Hoops 1 Happens: On Ways of Seeing and Being in Basketball

Hoops 1

Here are the ways of seeing and being in basketball:

I call “Hoops 1” everything that pertains to basketball as a manifestation of integrated human capacities exercised in such a way as to produce beauty and good.

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Where Anything Happens: The Dreams of Moneyball and the Beauty in the Unreasonable

Moneyball tells the apparently simple story of how a failed ex-major leaguer finds redemption and the underfunded team of which he was the general manager finds success by surfing the implacable wave of advanced statistical methods.

As such, it’s an underdog story that’s easy to follow.  Both the general manager, Billy Beane, and his team, the Oakland Athletics, are easy to identify with and support.   Most of us struggle, like the A’s, to make our lives without the privilege of vast wealth or superior natural talent.   Read more

Nasty Infinities: What Sheed Taught Me About Regret and Failure

A win always seems shallow: it is the loss that is so profound and suggests nasty infinities.

—E. M. Forster

It is a moment of loss for me, a moment of frustration, disbelief, sadness, and then numb resignation. Read more

The Art of the Art of the Game

I originally wrote this for the now-defunct audio blog “Voice on the Floor” back in March of 2011. 

I have no course diary post this week. 1) My flight from St. Louis to Detroit on Monday was delayed 6 hours so that I arrived in Ann Arbor at about 3 am on Tuesday morning; 2) Bethlehem Shoals was already in town, waiting for me in his own room at the Red Roof, in pajamas, watching a horror movie; when I arrived 3) the mental, physical, emotional, and spiritual exhaustion of coordinating Shoals’ remarkable visit and lecture left me, through no fault of his, entirely surpassed; 4) the Fab Five documentary and aftermath dominated our class discussion on Tuesday and left me with too many feelings and thoughts to be able to put together coherently, maybe later; 5) the start of March Madness, St. Patrick’s Day, and Spring Weather made Thursday’s class into let’s-watch-the-games-on-the-big-screen SlackFest.

Ergo, no post. I’ll be back on schedule for the course diary next week. So stay tuned. I do, however, have the following reflections on the occasion of reading Leonard Koppett’s classic 1974 book The Essence of the Game is Deception: Thinking About Basketball, wherein I explain why Koppett shows me that basketball is not only the most beautiful, but also the most Nietzschean and vital game of all. Read more

Cultures of Basketball Course Diary, Day 8: Failed Best

Sometimes it just doesn’t drop. Sometimes I’m trying to drive a team of rhesus monkeys harnessed to the wheel-less hulk of an abandoned Hummer. Sometimes I’m the rhesus monkey. Sometimes I’m as tired and heavy as the earth. And sometimes it’s all of these sometimes at the same time. There’s much screeching and hopping around, much frenzied straining, but finally, the motherfucker won’t budge. That was Thursday.

Monkey-typingI hadn’t expected it. We’d had an awesome class Tuesday talking about the Celtics dynasty and the importance of specialization of roles. And I was particularly proud of my title for Thursday’s class—“Close, But No Cigar”—for which I’d assigned FreeDarko’s chapters on Wilt Chamberlain and on Elgin Baylor, Jerry West, and Oscar Robertson. Get it? “Close, But No Cigar” cuz they all came close but they didn’t hardly win any titles and Red Auerbach smoked victory cigars in their faces and they didn’t get to do that. So, I’d thought to myself, great day to put on the table a first go around at the question: what role, if any, should team championships play in our assessment of individual players? A topic, after all, I knew would resurface in relation to Lebron and The Decision.

But there was more to my optimism than just a catchy title and one solid question. We were, for example, arriving at the era of my own living memory. So to our comparisons of myth and history as modes of storytelling we could now begin to layer in personal memory: how does that change the emotional tone and stylistic inflections of our stories of hoops past? Also, the statistical enormity of these players (especially Wilt’s 100 point game and his 50ppg/25rpb season and Oscar’s triple double for a season and over the first five years of his career, but also Baylor and West combining to average 70 a game one season) would allow me to raise the question of comparing players from different eras and by extension different eras, a problem in thought that involves statistics, historical methods, logic, and metaphysics. Finally, the players would be absent (already in Columbus to stake the fragile momentum of their two game win streak against the number one college team in the country) so we’d have smaller numbers, more space, less nerves (on my part), and so obviously a livelier and more focused discussion.

