old protegee on the golf course:
“One thought,” Mr. Packard said. “Focus on one thought.”
Train heard that advice before, of course–all the twenty-six handicappers in the world was somewhere on a golf course right now, giving each other swing thoughts–but himself, he didn’t think one thing at a time, and didn’t know how. To start with, everything he saw had names–the ball, the grass, the club, his shoes–and he looked at those things and knew the names, and the names were thoughts. Just like being cold was a thought, and being hungry, and being worried. And besides the thing he was worried about, the worrying itself was a though. Things came and went away; you couldn’t stop it if you tried. He wondered if it was the same way for people that did the big thinking–Eisenhower and General MacArthur–or if somehow they could turn off the names while they was envisioned in a better world.
“What’s your swing thought?” Mr. Packard said behind him. “What are you telling yourself over the ball?”
“I don’t know,” he said. “I just get out of the way and let it go.”
That seem to amuse Mr. Packard, and he leaned back on his elbows and shut up to watch. The thing that made it work right wasn’t a thought anyway. It was whatever moved the ideas and thoughts along, the breeze that kept things circulating in and out of your head at a speed where nothing was hurried but nothing stayed so long you had to notice. That was all you wanted in your head to swing a golf club, a light breeze to empty things out.
Didn’t mean you had to be stupid to play the game, but it didn’t hurt.
It’s about golf but it could just was easily be about anything, including baseball.
The Yankee cards among my tired collection are like mug-shot exhibits, prepared for presentation to the Court of the Beleaguered. From Jake Gibbs, catcher without bat, to Walt Williams, outfielder without neck, they confirm my childhood status as underdog. Here is Bill Robinson, one would-be phenom, batting .196; here is Steve Whitaker, another, batting little better. Here is first baseman Joe Pepitone, sporting his game-day toupee. Here is second baseman Horace Clarke, who so disliked body contact that he often failed to make the relay to first on potential double plays.
Here are Roger Repoz and Ruben Amaro, Andy Kosco and Charley Smith, Fred Talbot and Hal Reniff, Frank Tepedino and Gene Michael and Joe Verbanic and Thad Tillotson and Johnny Callison and Danny Cater and Curt Blefary and Jerry Kenney and Jimmy Lyttle and Celerino Sanchez, poor Celerino Sanchez, and so many others you do not remember, probably by choice.
As hollow as it might sound, though, these were my heroes. I ached and rooted for every one of them as they failed daily on baseball’s Broadway stage, Yankee Stadium, facing two opponents every time they stepped onto the field: the American League team of the moment and the Yankees teams of the past. My father’s Yankees.
The Knicks gave a spirited effort tonight but they are not yet ready for Prime Time. The Heat pulled away in the third quarter and Jeremy Lin had his toughest game since becoming a starter as the Knicks lost in Miami. A good loss in a way. Shows the Knicks how far they need to go in order to compete with the best.
Now that A.J Burnett has been forced to walk the plank, the 2012 Yankees’ starting rotation has begun to take its final shape. Although Joe Girardi has promised a battle between the veteran Freddy Garcia and one-time top prospect Phil Hughes for the fifth slot, the young right hander seems to have the inside track. Then again, Hughes isn’t really that young any more, at least not by the standards of the Yankees’ 2012 rotation.
If Phil Hughes breaks camp as the fifth starter, he’ll no longer be the baby of the staff. Along with Ivan Nova (25) and Michael Pineda (23), Hughes would give the Yankees three starters no older than 26, providing a youthful complement to the 31-year old CC Sabathia and 37-year old Hiroki Kuroda. At an average age of 28.4, the 2012 rotation would represent the team’s youngest starting staff since 1995 and fourth youngest in the last 30 seasons.
Average Age* of New York Yankees’ Starters, 1901-2011
*A weighted average based on the number of innings pitched as a starter only. Note: Red data points indicate years the Yankees won the World Series.
