Leigh Montville on the Hollywood life of Alex Karras.

[Photo Credit: N.Y. Daily News]

Over at SBN’s Longform, check out this fine piece story by William Browning:

Before the boy passed 10 his parents left the Mississippi Delta for the pine woods farther south, where his mother found a teaching job in the county. They were a young family, renting near the school, when his father left.

The boy felt lost in that new place. To better hide the hurt he whittled away his footprints through the years, turning his back on basketball, the drum line, a job bagging groceries and a place on the school honor roll. When he handed in his football jersey during his junior year there was nothing else to quit. He did it in spring, a few months after the ’96 season. A slow-footed receiver four notches down the depth chart, he thought he would not be missed. He was surprised when the coach sent a note to his English teacher asking to see him. Everyone called him, “Coach.” He was humorless and had a dry voice. He growled through one-sided conversations on the football field but off it he could be inarticulate.

The boy remembers walking the hallway toward his office, telling himself not to give in. He sat face-to-face with Coach, Bear Bryant’s picture hanging nearby on the office wall. Are you sure you want to spend your senior year in the bleachers? Coach said. Full of teenage arrogance, the boy said he wouldn’t be attending any games. He said he had watched from the sideline for two seasons and had his fill.

Coach, always slow to speak, leaned back in his chair and warned him. He warned him that not that season, but in a decade or so, he would come to regret his decision and that once made, it could not be undone.

The boy laughed. A grown man, said the boy, has no business thinking of games he did or did not play in high school. Coach said all right and the boy left. He never called him “Coach” again. Not because he walked away from football, but because that summer the coach married his mother.

And the boy hated him for that.

[Photo Credit: Colorado Springs Gazette ]

Over at Grantland, here’s Bryan Curtis on Josh Hamilton:

By now, you and I could recite the outlines of The Story: Hamilton, baseball’s no. 1 overall draft pick in 1999, falls under the sway of crack and cocaine; abandons his wife and daughters; gets clean; gets acquainted with God; and in a semi-damaged, heavily tattooed state, leads Texas to the franchise’s first two World Series appearances.

While Texas fans still love Hamilton’s “story of redemption,” ESPN’s Jean-Jacques Taylor noted the other day, Hamilton “has abused that goodwill.” Not by having a bad season: Hamilton hit 43 homers, just one fewer than Miguel Cabrera, and posted a .930 OPS. No, Hamilton abused it by hitting into a first-pitch double-play ball against the Orioles and looking at just eight pitches in four at-bats and, with a frequency that seemed to accelerate when the Rangers needed it least, behaving like a flake.

Before we dive into how Texas fell out of love with Josh Hamilton, I want to be clear that I’m not making fun of Hamilton’s religion. I’m not questioning the events of The Story. What I’m suggesting is that Hamilton has become a prisoner of it.

…It’s not defending Josh Hamilton to say that he became despised this year for many of the things that, in the confines of a redemption narrative, once made him beloved. The Story swallowed the man. Hamilton seems like a reasonably friendly, occasionally defensive guy who is teetering on the edge of sobriety, who is prone to inconvenient bouts of detachment, and who gets hurt a lot. When he goes to his next team, I hope a new story will start there. But I have a sinking feeling that every time he loses a fly ball, Hamilton will again be a prisoner of redemption, trapped in a tale too flawless for any man.

Over at ESPN, here’s Jeff MacGregor on Derek Jeter:

Jeter is our sphinx, as fixed and inscrutable as those marble lions in front of the New York Public Library.

Eighteen seasons, 3,304 hits. Who knows how many starlets. Captain Intangibles in the City of the Damned. To reasonable people from anywhere else, New York is crazy, a bughouse — an asylum, a hive, a slice of 99-cent pizza falling on a pair of $1,600 shoes. It’s bike messengers and violinists, grime and Champagne. It’s a Babel, a bad dream, a siren, a grinding of the teeth. It’s that smell. It’s horse carts and nightclubs and town cars and bridges. It’s Trump and Jay-Z, The Times and the Post, three-card monte and the stock exchange. It’s a Korean bodega in a Greek neighborhood run by 4 guys from Yemen. It’s what America used to be before focus groups got hold of it.