Nuh uh. They were already chattering like monkeys when I walked in the room. Fewer bodies, but much more noise. They were talking about the impending OSU game, then somehow simultaneously about the snowstorm. I’m not sure how they managed but they were all saying at least two different things on at least two different topics at exactly the same instant. I tried to stem the tide—“so today…”—but was swept away, as inconsequential as a leaf on the swirling surface of a flooding river. Or, even when I did manage to complete a sentence and so to set the agenda, they yanked it away and went howling and leaping off, dragging the dismembered carcass of my sentence behind them in the dust.


Finally joining them around the flickering firelight at the mouth of their cave, idiotically and with apparently zero grasp of the vibe in the room, I actually gave them a choice – discussion first or vid clips? – and so provoked a new round of chaotic yelping. “Vid clips! Vid clips!” they chanted in unison, their voices growing unaccountably higher in pitch. So, with my newly found classroom technology chops, I fire up the series of clips I had chosen. First, a Paramount Newsreel announcing the arrival on the scene of 7-1 giant and straight A high school student Wilton Chamberlain, erstwhile bellhop and regular on the summer courts of Kutscher’s Catskills Resort.

Then I turn to Wilt video # 2. This feels precarious given the Lord of the Flies ambience. See, the clip is more of a eulogy and is set to the lilting, longing rhythms of Mazzy Star’s “Fade Into You.” “I wanna hold the hand inside you,” she moans as the video moves lovingly through a Ken Burns still-to-still transitions. “Oh shit,” I’m thinking, “they’ll think I’m in love with Wilt.” I am in love with Wilt, or at least with a set of qualities I sometimes call “Wilt” for short, I say, “Some of the music choices on these is sometimes weird, but I have to admit on this one I found it really moving.” A student, momentarily reassuming human form, says helpfully, “those differences in musical choices say a lot about all the different ways people have of connecting to the game.” I smile at him, and draw a deep breath of relief. “That’s a really good point.” I settle in to be transported by Wilt’s utterly unparalleled combination of strength, size, speed, agility, lightness, grace, and skill. They seem to be soothed as well.

We move on to another clip, newsreel type again, that recounts the rise of the Lakers upon the arrival of, first Elgin Baylor and then Jerry West.

We watch Elgin’s smooth and subtle athleticism and I’m thinking of how spot on Bethlehem Shoals description of Elgin seems: “Don’t watch newsreels of Baylor,” he cautions, “expecting to see him kissing the rim or cradling the ball way up above a sea of defenders. Compared to those who followed in his footsteps, Baylor played a more subtle game, a series of broken dribbles, lateral glides, and exploratory parries that resolved into either a bounding drive or high jumper.” I love this sort of formal analysis: true and attentive to the specific material form in motion that is the game (in this case Baylor), lucid and compact in situating that form in history (those who would follow), and poetic, but economical, in its own right. It’s what criticism – whether literary, artistic, social or otherwise – should be.

Still photo of the Celtics celebrating another title. They suddenly look sinister to me, Now Jerry West appears upon the scene, flawless relaxed jumper, coming off a screen, one hard pound of the ball off the floor to hasten his elevation and the perfect release. But I’m watching the tightened anxiety in the muscles of his face. He doesn’t look like he’s enjoying himself, Maybe he was hurting. Maybe he was worried about falling short, about the monkey on his back.

I move on to the next video, easing a bridge across the moment of dead screen with a laughing observation that the comments on this one are awesome (because the video’s curator, who calls himself “thekobe24and8”, provocatively titles this Oscar montage: “Mr Triple Double: As Good as Jordan and Magic” – but not, I guess, Kobe, which is part of what prompts the comment hysteria). The beats of Jurassic 5’s “The Influence” set in, a couple of still shots and then Oscar, one of my two boyhood heroes (the other is Clyde), appears in full Bucks regalia.