Source: Baseball-reference.com
Sometimes the best laid plans go astray, so there’s no guarantee that the Yankees’ rotation will retain its youthful appearance throughout the entire season. After all, in 111 years, the Yankees have only had 25 pitchers start at least 30 games before their age-27 season, so, it would be remarkable if the team had three in 2012. Should Pineda, Hughes, and Nova all reach that plateau, however, it would be only the second time in franchise history that a trio of young pitchers accomplished the feat. The only other occasion took place in 1966, when Al Downing, Fritz Peterson, and Mel Stottlemyre combined to start 97 games. However, that group went a dismal 34-42, and the team lost 89 games. So, needless to say, Brian Cashman is probably banking on greater success from his trio of young starters.
Total Number of Starts by Yankees’ Pitchers Age-26 and Under, 1901-2011
Note: Red data points indicate years the Yankees won the World Series. Source: Baseball-reference.com
The chance of Hughes, Nova, and Pineda all surpassing 30 games started is probably slim, but even if the barometer is lowered to 25, the 2012 rotation would still become only the sixth in franchise history to have three pitchers age-26 or younger qualify. What’s more, with at least 75 starts from the baby faced trio, you’d have to go all the way back to 1982 to find another season in which more games were started by pitchers no older than 26 years.
For most of the past decade, the advanced age of the Yankees’ rotation has been looked upon as a concern, but the team has enjoyed considerable success with older starting pitchers. In fact, in 2008, the only recent season in which the Yankees failed to make the playoffs, the team tried to inject youth into the rotation with Phil Hughes and Ian Kennedy (Joba Chamberlain joined the starting staff in June), but a combination of injuries and ineffectiveness limited the trio to only 29 starts. That’s why there should be at least a little trepidation about entering this season with such an inexperienced rotation. Although the potential in the Yankees’ young starting staff is encouraging (not only for this season, but beyond), the promise of youth is often broken. Besides, at the end of the season, the only stat that will count is the number of wins, not how games are started by the youngest members of the rotation.
“The Whore of Akron” is a funny, personal, and moving story, a must-read. Scott and I chatted recently about writing, the book, and LeBron James.
Dig in.
BB: You’ve been writing for decades yet “The Whore of Akron” is your first book. Before we get to that, I’d like to talk about your career. Loved the piece you wrote on your blog a few months ago where you talked about what it takes to be a writer. About endurance being a talent.
SR: I talk to people half your age who start whining that they don’t have time to write and I say, ‘Don’t worry about it — you’re obviously not a writer.’ They don’t like hearing that. They actually think they’re entitled to some kind of pity, self- and otherwise. It’s the weirdest thing in the world to me, not because I think I have any big answers but if you really find yourself saying, ‘I don’t have time to write,’ and you’re not feeding four mouths…It’s not like I knew Ray Carver, but from what I know about him the reason he wrote short stories is, first he wasn’t ever sober, but he also had two screaming youngsters and so he’d write in his car. Either you find a way or you find something else that seems more doable. But endurance is a talent.
BB: This blog, Bronx Banter, helped me fight a sense of entitlement. I set it up in such a way that I was forced to show up every day.
SR: And anyone who doesn’t think that’s a huge part of it is deluding themselves.
BB: Showing up every day.
SR: Yes. Putting one foot in front of the other. It took me decades to learn this. And that’s fine. If you don’t learn that, it doesn’t matter how talented you are, because without this talent, of endurance, what difference does it make? Nobody finds you at the soda fountain; it almost never happens. And the journalists it does happen to, like Stephen Glass, Ruth Shalit, Jayson Blair — these are people who, after early success, couldn’t follow through. They didn’t have the chops. They made shit up and committed career suicide.
BB: Is there a difference between talent and intelligence?