But New York makes sense to New Yorkers. Our cops and firefighters all look and sound like cops and firefighters, and the daily parade up and down the avenue of our actors and junkies and account executives is straight out of central casting. The ballplayers all look like ballplayers and first among them is Derek Jeter. As much a part of the mind’s skyline as the Flatiron or the Waldorf; as much a part of the tri-state subconscious as every car commercial they’ve ever bounced off your skull. Even if you hate baseball, he’s as permanent an impermanence as most New Yorkers can imagine.

The only question is for how long?

[Photo Credit: Bags]

Over at SB Nation’s Longform, here’s Pat Jordan on his days pitching in the minor leagues:

The closest I ever came to pitching a “Big Game” in the minors was in my last minor league season, and it was a “Big Game” only because it was my last game. The year was 1961, and I was pitching for the Palatka in the Class D Florida State League, against the Tampa Tarpons, a farm club for the Cincinnati Reds. I was wild as usual, walking batter after batter, sweating in the merciless August heat, kicking the dirt, cursing myself, my teammates, the umpires, the fans, the opposing batters just standing at the plate, relaxed, grinning even, their bat resting on their shoulder, not even expecting to swing, just waiting out their four balls before they trotted to first base. Their fans cheered my ineptitude at first, but even they got bored with so many walks and runs for their team, the game, for all intents and purposes, already over in the first inning. They began moaning and jeering, pleading with my manager to free everyone from this painful public disgrace, “Take him out, he’s done on both sides.”

The next batter stepped into the batter’s box. I already knew he would be the last batter I would ever face in my aborted career. I glared at him, my final chance to salvage some pride, to go out on my shield on a boat filled with burning straw into that vast sea of an ordinary life that awaited me in Bridgeport, where I expected to work one shit job after another to support my wife and squalling kids; Mason laborer. Soda jerk at a drugstore. Ditch digger on a construction crew. And then, after work, dirty, depressed, and disgusted, I would drink too many beers before I went home to my poor beleaguered wife.

So I decided to plant my fastball in this final batter’s ear; Pete Rose.

Over at Grantland, check out this great piece on the Red Sox by Charlie Pierce:

The franchise needed a year like this. It needed a year like this not just because it was forced to clear out the lumpy deadwood in the clubhouse, though it certainly needed that. It needed a year like this not just because it was a humbling experience that let the air out of the inflated hubris that had been keeping the franchise’s collective ego aloft since the wonderful autumn of 2004, though the franchise certainly needed one of those, too. The franchise needed a year like this because people like me are getting older and we missed the days when being a Red Sox fan wasn’t so much work. The franchise needed a year like this because we kept telling young folks that it wasn’t always like this, that, in fact, things can be much worse than simply piddling away a playoff spot to the Rays in September, that baseball — Red Sox baseball — can be so thoroughly, unremittingly awful that you can stop worrying every game to death long before it’s time to get back to school.

And, yes, it is sometimes possible that good seats indeed will still be available, phony shutout streak or no.

From a strictly baseball sense, this looks like a middling- to long-range rebuilding process. The manager has to go. The farm system is nearly desiccated, and there isn’t enough talent on the roster to contend anytime soon. Neither Jon Lester nor Clay Buchholz looks remotely like a consistent no. 1 starter anymore. Also, it doesn’t look as though life in the American League East is going to get any easier. (Sooner or later, even the Blue Jays will forget to underachieve.) And I don’t want to hear anything about rebuilding that most noxious of all marketing department curses — “The Brand.” Sooner or later, you realize that no matter how many things you can find to commemorate, The Brand is simply whether you win or not. Stop losing, and your Brand is all bright and shiny again.

So, I rather enjoyed the second half of this Red Sox season. I was reminded of all the afternoons I spent with my grandfather, watching lousy baseball while, bit by bit, he drank and smoked himself into the Beyond. Those were good days, and isn’t that what the baseball people tell us the game is all about? Generations, sitting together, watching players bumble and stumble while the old folks teach the young’uns new and exciting curse words? Let Ken Burns set that to banjo music. I’ll be in the Parakeet Bar, waiting for the show to begin.

[Photo Credit: ]

Head on over to Garden and Gun for Pat Jordan’s latest–this one is on Mike Veeck:

“I know a little bit about anger,” Mike Veeck tells me. “I have a passing acquaintance with anger, too,” I reply. We discuss how anger can be an energy source. Some use it in destructive ways. Beat the wife, the kids, the dog; blow planes out of the sky. Some put it to better use. Throw the money changers out of the temple, demand justice for the weak, write a book, pitch a no-hitter, make people laugh. That last one is Mike Veeck’s cause. He’s demented about making people laugh.