He’s at the elbow with the ball, his back to the basket. O checks over his right shoulder, taking in all the movement on the weakside, including of course the defender who cheats toward him when Oscar dips his shoulder ever so slightly in that direction. Then Oscar reverse pivots on his left foot, facing the basket and jab stepping hard with his right foot at the same time. You can see from the body language that Jim Barnett of the opposing Warriors is already beaten. He is all uncertain tension, on his heels and leaning to O’s right, when O puts the ball on the floor hard with his left hand, steps aross Barnett’s body with his right foot, then elevates high, leaning back, the ball coming up a couple feet above his head for his high release – he’s created at least 3 feet of space between he and Barnett. Barnett recovers, he is a pro after all, but by that time Oscar is already releasing the ball on a high arcing trajectory toward the bottom of the net. If you write off the stats, I think to myself, then you really have to break Oscar’s game down frame by frame because he is so spectacularly unspectacular, so economical. And this I think to myself, this reserve whereby no energy is wasted on the world outside his game seems to express whatever was also being expressed by Oscar’s personality: by turns impossibly shy and sharply grumpy.

That’s fun. Like I said last time, I could videos all day, though today the students don’t seem so much like popcorn buddies as they do three year olds from whose riotous antics I have bought myself a few minutes of relief by popping Barney into the VHS.


But now that’s over and I have to teach. Still drunk, perhaps, from watching Wilt and Oscar, I repeat the mistake I’d made just five minutes before and offer them a choice. I say to them basically what I wrote in paragraphs two and three above. I’m thinking that sometimes you have to let the team run. So I tell them that today’s reading had made me think of three different, but perhaps related topics, that we could explore:

  1. The role of team championships in assessing the careers of individual players
  2. The comparison of players across eras
  3. The relevance of memory.

Where do you guys wanna go I ask?  That was pretty clear, right?  And I think to myself, really there’s nowhere they can go that I don’t want to go.  I mean I love Wilt, as I’ve written about here before.  Not so:   “They said he was a quarter miler.  Do you know how fast Wilt ran the quarter mile?”  I’m as fascinated by Wilt’s athleticism as the next guy, but today I’m more interested in other things.  So I try to respond to it courteously but economically, like Oscar dispatching Barnett with a pivot, a jab, and one dribble: “Fast.” Not good enough. I should never have given them choices.

One kid pulls out the book he’s reading on Wilt’s 100 point night (which gratifies me because he’s enthusasitic and ahead of the game and irritates me because it pulls me in deeper). “49 seconds! 49 seconds!!” everybody seems to shout, but it immediately becomes clear that they are just shouting, like Brick in Anchorman, because nobody really knows whether that’s fast or not. Nor do I care. But I open up my laptop hoping to settle this quickly, two boys have stopped texting in order to locate the world record for the quarter mile, both today (around 43) and back in the late 1950s (around 45). Everybody shouts that Wilt’s time was indeed good! Shout-adding that it was incredible when you consider that he wasn’t really training for the event! My tragically miscalculated reference to Wilt’s desire to box Ali is met with the shouted proposition that we should watch clips of “Shaq Vs.”, which is met with another chorus of hearty shouts!!!


My three topics are now buried deep in a pile of adolescent, internet fueled distraction and coated with a patina of middle-aged fatigue and ennui. I can barely be troubled, but I hold my nose and try to fish an idea out and put it back on the table. It reeks. But I hold it out once more, with a mixture of half-heartedness and impatience. So, I say, speaking of Wilt, how do you think he would fare as a center in today’s game? In the course of the half hour of little listening and loud babbling (my own included) that followed, we managed to establish Wilt’s weight at different points in his career, and to argue about Lebron’s playing weight, and – horribly, in response to my attempt to get at what Wilt meant and means today – to a discussion of his claim to have slept with 20,000 women. I think more smart phones were brought in for research at this point but I really can’t recall because I was in a state of semi-panicked, giggling, disbelief at what my once awesome class had descended to.