SR: Certainly intelligence is a tool, a crucial tool. You have to take in large amounts of material, including human material, and construct some sort of narrative. That requires focus and intelligence. But if you are missing endurance, again, it doesn’t matter how intelligent you might be. In the wake of the LeBron book, I’ve dealt with so-called journalists who have told me, ‘I don’t have time to transcribe a tape so I’m going to send you questions via e-mail.’ They say, “You have until Friday,” and so I say, “Then you have until Friday to transcribe a fucking tape.” I’ve also heard, “I don’t have trustworthy recording equipment.” Then you’re not a real journalist, so don’t waste my fucking time.
BB: When did you start writing pieces for magazines?
SR: I started at GQ in ’92 and got my first contract in ’93. David Granger was a GQ feature editor then. Granger was my big break because he was the one editor in New York who was willing to assign long stories to writers who hadn’t already published long pieces in magazines in New York. So Granger was exactly the right guy at exactly the right time for me. I was still selling columns for $40 to a weekly—when they wanted them—and I was almost 41 when I signed that first contract with GQ. I was never a newspaper guy, I was a creative writing guy.
BB: And you had written fiction at the Iowa Writer’s Workshop, right?
SR: I’d published fiction. I had a literary agent. But I wasn’t prolific and wasn’t some young Phillip Roth or William Faulkner. I was a solid fiction writer with problems. Lifestyle problems. And it turns out I needed the structure that a relationship with an editor provides.
BB: And early on with Granger was he doing macro editing with you or micro stuff like line edits?
SR: Alex, if you need line-editing help you don’t ever get a contract. I mean, seriously. If the relationship with the editor is based on line editing—
BB: –You’re screwed.
SR: You don’t even get there. Why would a guy like Granger waste his time with that stuff? I hate to sound grandiose, but at that level it’s about relationship, and envisioning stories, about building trust that you’ll deliver the goods and you won’t fuck the editor in terms of expense account bullshit. It’s business, basically. But it’s also has a strong therapeutic connection in terms of the mentor-mentee relationship for me. Not because I was wet behind the ears but because I didn’t understand what the whole process was.
BB: If part of what you have know to be writing for a major magazine is how to maintain expense accounts and the business end of things, how were you able to do that when you were so fucked up on booze and drugs at the time?
SR: I’m trying to put this the right way…
BB: Is it a matter of being what they call a functioning alcoholic?
SR:Look at your dad. People can do enormous harm to themselves, those who depend on them, and their careers and still function at a really high level. I was a high-hopes-but-low-expectations guy. When you grew up the way I grew up, when you come out of Cleveland State, there weren’t high expectations. I got into Iowa when I was in my thirties and I knew it was really important. I didn’t into the program at Stamford and I didn’t get into the program at Irvine so when I got into Iowa I went in with a strong sense of affirmation and ambition. It never occurred to me that I’d be a magazine writer. I just wanted to compete against the kids that went to school with me. They weren’t from Cleveland State. They’d gone to Sarah Lawrence or Yale.
BB: You were older than a lot of your classmates but did you have an inferiority complex?
SR: You could say that but I don’t think I’m the most accurate judge of that. I know I was very nervous but it wasn’t skittish nervous it was more like I knew what a tremendous opportunity I had. I don’t think I ever operate out of the sense of mastery or security but I don’t know anybody else who does either. I don’t think of it as an inferiority complex. I don’t think that I ever looked at writing for Granger as anything less than a total miracle. That doesn’t imply an inferiority complex; I think it implies a firm grasp of what was going on. All of a sudden you meet a guy who wants you to write in your own voice and wants you to do the kinds of stories that don’t feel safe to most magazine editors and it was like, “Wow, this is the greatest thing in the world.” People ask me if I still write fiction. Of course not. I work really hard at trying to be good at writing what I’m writing. If fiction were that important to me I’d find time to do it. I think fiction is harder and I don’t mean that what I’m doing is easy; to me, it’s not. But writing fiction you have to supply almost everything and the payoff is not so good both in terms of numbers of readers and money. I’ve always looked at meeting Granger and what followed as being beyond my wildest dreams. So things like fudging expense accounts to make a few hundred dollars more seemed absurd to me. No matter how far gone I might have been in terms of my lifestyle, I wasn’t that stupid and greedy.