Veeck (as in wreck, as the title of his father’s autobiography puts it) is sixty-one, getting round, with eyes like a ferret, a goatee, and dark hair I know he dyes. He has a limp. Once on the fourteenth fairway, a guy in a golf cart reached for a lighter for his cigar and ran over him. Veeck wrote a column about it for the Lowcountry Sun, a monthly paper distributed around Charleston, South Carolina. He published the guy’s name and phone number so people could berate him for breaking Veeck’s leg. Funny, angry, or both?

We’re sitting under a hot noonday sun in the exposed left-field bleachers of Joseph P. Riley, Jr. Park, home of the minor-league Charleston RiverDogs, the single-A affiliate of the New York Yankees of which Veeck is part-owner and president. A groundskeeper manicures the field below. A few kids are tidying up the stadium for a 5:05 p.m. game against the Delmarva Shorebirds. Veeck and I are catching up. We’ve known each other fifteen years but don’t see each other much. He travels a lot, to conventions and conferences, where he makes people laugh.

[Photo Credit: Sully Sullivan]

Another piece from the Jock archives. Here’s Stan Isaacs on Mike Burke.

“Hey Mike Burke…”

Head on over the SB Nation’s Longform page and read Leander Schaerlaecken’s terrific story, “Out of Bounds”, which details the experience of professional soccer player David Testo, who came out of the closet last year and now finds himself unemployed by the game:

In Vancouver a funny thing happened in the locker room. As David got comfortable with himself his teammates became comfortable with him. The less he hid – without ever being openly gay – the more the bubble grew and the easier life got. They stopped asking and he stopped having to pretend.

Midway through 2007, he was traded to the Montreal Impact – still a USL club at the time – in a lop-sided deal for an old favorite of the Whitecaps’ coach. Suddenly finding himself living in a city with the largest gay neighborhood on the continent, he partied like never before and played well when he wasn’t injured. After a few years, his sexuality was an open secret. Everybody on the club knew. Nobody seemed to mind. For the first time, he became close to his teammates. He could talk to them about his boyfriend and find a sympathetic ear. The locker room, to his surprise, became an easier place to be. Rather than pop, the bubbles joined to form a bigger one.

Opponents knew, too, and at first called him every gay slur imaginable. David was furious, but eventually started deflecting their comments, comfortable as he finally was with himself. He’d realized he could fight homophobia on the field by showing himself to be just as much of a man and soccer player as anyone else. He would help his antagonists off the ground after he tackled them. “I saw certain players change their whole perspective,” he says.

This one is a keeper.

[Photo Credit: Jonathan Daniel/Getty Images]

Over at ESPN, Jorge Arangure, Jr. profiles Rafael Soriano. And here is a piece Daniel Barbarisi wrote on Soriano in July.

[Photo Credit: Mike Stobe/Getty Images]

I’m a big fan of Michael Mooney’s writing. Head on over to SB Nation’s Longform and check out his piece on a gaming convention in Dallas called QuakeCon:

The next morning the room was full of similarly bleary-eyed, disheveled, computer-toting young people. There were two lines: the one Chris and his friends were in — which was first-come-first-serve — and the Reserved line, for people who’d paid the extra $50 ahead of time. By lunchtime, both lines twisted back through the winding, Kubrickian hotel hallways and nobody seemed to be moving.

The Anatole is a four-star convention hotel, two separate towers decorated in an oriental theme — not the kind of place you’d expect to see thousands of greasy-faced videogame enthusiasts. While the gamers gathered on the west side of the hotel, there was a Mary Kay convention going on at the other end. On the walls in the wing where QuakeCon was held are large paintings of faceless Chinese masses and various deceased Chinese leaders. There’s an 8-foot Buddha in repose right next to the bar. A glass case near the concierge desk houses wooden figures from the Han Dynasty, which ended in 220 A.D., and glazed pottery from the Tang Dynasty, which ran from 618 to 907. And greeting QuakeCon guests just inside the front door were two immaculate life-size wooden elephants, hand-carved in Thailand from a pair of 12-foot Monkey Pod trees. The elephants were donated by a local real estate developer for the 1984 Republican National Convention, when the Anatole hosted both President Reagan and Vice-President Bush (in opposite towers).