The closest we came to actual discussion looked to me more like a large family’s holiday meal: lots of volume and distraction, punctuated by little eddies of partially fragmented focus. In those eddies we did manage to draw close to the edge of insight. They had the unexpected sense to know that even if he wouldn’t score 100 points or average 50 and 25 or maybe even 30 and 15, Wilt would absolutely be a force, if not the top post player in today’s league. And: they showed wisdom in wanting to think about what array of forces had caused such changes in the style of low post play (Though they did not always show acuity in the conclusions they drew).

But we really didn’t get to reflect on what it means to compare players from different eras with one another (even as we were doing it, they really wouldn’t be baited into reflecting on their own thoughts, not today). Nor did we really address the questions of memory and history (though I did force them to listen to my story of having seen Wilt and West’s Lakers play Kareem and O’s Bucks in Madison back in in 1973). And we certainly didn’t say one word about what I most wanted to talk about: the role of team championships in assessing an individual players career.


And I really wanted to talk about it because I despise the position that team championships are or should be a measure of individual greatness in a team sport. I despise it in all its dimwitted, chest-thumping, blockheaded abstracting lack of appreciation for nuance, subtlety, detail, and chance. Not to mention its weak-minded moralizing insistence on the superior value of something it calls “the team” over something it calls “the individual,” only to then trumpet one individual as greater than another on the grounds that the former’s teams won more championships than the latter’s. When someone finds a way rationally to extract and quantify from the swirling whirl of teammates, coaches, organizations, random occurrences on the floor, and injuries one player’s role in winning championships, then I will believe it makes sense to hold a lack of such against individual players.

What’s that? Oh, win shares? You mean that sophisticated and complex measure of what share of his team’s wins a player has contributed? Okay, that’s not championships but I’ll go there just for the sheer delight of pointing out that of the top ten individual seasons for win shares in the history of the NBA, Wilt Chamberlain occupies spots 2, 3, 5, 7, and 9 (Jabbar: spots 1, 4, 6; Jordan: spot 8; and Oscar spot 10). Bill Russell? Oh yeah, spot 42. Wilt Chamberlain is second to Kareem on the career win share list (Russell is 16th). Wilt Chamberlain led the league in win share in 8 of the 14 seasons he was in the league (losing out Jabbar in his 3 final seasons, to West once, Willis Reed once, and Oscar once).

Look, I love statistics, but I have a terrible head for interpreting them. Or rather, my heart is too impatient to wait for my head always to figure out the numbers. But here’s what win shares mean tell me: that after Kareem, the player—we are talking here about statistically measurable contributions—who contributed more wins more consistently, season after season was Wilt Chamberlain. Bill Russell doesn’t really even show up in this discussion. Okay so the Celtics won 11 titles, including eight straight, and Russell was a – maybe even the most — valuable player for his team in that run of titles. But asserting that fact is not the same as demonstrating that he deserves a quantifiable share of credit for those titles and that his total imaginary “title shares” statistic is greater than Wilt’s. But really, what the stats show me, more than anything is that the Celtics teams were grater than the sum of their individual parts and while I think that is to, to some degree, to the credit of the parts, there’s no way to draw certain conclusions about that.

Don’t get me wrong, winning a championship is an impressive and beautiful accomplishment, Winning 11 in 13 years and 9 in a row, as I argued on Day 7, is to me nothing short of a wondrous mystery. But precisely because it is that, no single individual can be given credit for that in any serious comparison of the careers of individual players. The team gets credit for that and I give the Celtics teams of those years credit for being the best teams. And I give Bill Russell credit for being a revolutionary force in the league and for his team, not to mention for being an interesting and appropriately ornery dude off the court. I just cannot see how his team’s titles make him a more valuable individual player than, say, Wilt Chamberlain, who won only two (or for that matter, Oscar Robertson who won only 1). It might be stirring, but it is not good thinking and to call such a position anything other than potentially beautiful mysticism (my appreciation for which I think I amply demonstrated in my Day 7 post) is intellectually dishonest.