BB: So when did the idea for this book—
SR: Yeah, I thought we were going to talk about the book.
BB: I know you started working on it during LeBron’s final year with the Cavaliers.
SR: I started after they lost to Orlando in the Eastern Conference Finals. For many years at Esquire I wrote a column, didn’t even have my name on it, where I answered questions, general questions. A guy wrote in and asked, “Is it illegal to flip off a cop or just stupid?” Turned out this guy worked for the Cavs. I wasn’t thinking about doing a book when I got the e-mail; I was thinking maybe this guy could get me tickets. I reached out to him—I was going to do his question anyway because it was good for the column—but it was clear after a couple of games in the Orlando series that it wasn’t going to end well for the Cavs. And that was the Cavs team that I really thought could and would go all the way. I got really bummed out. But I figured that they’re going into the next season with Lebron in his walk year, the coach and the general manager in their walk years, with an owner who doesn’t mind paying the luxury tax — it was all or nothing and I thought it would make a fascinating book. They ended up winning 61 games that year. They’d won 66 the year before. They lost in the second round to the Celtics and then Lebron declared free agency.
BB: So you didn’t know that the book would extend into the following season?
SR: No, no, I was looking to write the happy book.
BB: And was part of that happy book your experiences as a Clevelander and Jew?
SR: Not at all. That wasn’t even part of it after Lebron’s decision to go to Miami. Honestly. I don’t know what I’m going to do when I sit down and start writing. I don’t plan things out. I don’t go in blind, of course. But with the Cavs, after the Decision, after the book deal, I thought that the book would be full of interviews, a collection of a lot of Cleveland voices, and that’d be the spine of the book. I wasn’t thinking of that in a hard and fast way but I had whole lists of people to talk to.
BB: Like the wonderful scene of you in the black barbershop.
SR: Well, I needed a black guy to talk with about LeBron and race. And I asked some prominent black guys. I didn’t know Jimmy Israel very well but we were Facebook friends. I knew I couldn’t avoid the subject of race. That didn’t feel honest to me. But the other black writers I asked didn’t know me; some of them didn’t bother to reply and the ones who did said no. I realized, from talking to the guys who did turn me down, that what I was asking of them was essentially unfair. They didn’t know me. I offered them editorial control but the title of the book was already “The Whore of Akron.” As one guy put it to me, “You’re basically asking me to participate in a witch hunt.” That was a legitimate objection. Jimmy’s a Cleveland guy, a great writer, and he taught me a lot.
BB: So in the course of Lebron’s first season in Miami, you’re down there, writing about what’s going on for Esquire, you’re tweeting about what’s going on, were you also writing the book?
SR: I started going to Miami in September of 2010 and started writing the book a few months later, in January 2011. It was not clear to me at that point where the book would be going. I had a deadline and I needed to start getting stuff down but I hadn’t figured anything out at that point.
BB: When did you figure out the structure of the book, where you go back-and-forth between what’s doing with Lebron and the memoir stuff develop?
SR: It was organic. It’s not as conscious as it might seem. In addition to working on the book I also had a big 9/11 piece for Esquire closing in the summer. So I had to de-stress about the book. I don’t often use inspirational slogans but I did use one while I was writing the book. It came from Bob Wickman, the fat closer the Indians had for a couple of years. He said, “You gotta trust your stuff.”
BB: That’s like in “Tender Mercies” the Robert Duvall character says, “Sing it like you feel it.”
SR: That’s right. By the time July rolled around I took a place in the city and moved in for a month. I would go to the HarperCollins office in the morning and revise the manuscript starting at the beginning using the notes I got from my editors, David Hirshey and Barry Harbaugh. Then I would go back to the place I was staying at and work on the ending. Part of me looks at what I do as a plumber. A tradesman with a craft. And at some point in the process an editor realizes that you know what you’re doing. Structurally. So their notes were extensive and important but there weren’t structural issues. There were tonal and practical ones. There were points where I would start pontificating, especially about racial aspects of the story, and there were whole swaths of material that just had to go. I never had a problem with that. I’m really coachable as long as I trust the editor.