In line, some people were laying down, with a lucky, exhausted few managing to sleep through the all-night rumblings of strangers. Some played drinking games. Two separate groups, hundreds of feet apart in line, were both playing intense games of flip cup — a pastime that requires not only chugging skills, but also post-consumption dexterity. Plenty of people were eating the $15 large pepperoni pizzas Pizza Hut was selling in the parking lot — and when the line got long enough, someone turned a discarded box into a sign reading WAIT-CON. There were lots of blankets, pillows, sleeping bags. A few people brought consoles and televisions and set them up along the walls to help pass the time. Some people did card tricks on top of the over-sized boxes and dollies carrying their computers, while others marched around showing off their matching clan T-shirts. One guy offered strangers passing him “free high-fives.” Another guy argued that, if they were forced to fight by some sort of evil overlord, the Hulk could easily do away with Thor.

Check out this short movie by Pablo Korona.

Head on over to SB Nation and check out the debut of Longform, their site devoted to long form writing.

First up is R. D. Rosen’s story on Al Rosen. Nicely done.

From the Jock magazine archives here’s a good interview:

Odd Couple: Bill Bradley and Calvin HIll

Enjoy.

Over at Grantland, Charlie Pierce lights into the NFL:

ere’s what I think should happen. At the end of this farcical exercise in corporate avarice, and whenever he has determined that his ego has been sufficiently fluffed and his power sufficiently recognized throughout the land, commissioner Roger Goodell should take his entire 2012 salary and split every dime of it up among the players in the National Football League, because they are the ones he’s putting at risk and they are the only ones keeping the NFL from descending into a form of opéra bouffe that would embarrass roller derby. Sunday night, the New England Patriots and the Baltimore Ravens played a preposterously good football game, which the Ravens won, 31-30, on a walk-off field goal by rookie Justin Tucker, in a preposterous context that ended with New England coach Bill Belichick trying to grab the arm of an official as the ref ran off the field.

“I’m not going to comment on that,” Belichick said afterward. “You saw the game. What did we get, 30 penalties called in that game?”

Oh, yeah, the play that ended last night’s game was even worse.

Head on over to Deadspin and check out Alan Siegel’s funny story about Sparky Lyle and the birth of  entrance music for closers:

“The organization probably wasn’t ready for a rock song,” [Marty] Appel said. One of his friends was the son of David Carey, a studio musician who’d toured with Frank Sinatra. Appel described a typical Lyle entrance to the elder Carey and asked for advice. Carey recommended Sir Edgar Elgar’s “Pomp and Circumstance.”

The graduation march—known to ’80s and ’90s WWF fans as dearly departed “Macho Man” Randy Savage’s theme—was the kind of triumphant accompaniment Appel was looking for. And so, 40 years ago, the era of entrance music began.

When Yankees manager Ralph Houk signaled to the bullpen late in games, Appel would use binoculars to determine who was getting into the Datsun. Then, from the press box, he’d call organist Toby Wright’s direct phone line. If Appel said, “It’s Lyle,” Wright would slowly begin playing “Pomp and Circumstance.”

“As soon as the car pulled through the gate, the place started to get it,” Appel said. “It worked almost from day one.”

Head on over to Sports on Earth and check out my Q&A with Mickey Herskowitz about Jock, his short-lived but wonderful magazine.

Here’s Mickey talking about Woody Allen and Paul Simon:

Q: I like the non-sports-writing celebrities you featured in the magazine, like William F. Buckley and Woody Allen.

A: I called Woody Allen’s agent, [Jack] Rollins and [Charles] Joffe. I don’t know whether I talked to Rollins or Joffe. I told him I was running a magazine called Jock and wanted to know if Woody would be available to write a piece about what it was like growing up playing stickball in New York. He said, “I doubt it, but I promise you I’ll mention it to him.” An hour later I got a call from Rollins or Joffe, and he said, “Yeah, Woody would love to do it. He’s doing a play, ‘Play it Again, Sam,’ and does two shows on Sunday. Come between the matinee and the evening performance, bring a photographer and you can get your story and your pictures.”

Q: So it was ghostwritten by you?