But the heretical truth I will here confess is that I hate this position most of all because of the transcendent emphasis it places on winning as a result to be clung to and valued above all else, I appreciate winning as a motive force, a kind of heuristic that brings out your best because you want it. And once it has done that work, I don’t care who wins. It really means very little to me, It is, in other words, what the desire to win—among a complex, dynamic array of other forces—produces on the court that excites me.

So it’s not just because I love Wilt like my own dad. And it’s not just because of the intellectual sloppiness involved in the argument. It’s also because of what the “team titles = individual greatness” position per force denigrates, obscures and makes us forget: the mysterious importance of the delicate relation between team and individual and, even more, the beauty and emotional force of the individual play that didn’t result in or contribute to winning a title, or even a game. Because, finally that is what basketball mostly consists of: plays that didn’t directly result in victories, let alone titles, let alone dynasties.


When I first learned to meditate I was told to take my shoes off mindfully because 99 % of life entails things like taking your shoes off. It stands to reason that, if you believe that mindfulness can be good for you, then you wouldn’t rope it off and confine it to the 1 % of your life spent seated on a cushion in a temple in front of a teacher. You’d want to experience the effects of mindfulness immanently, distributed throughout your life.

I say, similarly, don’t reduce the mysterious, complex beauty and excellence of basketball to the outcome of a poorly disguised shouting match about the number of rings your boy has. Don’t hate the individual player or play, don’t hate the “failure,” and don’t hate the everyday. It’s like hating a sudden, summer thundershower for not being the ocean (or vice versa) and forgetting that their differences are riveting partly because they are part of the same system, bearing the same elements.

Because the beauty of the game is happening all around, all the time, and not just in the role Russell played in helping the Celtics to run the table all those years. Not just in Jordan’s fist pumps. And also not just, I hasten to add, in the force of nature and ability and intelligence that was Wilt Chamberlain, much as I love him. Not just in the improvisational athleticism of Elgin Baylor, in the fraught excellence of West’s jumpers, or in the guarded economy of Oscar’s breathtaking, all around efficiency.

But even if “not just” in these places, the beauty of it does lie in them, which may be why I am so appreciative of the writing that Shoals has done in these chapters to evoke the feelings I get (and that I in turn tried to share with my descriptions above) watching these players on video, that I got watching them play as a boy.  Shoals seems to understand this.   I think, though I may be wrong, that it’s why Shoals ends his stirring chapter on Wilt as the Nuclear Option, with Russell’s own words upon hearing of his friends’ death:  “Today, I am unspeakably injured”; or why he exhorts us to consider “how great Baylor was on his own terms.”  Shoals also reminds me that, to some degree (unless I’m reading Bill Simmons), I am myself battling a straw man here because if, as he writes, “These were the days of the greatest team effort ever,” then it is also true that “it was also the age when, as they say in the pictures, a star really was a star.”

The beauty and emotional force of the game lies in the –forget it, I don’t know where it lies. Not yet anyway. Maybe not ever. I just know that if that beauty and emotional force is equated with excellence and excellence is in turn reduced to winning championships then most of basketball is a waste and the varied landscape of my own memories and passions in the game leveled to a deserted, wasteland because no more than a handful—and not even the best ones—involve championships.

It doesn’t mean that I don’t get excited when my teams win, or when players I love play on teams that win, I do. And I get bummed out losing and when my teams and players lose. But really, not that much. Because, for me, those wins and losses will never be the ultimate measure of those players. At most those wins and losses I appreciate for the motivating force they exert upon my players to be more intelligent, more creative, more inventive, more memorably, and more stirring. For me, those players—every player, every play—will be measured for me by the emotional force it stirs in me and the depth of the track they leave in my memory.Most of what I love in basketball—most of basketball—can be said to happen under the banner of the following quotation from Samuel Beckett: “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”


Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.