BB: One of the first reactions I had when I was reading was to a couple of jokes about Art Modell. Where you had these rim-shot putdown jokes. And I wondered if that was going to be what the book was, more and more outrageous gags.
SR: That’s a legitimate concern.
BB: I didn’t know if you would end up humping one note but then it didn’t go that way. You talk about tone. Did you have sensitivity that on some level you were coming across as being outrageous and not to overdo that at the risk of maybe losing some of the readers?
SR: I’m not sure. I know I lost a few people. Mostly, it’s been well-received but there are certainly people who thought—whether it was the Modell stuff or the Lebron stuff—that it was overdone. I wasn’t hyper-conscious of it. I’m not that conscious of readers. I’m conscious of editors; I want to please them. But it’s an internal process. It’s just a subject—Cleveland sports—about which I feel the kind of passion that I don’t really feel about almost anything. I don’t mean my family. But my relationship to those teams defines me in the same way that being a Jew defines me or being a man defines me. It’s at a profound level. I remember doing a piece on David Cone in the late ‘90s, fun guy, smart guy, and he told me—not that he was the first guy to say it—that “You’ve got to learn to take a few miles an hour off the fastball.” If you try to throw harder in a pressure situation it backfires. You want to change speeds. So I’m conscious of that, not in particular relation to the book but in general.
BB: You reminded me of Mel Brooks in the book. I mean that in the best way.
SR: Even if you meant it in the worst way I’d be honored by that comparison.
BB:I was never offended by your outrage. I accepted it, like I do with Mel Brooks. This is what it is, it’s over-the-top. This is the shtick. And for all of the outrageousness there is also a sense of restraint in this book. And it made me wonder if you would have been able to do that, 15 or 20 years ago.
SR: I couldn’t have done it. It goes back to David Hirshey, my senior editor at HarperCollins. Nobody was excited about the prospect of the Happy LeBron Book unless I could deliver the impossible, which was access to Lebron. Once that season ended with the loss to the Celtics, I said to my wife, “That was a fun year at sports fantasy camp, I spent a few grand, but I had a great time. There ain’t going to be any book, and I’m okay with that.”
I was more upset that Lebron left. So I was blogging the countdown to free agency for Esquire.com and Deadspin was also running it simultaneously. Then Hirshey got in touch with my agent, David Black. I’d never met Hirshey but he was willing to give a book deal to a guy who’d never written a book, wasn’t going to get access to the subject of the book, and was writing these venomous blog posts about LeBron. How many book editors would do that? I was at the right place at the right time. Again.
BB: Well, if you’re not going to get access you’re the perfect guy to do a story because you don’t give a shit. Was there any time during the process that you were afraid that LeBron, or one of his people was going to walk up to you and punch you in the face?
SR: That was one of my mother’s concerns. But that’s really movie-script stuff. Can you imagine what the results would have been? Obviously, it could have, and still could, potentially happen, I suppose. But: please do. I truly don’t give a shit. It has nothing to do with courage. I grew up reading National Lampoon magazine and they were brutal. And Hunter Thompson was filing for Rolling Stone and he was brutal. I didn’t think of either as role models, I just thought of them as great reads. A lot of my attitude toward LeBron or the media relations at the NBA or the Heat was like, “Fuck you, I don’t give a shit.”
BB: So you didn’t feel any shame or have any reservations about calling the guy out as a scumbag?
SR: I understand that if you’re working for a newspaper and you’re on a beat and you’re tweeting something like that a guy you’re going to get fired. I get that. I had to dial it back because I wasn’t thinking about the reflection on Esquire. It’s not as I didn’t make my share of mistakes, but they didn’t involve plagiarism or putting off the record stuff on the record. Professional breaches by today’s standards, yes. Ethical breaches? No. And we’re not talking about weapons of mass destruction or climate change or the corner grocery selling tainted meat. It’s a fucking basketball player. There were some people who thought I was stalking him because their understanding of reporting is that dim. I don’t cheer in the press box. I don’t get in a beat guy’s way. Ever. I’m very aware of protocol. And also very aware that if a magazine or book writer comes off like if he’s a big shot, he’s an asshole. I consciously try to avoid those kinds of behaviors.