A: No. I went there and Woody dictated it to me, it wasn’t ghostwritten. And he said, “What are you doing to do for photographs?” I told him I thought we’d just take a couple of shots of him there in his dressing room. “That doesn’t make any sense,” he said, “not if you’re doing a story on stickball. I know a perfect brownstone about four or five blocks away, let’s go down there.” So about six of us walked down past Eighth Avenue to this brownstone. I had two of my kids with me, they were like 10 and 11, and two of their friends, and they were the rest of the teams. Woody had a stick and a ball, and one of the kids pitched to him and the others played in the field. And that’s where we got the pictures.

Q: All-schoolyard.

A: Now, we did this shoot before the Mets had won the pennant, and after they won I get a call from one of Woody’s managers. He said, “Woody wanted to know if he could ask you a big favor?” I said, “Sure.” “Can you get him four tickets to the World Series?” Honest to God I had to bite my tongue. Are you kidding me? You don’t think that Woody Allen would mean more to the Mets than Mickey Herskowitz from Houston, Texas? For some reason that didn’t occur to him. So I called the Mets PR guy and got him tickets to every home game. Next week I got a handwritten “thank you” note from Woody.

Q: You also had an encounter with Paul Simon, right?

A: I sure did. I was thinking of stories, and it dawned on me that Rollins and Joffe also managed Paul Simon. “The Graduate” had come out, and the song “Mrs. Robinson” was everywhere. So I called up and asked if they thought Paul would be willing to do a story for me on what it was like growing up as a Yankee fan. And Rollins or Joffe said, “Well, I don’t know. I didn’t think Woody would do a story and he did. We’ll ask Paul.” The next day I’m sitting in my office … the secretary put a call through and the voice said, “Mickey?” I said, “Yeah.”

“This is Paul.”

“Paul, who?”

“Paul Simon.”

I was stunned that Paul Simon called. I said: “Paul, jeez, terrific of you to call, and call back so quickly. And to call back yourself. Everybody usually goes through three or four layers of gatekeepers, I’m really impressed.” He said, “Well don’t be. It’s an everyday courtesy.” He talked about what I had pitched and said, “I think it’s a groovy idea and I’d love to do it.” And so I explained what I wanted but also said I’d love it if he could talk about the Joe DiMaggio line, which everyone was so touched by. It took everybody back to nostalgia in their lives.

Q: What did he say about it?

A: He said the line just came to him. He hadn’t had DiMaggio in mind, but his name came to him; he had to have a long enough name to fit the melody. It was funny because he told me that a month or so after the song hit big he was on a TV show with Mickey Mantle and Mantle said, “How come you used DiMaggio’s name in your song and not mine?” Simon said he had to explain to him that it had to do with the melody and not the name.

Q: That’s funny that Mantle asked him. Because he was also a player of Simon’s generation more than DiMaggio.

A: That’s right. Anyhow, we didn’t talk long, maybe about 10 minutes. I was out of things to say. But I was so flattered and grateful for the call, I felt like I had to say something. So I told him that “Mrs. Robinson” was my favorite song. I made it up; it was such a dumb, bulls— thing to say, but I felt I had to say something complimentary to him for calling. There was a pause on the other line. And the next thing he said was: “You didn’t like ‘Bridge Over Troubled Water’?” You talk about the insecurity of an artist?

Q: He was straight, he wasn’t joking?

A: I said, “Oh, no, no, no. ‘Mrs. Robinson’ was my favorite sports song. I love ‘Bridge Over Troubled Waters.’” And the truth is, I didn’t know what he was talking about. I had been hearing it for weeks but didn’t know the name of it.

Here’s more on how Jock came to be.

Bronx Banter: Before we get to Jock magazine, let’s talk about your early career in Houston.

Mickey Herskowitz: I don’t need to exaggerate what a sports-nuts state Texas is. In fact, the most famous line I ever wrote was when one of the Super Bowl’s came here, I tried to explain Houston and one of my stories started, “We never knew how important Religion was in Texas until people started comparing it to high school football.”
And so way back, I was with the Houston Post.

BB: This was before Wells Twombly, right?

MH: Well before Wells, about ten years before he came along and then he was at the Houston Chronicle. The funny thing is I hired Wells to write for Jock and then had to renege when we started running out of money. He was really hurt. I couldn’t tell him that we were going broke at the time so I had to make up some sleazy excuse. Years later, he asked me about it and I told him the truth. So anyway, I was at the Houston Post and a couple of guys came to me and wanted to have a magazine about sports in Texas. This was the year Elvin Hayes was leading the University of Houston to prominence in college basketball. So a couple of advertising guys came to me and they had a little bit of money.