Day 6: Style and the Nature of the Universe

I suppose there’s all kind of funny things I could pull out today if I really felt like dipping into the subterranean spring of neurotic patter. And I kind of wish I did feel like it because maybe that’s really why you’re reading, maybe that’s the style with which I’ve become identified. But I really don’t feel like it because the reading for Thursday’s class and the discussion we had of it just sprang too many interesting ideas that I wanted and want to pursue. I’m thinking about the emergence of the “individual” as a notion in hoops history; about the connection between this and style and between style of play and style of thought,  and all of that with atoms and the nature of the self.   The superb short essay by Bethlehem Shoals on George Mikan in FreeDarko Presents the Undisputed History of Pro Basketball dropped my jaw and prompted these avenues of inquiry and many more before, during, and after Thursday’s class. We didn’t resolve them, nobody could, but I think we had some interesting and illuminating thoughts – and a good time – in the course of discussing them.

Let me start with the facts, because part of the excitement that the Mikan chapter generated for me stemmed from Shoals’ creativity in combining bare facts with a few abstract notions in order to make a speculative, but very convincing, and grounded, historical argument. The point here isn’t just to ladle praise on the essay. It’s also to suggest a parallel between the art of an argument and the art, say, of a pass or of a jumper, of a drive, a rebound, or a finish, and even of a defensive sequence.

I’ll come back to that. But this is how I proceeded in class: by telling them that we were going to begin by pulling facts from the text, then reconstructing the logic of Shoals’ argument, and then opening up some questions for discussion. Parts 1 and 2 might only have been fun for me, but I only cared a little bit that they might have been bored, because I love looking under the hood to see what makes it roar and because I am determined that over the course of the semester they come to see that every story about the game is created, from raw materials and with certain ends in mind. And what is true about stories about the game will also be true about stories about themselves and the world they live in.

So the facts that Shoals draws upon in his chapter are pretty much as follows:

  1. Prior to 1949, professional basketball games often varied in length and were played on courts of varying dimensions;
  2. In 1949, when the NBL and the BAA merged to form the NBA, uniformity of court dimensions and game and quarter lengths was established;
  3. George Mikan, the NBA’s first highly skilled big man at 6-10, led the NBA in scoring in its first two seasons (1949-1950; 1950-1951) while playing for the Minneapolis Lakers, who won 4 of the first 5 NBA championships;
  4. 1950: Racial integration begins in NBA;
  5. 1951: the league widened the foul-lane (to which the 3 second rule is attached);
  6. the tactic of offensive stalling (e.g. Fort Wayne defeated Minneapolis 19-18 in November of 1950) grew more widespread;
  7. the NBA introduced the 24 second shot clock in the 1954-1955 season;
  8. in 1954 6-9 Bob Pettit, star center at LSU, entered the NBA, and became a superstar, high scoring, high rebounding forward for the Hawks (Milwaukee, then St. Louis), one of only two teams other than Boston to win an NBA title between 1956 and 1969, until his retirement, while still among the league’s top scorers and rebounders, in 1965.

The students pretty competently pulled these facts from the chapter. And I think it was pretty clear to them that the facts made up a sort of Wikipedia timeline of the first few years of NBA history.

But what I found so thrilling in Shoals’ essay was not that he preserves these facts and links them into a historical narrative, which is the least you can expect from a competent history book. What sets this apart and – in my view sets Free Darko’s history apart form other NBA histories out there – is that even as Shoals weaves these facts into a historical narrative he adds meaning to them by simultaneously recasting that narrative in terms of certain fundamental philosophical terms — in this case, time, space, individuality or subjectivity, and modernity—which carry relevance, obviously, well beyond the game.