BB: Is there ever point where your persona as the outraged Cleveland sports fan becomes a put-on?
SR: No. Isn’t that weird? A lot of the stuff that got taken out of the book was removed because it was violent. You know, stuff like seeing LeBron at media day and wanting to fracture his skull with one of the folding chairs. I’m the guy who wrote the book; I’m not just the guy in the book. There is a difference. But it’s only germane when you’re talking to another writer; it has nothing to do with putting on that costume of the outraged Cleveland fan. I am a totally outraged Cleveland fan.
BB: And yet you do put it in perspective.
SR: When you get a certain age, you realize that when you are feeling that inflamed by something outside of you, there’s something inside you going on. The other part is I had a lot of people call me a hater. That’s a very popular word now. How could I not be a monster if I was wishing a career-ending injury on a fine young athlete? There are a lot of answers to that. But I took the question seriously and tried to figure it out in the book.
I talked to Dwayne Wade on Media Day for a fashion spread in Esquire. And afterward I saw LeBron at the podium with Wade and Chris Bosh and responded viscerally to that, and then went to a family bar mitzvah and wondered, “Why am I so furious, why does it get to this level with me?” Part of what I realized—and it didn’t crystallize until I was doing the writing—was that at a fairly young age I shut down in terms of family. I didn’t like my people, I didn’t trust my people. I was angry and I felt abandoned. Nobody was paying attention to my pain, and on and on and on. Cleveland was a great city then. I wasn’t a sinkhole of despair, it wasn’t a joke. The Browns, in particular, were very good. They weren’t quite the Yankees, but from the late ‘40s through the mid ‘60s, they were a paragon of consistency and excellence. The city and those teams replaced my family in my heart.
BB: You also tap into something that goes on with every fan. When I watch the Yanks play the Red Sox, and I’m heated, I want each hitter to line a ball of Josh Beckett’s leg and send him to the hospital, even though I know that’s completely irrational.
SR: If you want to call yourself a fan by my standards, of course you felt that, even if you never wrote it. I don’t think it’s unique to Philly, Cleveland or New York. I’ve been in stadiums elsewhere where the home fans cheer their own player getting hurt because they just don’t want to see him fucking up on the field anymore.
BB: As far as realizing that at a point if you are getting that enraged over a sporting event do you feel, well, this is just the way I am or do you say, I don’t need to be this way anymore?
SR: There is a real chasm between intellect and emotion. Thinking or realizing something isn’t the same as actuating it. But the fans I understand the least are the people who don’t have a team to get worked up about. I get it, but I don’t get it. Why do they bother? It’s the other side of the insanity of being over-committed. I’d prefer the self-destruction to not caring much about a team.
BB: I like the quote you used from Viktor Frankl. That sums up why you do root for a team. Because something can happen. And you having a hope for it happening means you are alive — not necessarily the victory.
SR: I would like the victory, Alex. It’s like at the end of “The Unforgiven” when Clint Eastwood tells Little Bill, “Deserve’s got nothing to do with it.” Apparently not.
BB: Talk to me about “Dayenu” for a second because I’ve been singing the song in my head for days now.
SR: It’s one of those things where the repetition and melody of it can transport you. You sing praise to God that if he had merely freed you from Pharaoh’s bondage that would have been enough. If the Cleveland Indians of 1954 had set the record that stood until the Yankees of 1998—they won 111 out of 154 games and then lost 4 straight to the Giants in the World Series—and won the Series, it would have been awful enough. The Drive. The Shot. The Fumble. The Browns moving. Each would have been bad enough alone. Each of the Cleveland franchises have built teams that were good enough, at least in paper, to win a championship. Any of those happening would have been heartbreak enough. Which is the inversion of the Dayenu thing.