BB: You were a columnist at this time for the Post, right?

MH: I was in my twenties but a columnist.

BB: You’re younger than Dan Jenkins then.

MH: I was the next generation. Blackie [Sherrod], Dan, a wonderful writer in Fort-Worth named Jim Trinkle, Orville Henry in Fayetteville and Dave Campbell in Waco, Dan Cook in San Antonio, a named Jack Gallagher in Houston, those were the top-rated writers in the state as far as sports went. Bud Shrake came a little later. Gary Cartwright came after that. I don’t know if I was their mascot but they all looked after me.

BB: And you grew up in Houston?

MH: I was born there in the late 1930s. I remember Blackie never missing a chance to pay me a compliment. And years later when Dan was at Sports Illustrated he actually referred to me in print as the best baseball writer in America. Dan told me that on Mondays or Tuesdays when the out of state newspapers came into the office there’d be a scramble to get the Houston Post to see what my ledes were on the Astros ballgames. He really told me that. They brought me up there and offered me a job and I reluctantly turned it down because I was doing a TV show and a radio show in Houston along with the column and the money couldn’t match the three jobs I had back home. The three jobs in Houston were probably easier to handle than one in New York because of the cost of living.

BB: This was before Jock?

MH: Yes, and getting back to Jock, I had these advertising guys come to me about doing a magazine about sports in Texas and if it made sense to do something about sports anywhere that’s where you would start. It was called Sport Folio. I didn’t have any literary figures but I had all the top sports writers in Houston and Dallas, Austin. It was a monthly.

BB: Did you model it after Sport magazine?

MH: No. I stayed at the Post, this was a part-time job. Truth is, I modeled it after Esquire, which is what I did with Jock, as well. Sport Folio lasted about a year. Par for the course, ran out of money the second year. Then about a year after that I got a call from Chris Schenkel. Some money people out of Dallas were going to put out a magazine out called Chris Schenkel’s Sport Scene. Chris was the Bob Costas of his day, the go-to-anchor of his time. Did the Olympics forever, a lot of golf, was a terrific football play-by-play announcer, basketball too. SI did a great cover story on him. At one time he was the biggest name in sports broadcasting. He was the anti-Cosell. Totally factual, understated, non-dramatic. And a golden voice. So Chris called and asked if I would commute to Dallas an edit the magazine. And I did. I had Blackie and Jenkins and Steve Perkins who was a fine writer from Dallas and been in New Orleans.

BB: SI would let Jenkins moonlight for you?

MH: I say I had Jenkins, he maybe did one story for me on TCU but he did it under the radar. He wasn’t freelancing for anyone else.

BB: Did you have Gary Cartwright?

MH: No. I want to put this the right way so it doesn’t seem like a criticism but at that time Gary was still young and he was fourth or fifth in line behind Dan, Blackie and Bud Shrake. Thing about Gary is that he just got better and better and he’s still around of course. But we only had four or five big stories per issue so I didn’t have a big line up. Sports Scene was in mind a success because it was really classy. The people who owned it put a lot of money into it. It was glossy. We could go anywhere and write about anything. I covered the Olympics for that magazine in ’68. And what happened was an advertising guy in New York saw Sports Scene. Keep in mind New York magazine had just made a big splash and was a big success. There may have been city magazines at the time but they were small. In Houston, you had one that strong-armed ads for dentists and doctors and lawyers. Had little fashion stories, luncheons.

BB: They were provincial.

MH: Right. They were not for reading. They were beautiful and glossy but no content. New York was the first real city magazine unless I’m overlooking something in Boston of Philadelphia. So this advertising guy saw Sport Scene and compared it to New York, which was showing a profit after three years, which if you know magazines, is rare. You are lucky to show a profit after three years, hell, you are lucky to still be in business after three years. The stock market had had a real go-go run from about ’66-’68 and he thought he could take the model of Sport Folio and Sport Scene and get a Wall Street company to back it. And that’s exactly what we did.

BB: Did you move to New York?

MH: I did. Had an apartment in the same building with the mayor though he didn’t live there. John Lindsay played tennis with Hank Greenburg outside my window on Sundays. I was at Sutton Place. Cost me about $295 a month to park my car and a luxury apartment in Houston at the time cost about $350.