Now maybe nobody cares about this but academic dweebs like me, but everyone should care about it because, in the first place, it’s the sort of thinking that makes it possible, say, to even conceive of a course like “cultures of basketball”, to try to understand ourselves and our world a little better by way of the game. And in the second place, because what Shoals is thereby able to lay bare and to mobilize is exactly that which allows for fans to invest in the game as strongly as they do; allows, in other words, for the sort of enjoyable class poll I wrote about earlier in the week.

So, with that in mind, here is a skeletal presentation of the main assertions in Shoals’ argument, as best I could extract them from the fluid prose and with the “bare fact” words in bold:

  1. Time and space were unstable in early pro history
  2. The NBA (i.e. strong institutional culture) stabilized them through rules standardization
  3. Mikan’s size and ability destabilized space and (indirectly via the tactical stalling that he provoked) distorted time, both of which facts implicitly acknowledge Mikan as an individual, the first in NBA history.
  4. The unpopularity of stalling and competition with the college (then rocked on its heels by gambling scandals) leads to the introduction of the shot clock.
  5. The shot clock speeds time and opens space and increases the opportunity for, and indeed places a premium on, contingent individual decision-making, which reinforces, in other words, the notion of the player as unique individual ushered in by Mikan’s uniqueness as a player.
  6. “What made basketball modern was the notion that players and play itself were anything but uniform. This assertion of subjectivity opened up a host of possibilities; the parameters of action could now be manipulated and not merely accepted.”
  7. This scenario is exploited or let us say emblematized by Bob Pettit who, in shifting positions from center to forward, changes space (big man moves outside and faces basket) and changes time (big man away from the basket moves more quickly). But also, with a greater and more diversified skill set than Mikan, Pettit increases the range of individual decisions available to him.
  8. Pettit – a threat as rebounder, scorer, and ball-handler — was the forerunner of, and superceded by, a heterogeneous series of African-American players who will begin to enter the league in the wake of integration (e.g. Bill Russell 1956, Elgin Baylor 1958, Wilt Chamberlain 1959, Oscar Robertson 1960 and, I might add, Connie Hawkins, who would have entered in 1962, had he not been unjustly blackballed).

Please notice that you can see the original list of facts, still laid out, with one exception, in the correct chronological order in Shoals argument. But also notice that the facts have been embedded in the setting of a philosophically rich reflection on the variable and subjective experience of time and space and how that experience generates the category of the “individual ball player”; a category, it should be obvious enough, around which nearly all contemporary basketball culture turns (and before you tell me that it’s only the pro game’s culture that turns on the individual, let me just say this to you: Jimmer Fredette, Maya Moore, Austin Rivers).

So here is the first point to emphasize: that these notions of style and individuality are historical. They weren’t with us since forever – not in basketball and not in the world outside of basketball. They came into being, invented in a way to designate and also to hasten an as yet unnamed experience that human beings were beginning to have and to reflect upon: which is that they were not simply cogs in some institutional machine (be that machine the Roman Catholic church in the middle ages or the Game of Basketball). And this is one of the hallmarks of modern culture, whenever it has declared itself: a sense of individuality and with it an accompanying sense of freedom and possibility.

But wait, there’s more: Shoals’ essay can be seen as subtly – perhaps unintentionally self-referential. In other words, Shoals’ argument about the emergence of the notion of the individual in pro basketball history itself partakes of the very elements that allowed for that emergence in the first place. What? Bear with me. It may be kind of loosy-goosey, but I think it’s kinda cool.

Any given fact is analogous to a fundamental of the game such as a pass, shot, dribble, rebound, or defensive maneuver. Facts strung together into a historical chronology are like an ordinary play: rebound leads to pass leads to dribble leads to defense leads to pass leads to lay up. And facts strung together into a historical chronology and imbued with philosophical meaning are like a play suffused with functionally unnecessary uniqueness and individuality, which is to say, with style.