BB: The other thing that occurred to me as the book went on is that it wasn’t just a tirade against LeBron, it wasn’t flip, but a very moral book in a lot of ways.
SR: I totally agree with you, but it came as a big surprise to me. And I’m not trying to be coy. I didn’t know where it was going. I think it’s an odd book. It’s like a Swiss Army Knife kind of book.
BB: It sounded like you even had pity for LeBron.
SR: I do have pity for the guy and it’s not disingenuous. There’s a certain point between fathers and sons when things are nice. I had that with my dad before my parents split up. You think all is right with the world because you’re in the presence of this all-powerful, all-knowing guy. I was old enough to feel that with my father. LeBron had none of that. Nothing. And that’s something to really feel pity for. Because you can miss the shit out of that and it can hurt a lot, but LeBron never even got that. Everyone remembers when LeBron said they weren’t only going to win seven or eight rings but in the same clip he also talked about how easy it was going to be, so easy that Pat Riley could come back and play point guard. Dwayne Wade is sitting next to him, looking sideways at him and Wade was not smiling. Have you ever heard any athlete in any sport or anyone in any profession talk about easy it was to get to the top? It’s insane. Most of us, even poor black guys without dads, have at least had someone in our life saying, “You are going to have to work for every fucking thing you get. I don’t care how good you are. You’re going to have to be a whole lot more than just good.” Maybe James gets it now. But that piece really seems to be missing in him.
BB: Did you have an awareness of being critical of yourself if you were going to be critical of James?
SR: It’s not conscious. I’m not paragon of 12-step sobriety, but part of trying to live a more honest life is self-examination and not just throwing stones at other people.
BB: Cause then you would come across as a hater. If you were only ragging on him.
SR: Of course.
BB: Another thing I liked is that you didn’t over-examine some of the game action, which came as a relief. That stuff can be deadly to read.
SR: And to write, Alex.
BB: By the end of the book, the fact that your boy gets sick is more important so as a reader, the book shifts to you as much as it is about James.
SR: I care deeply about what I do, about putting one word after another, and I think it’s a miracle that the book turned out as well as it did, or that I had such a good time with it. With a magazine piece, I usually want to keep tinkering with it, change the lede over and over, but I didn’t have the time here. So it’s a fucking miracle. I’m not a big fan of my stuff. I rarely go back and read my stuff, because I see places where I needed to do better work. I haven’t had time to go back and read the book, but I knew that when I was writing it that it was going to be good. I was happy with it because there was no way that I could have spent six more months on it and made it better. I only would have made it worse. Despite the weirdness of dealing with interviews and publicists and trying to sell copies, the feeling is still great and I’ve never felt anything like it.
BB: Probably because you don’t hate yourself.
SR: No, I don’t. And it’s funny how it all came together. If LeBron declares free agency the way every other star declares free agency there’s no book deal. It’s a strange series of events — amazing, really.
BB: He stays in Cleveland you don’t write the book that you wrote, you don’t write a loving tribute to Cleveland sports fans or write about yourself. So in a way, LeBron is the gift that keeps giving.
SR: That’s absolutely true. Irony can be cheapened in all kinds of ways but in this way it was kind of pure.
BB: I have to ask because this interview will appear on a Yankee-related site. You wrote an Esquire story on Alex Rodriguez that is famous for causing a rift between Rodriguez and Derek Jeter. How is Lebron different from A Rod?