BB: Did the deal happen quickly?

MH: I flew to New York and met with their key sales people. It was like Alice in Wonderland. I’m almost embarrassed. It was so easy because so many people love sports. The only people they invited to the business meeting were the ones that were nuts about sports. Why wouldn’t they want to take this company public? I called coach Paul Bear Bryant, Jimmy Demerit, AJ Foyt, Cosell, Curt Gowdy, that was my role.

BB: You wanted them to invest in the magazine?

MH: No, no, they agreed to be on the board of directors and each got 10,000 shares. They did it as a favor, nobody asked for anything. But it was a marquee lineup. We went public in June of 1969, just as the recession began. In July, the Mets were 9 games out of first place. I came up with the idea for the first cover. It would be 4 or 5 Met players raising the flag on Iwo Jima except it was on the pitcher’s mound. That was on the inaugural issue, must be worth a pretty penny today. Cleon Jones, Tom Seaver, Ed Kranepool and those guys.

BB: This was after the Jets had already won the Super Bowl.

MH: The same year. And the Knicks had lost to the Bullets in the playoffs but they won the championship the following season, in June of 1970.

BB: New York hasn’t seen a banner year like that since.

Stayed tuned. All week,  we’ll be featuring a different article from Jock.

Charlie Pierce visited the Yanks in the Bronx this weekend. Here’s what he found:

If the Yankees rally and do anything in the postseason, when the game really becomes a serious television extravaganza, you might be able to point to this weekend as to when the season really righted itself. It had been building for a while. Injured players — including Saturday’s hero, Nova — are beginning to come back to the lineup. (Andy Pettitte and Brett Gardner are also expected back soon.) All season, the team had looked like the Island of Misfit Cleanup Hitters, a bunch of guys — Eric Chavez? Raul Ibanez? — who’d been big noises elsewhere, but who were manifestly out of place as the spare parts they obviously are in New York. (Part of this has to do with a Yankees farm system gone ragged.) The team had a weird, patchwork personality this year, and only the collapse of every other team in the American League East except Baltimore — most notably, the transformation of the Boston Red Sox into Mystery Zombie Theater — kept New York from serious trouble throughout most of August. But, over the weekend, in his first start since coming off the DL, Nova appeared to solidify their pitching and then, on Sunday, in the process of driving poor Matt Moore around the bend, the Yankees showed a real gift for manufacturing runs on the basepaths.

[Photo Via: Stuff Nobody Cares About]

Bronx Banter Excerpt

Please enjoy this essay by Carlo Rotella, featured in his new collection, Playing in Time: Essays, Profiles, And Other True Stories.

“Bedtime Story”

By Carlo Rotella

I was in a city far from home, working on a magazine story. I spent the day and evening going around asking questions, watching people do what they do, filling up a couple of pocket notebooks. Among other places, I visited the dog pound, a place of grimness even though—or because—the people who worked there seemed gentle and well-intentioned. All those pit bulls, muscled up with nowhere to go, flexing as we walked past on the other side of the bars. They were desperate and accommodating, and they knew that something was wrong. They could smell all the dogs that came before them. Where had they gone?

Around midnight I retired to the dingy motel where I’d been put by the magazine that sent me out to do the story. In an effort to cut down on expenses, its travel offi ce had found me a place where if you wanted to line up some crack or a prostitute all you had to do was hang out for a while in the parking lot. It had been a long day and evening, with drinking at the end of it. The pit bulls were on my mind. I don’t have much use for dogs but I kept coming back to the sight of the animals lined up in their cages, going all rigid and alert and eager to please when visitors came by. They had thought something was going to happen, even if they didn’t know what it might be, but it didn’t happen. Life would go on like that for a while until, I guessed, some were adopted and some were taken out and killed, and then other dogs would take their place, and soon it would be the new dogs’ turn to win the lottery or die.

One thing to do in a dingy motel is to watch dingy TV. There was lots of it—tedious sports shows and talk shows, unfunny comedies, dumbass celebrity updates, bad movies of the ’80s, a charnel house of shitty writing and stale ideas. I ran aground for a while on an offbrand show or movie about the crew of a rocket ship who go around fighting space vampires. The heroes dashed from here to there shouting fakey jargon and toting futuristic weapons that looked like the weapons we have now with nonfunctional molded-plastic appendages glued to them. The vampires glowered, hissed, and suppurated. It kind of ruins the space-opera magic to wonder what the actors’ parents think when they see them on the screen, but that’s what I usually wonder about. The talented darling who starred in school plays and expectant local fantasies back in Elk Grove Village or Mamaroneck or wherever is now wearing fangs and slathered in gory makeup and being blown unconvincingly in half by a plasmoid megablaster. I picture the parents thinking, “Well, at least he is on TV.”

The lameness of it all caught me just right—in that end-of-day, far-from-home, buzzed-from-work mood—and laid me low. Deep gloom descended. I went through the channels a few more times, only growing more despondent, until I happened upon round one of the middleweight title fight between Marvin Hagler and John Mugabi—held 22 years before, almost to the day. Hagler had his hands full, but he knew what to do about it. He was settling in to cope with Mugabi’s strength and power by taking him deep into the fight, wearing him out over the long haul and fi nishing him late. Mugabi, a blowout artist, had gone ten rounds just once and six only twice in his twenty-five fights, all wins. The turning point would come in the sixth round, when Hagler, having blunted the force of Mugabi’s early-round assault, would take over the fight by giving his man a spine-jellying pounding, then settle in to finish him inside the distance, KO’ing him in the eleventh.

All of a sudden I felt a lot better. I turned down the sound and put out the light. On the screen, Goody Petronelli, Hagler’s trainer, radiated calm and ease as he talked to his fighter between rounds. Everything was going to be fine; Petronelli’s every gesture said as much.His main task was to create a recurring pocket of serenity to which Hagler could retreat between hard-fought rounds for rest and reflection. Demonstrating a for-example combination he wanted Hagler to throw, Petronelli moved his own hands as if arranging flowers. Let’s just fix a couple of little mechanical things, he was saying, and it’s your fight. Doesn’t matter how strong the other guy is. Doesn’t matter what he’s done before this or who he’s done it to. We know how to beat him. We know how to beat everybody. Hagler wasn’t exactly looking at his trainer and he didn’t exactly nod, but he heard him. I took off my glasses and put them on the cigarette-stained bedside table, put my head down on the pillow, and was dreamlessly asleep before either fighter struck a blow in the next round.

Reprinted with permission from Playing in Time: Essays, Profiles, and Other True Stories, by Carlo Rotella, published by the University of Chicago Press. © 2012 by The University of Chicago. All rights reserved.

Carlo Rotella is the author of Good with Their Hands: Boxers, Bluesmen, and Other Characters from the Rust Belt; October Cities: The Redevelopment of Urban Literature; and Cut Time: An Education at the Fights, the last also published by the University of Chicago Press. He writes regularly for the New York Times Magazine, Washington Post Magazine, and Boston Globe, and he is a commentator for WGBH FM in Boston.

[Featured Image: Motel Room by Greg Watts]

When I first saw Patrick Hruby’s long piece for ESPN on Doc Ellis I thought to myself: Do we really need another Doc Ellis story? Then I read it and was duly impressed.

Hruby is a talented writer. Check out this story for  Sports on Earth on why he won’t be watching football this year; or this piece on professional video game players, or “Murder By Cricket” which was featured in The Best American Sports Writing 2008. 

Yeah, Hruby is a good one.

[Photo Credit: Ray Stubblebine/AP]

Over at The Classical, Kevin Koczwara has a nice piece on our pal Glenn Stout:

As the series editor of The Best American Sports Writing, Stout’s eyes and opinion are important, and his up or down vote is one that can help advance a career, or not. He doesn’t have final say on what goes into each book, but he has the first say on a story. With each year, Stout’s reading load grows—there are more outlets, more submissions, more worthy stories. He culls those thousands of submissions and passes them on to that year’s guest editor. The edition editor then picks through the smaller batch and selects what he or she likes most; those final stories go into the book. Theirs is the last vote, but Stout’s comes first.

“There’s a certain aspirational sports writing that is being done that is more ‘I’ oriented that I think, rightly or wrongly, has been impacted [by] growing up reading this book,” Stout told me. “And that’s something that could not have been foreseen when this book began. I’m not quite sure how I feel about it. I mean, I love it when the writing works. But when I see the aspirational that doesn’t work then I hope I’m not responsible.”

[Photo Credit: NBC]