SR: Alex is a much more self-aware, savvy guy compared to LeBron. As brilliant as Alex was at an early age, he was not anointed the Chosen One by Sports Illustrated when he was sixteen. He didn’t have Michael Jordan flying him to camp when he was a teenager. If you look at Alex’s post-season numbers career-wise they are in line with his regular season numbers. I think it’s perfectly fair, especially as a Yankees fan, to point the finger at him. He’s fair game. But I’ve never seen an athlete of Alex or LeBron’s caliber do what LeBron did last year in the Finals. James single-handedly cost the Heat the title last year. Before the games, there was LeBron giving the pre-game speech to his team after tweeting about how he couldn’t sleep. It’s so different from anything A-Rod has ever done. And LeBron’s performance was bizarre. In an elimination game, he was throwing passes to Mario Chalmers and Juan Howard. He’s the most unstoppable force in the game, but the Mavericks were totally inside his head. Being the Clevelander I am, I kept expecting LeBron to realize that he’s playing with Dwayne Wade and Chris Bosh—who played very well—and I was sure the Heat were going to wake up and smack the Mavericks down. I was amazed that even with Nowitzki shooting horribly in Game 6, the Mavericks looked nothing other than supremely confident. The Heat never looked like anything but scared rabbits.
BB: Well, as a true Clevelander, even if it didn’t happen last year don’t you think that whether it is this year or next year, eventually LeBron will get his act together and he’ll win that championship?
SR: That’s one of those head or heart questions. Eventually, sure, he’s young enough. But he’s also got a lot of miles on him. And I don’t think he truly cares and I know he doesn’t work as hard as he says he does. Kobe Bryant does. I remember sitting with Shaq once and he told me about how obsessive Kobe was about working. And Shaq admits that he himself was never that way. Kobe is willing to work relentlessly. That certainly was true of Michael, too. I think Alex Rodriguez is fanatical too. He’s driven. But I don’t think that helps him come playoff time. But LeBron is better at talking about this stuff than actually doing it.
BB: LeBron is having a great year so far. Do you think he’s turned the corner, learned something since last year? Or is that something that can only be answered come June?
SR: What corner? He’s a two-time league MVP, and he should’ve won it again last season. He’s the best pure basketball player I’ve ever seen, an other-worldly talent, and he has become a complete head case in the post-season. He always had an issue with managing pressure when he was on the Cavs, and he’s fallen apart as a crunch-time player if the other team doesn’t just fold up and surrender. And everyone in the NBA knows it now. We won’t find out until June if LeBron has found a heart.
Of all the studs who played football in the NFL during the Vietnam years (and were presumably eligible), only one went to war, almost got his foot blown off and returned with a Purple Heart and Bronze Star.
The only one was Steeler running back Rocky Bleier, whose wartime experiences, not so oddly, offer some insights. To Bleier, there are some interesting parallels between survival in war and survival in pro football. He says:
U.S. Army
Vietnam Veteran and former Pittsburgh Steeler Rocky Bleier poses with Capt. Doug Larsen, who tries on Mr. Bleier’s four Super Bowl rings, at the North Dakota National Guard’s 2009 Safety Conference in 2009.“War injuries and football injuries. The experiences and the reactions are quite the same. In battle action, you’re concerned with something more than where you got shot. You’re concerned with where the enemy might be. You want to know where you are.
“You could be shot in the stomach. Your leg could be broken and you wouldn’t even know it. You would just go on.
“Now you [pointing at me] could twist your ankle and not walk in a week. I could play on that ankle a whole week. The focal point of my attention is not on that injury, it’s on getting back into the game. It’s the intensity of what’s happening at the moment. It’s the hostility of the moment. Medically, I can’t understand it. But psychologically I can.”
War and pro football. The stakes, to many, are about the same. As is the importance they attach to it. War and death. The two images that bring the most clarity to the discussion. The metaphor works. Even the commissioner sees it that way.
Asked at his Friday news conference if he could explain the mounting incidence of serious injury in the game, Alvin “Pete” Rozelle replied, “The problem is we have bigger, faster people banging into each other more often. It’s like having a BB gun [the way the game was] and a cannon [the way the game has become]. The cannon hits with much greater force.” End of discussion.
The late Gary Carter never played a game for the Yankees, a fact that should be regretful for any Yankee fan who remembers the 1980s. If Carter had played even one season in the Bronx, the Yankees might just have won a World Series title that proved so elusive during that decade of frustration.