Please indulge the anachronisms in the following fantasy: Connie Hawkins snatches a defensive rebound in one hand, sweeps the defense aside with a menacing swing of his elbow, and fires a one-handed outlet pass to Magic Johnson just before mid-court. Magic gathers the pass with his right hand and turns forward in one motion, only to confront crafty Larry Bird who is waiting to take a charge, but Magic pulls the ball behind his back and puts it on the floor with his left hand, just turning and edging past Bird. Magic dribbles once more with his left, and looks at Julius Erving racing ahead of him on the left. This look momentarily freezes defender Bruce Bowen who had begun to approach Magic near the top of the circle and Ben Wallace under the basket who hedges slightly toward Erving. Magic alone spots a trailing Blake Griffin streaking in from the right, throws a left-handed bounce pass behind his back that catches Blake in stride as he lifts off the floor. Bowen meanwhile surreptitiously grabs Magic’s jersey and pulls him into him, flopping backward with Magic on top of him, hoping to draw the late charging call. Griffin pulls his arm back to throw down a vicious tomahawk slam even as Ben Wallace leaps to meet him and even gets a hand on it. But Blake’s momentum is too much even for Ben and Griffin powers the ball through the net.

See what I mean? That play still had a rebound – a pass – a dribble – some defense – another pass – and a shot. But this play was, well, amazing! In other words, this is what makes us care, makes us come up with lists of most loved and most hated. And, by the way, if you hate this sort of play, then know that you are really just expressing a preference for a different style: one that is plain and unadorned. I don’t dig that so much, but it’s okay if you do. You can tell your own story with a rebound, pass, dribble, defense, pass, and shot. It might come out different. Just don’t come telling me that you hate style and that you don’t watch the game for style. My students themselves made that point.

But then, that is also the case for facts and narratives. In other words a “bare fact” is just an interpretation of reality that conforms so completely to our conventional standards of plausibility and presentation that we don’t see the interpretation. So, “the NBA was formed in 1949.” Seems like a bare fact. But in stating it we have already selected from the inchoate material of pure experience several points of emphasis: “NBA” “formation” “1949”. And that selection process entails assignment of value and meaningfulness. No problem, nothing to get alarmed about. There are still facts and there is still truth and falsehood. It’s just that they can’t be separated from interpretation and therefore from particular individuals doing the interpreting and therefore from their agendas. This was the second point I wanted to emphasize.

What we explored next, in a stumbling, sleepy groping in the dark for the bathroom doorknob sort of way (through no fault of theirs), was how it is that we infer personality from the individual style with which a player executes the fundamentals on the court. In class, we spent some time talking about the kinds of things that players do off the court, or between plays, from which we draw some sense of their personalities, like Shaq winking to the camera after a basket.

But as I kept pushing, one student – who grew up in Indiana admiring Reggie Miller – said he felt that Reggie Miller’s playing style indicated he was “hyper” as a person. Now, nowhere has this kind of stylistic analysis been done better than in FreeDarko’s first offering: the Macrophenomenal Pro Basketball Almanac. But we did our own poor man’s version in class by comparing the kinetic chaos of Reggie’s three point jumper with the fluid economy of Ray Allen’s. Both deadly three point shooters, but they look different shooting them and from this we might infer a hyper, expressive personality for Reggie Miller and a kind of quiet humility to Ray Allen. At some point, of course, we encounter some sliver of their personalities in other settings and these we weave into our interpretations of their game, or vice-versa. As I say, get the Almanac if you want to see the pros do this right.

But the really important thing is that in inferring a personality from a style we are mistaking cause and effect. We think that Reggie’s hyper personality causes or is expressed through the style of his jump shot. But in fact there is first the style that we see and then the ex post facto construction of something we call his personality, which we then posit as a cause or source of the style.

For my money, beyond the amusement and illumination, the true philosophical profundity (which is to say basketball wisdom) of the Almanac is that FreeDarko intentionally or not — seems to express this in the epithets for each individual pkayer that form the subtitles for the chapters. Tim Duncan isn’t important as a name or as an individual with a personality. He’s important as the site of convergence and combination for a number of discrete stylistic components that can be viewed together as comprising something called “mechanical gothic.” The proper name is just a convenient shorthand that we are used to using, but it doesn’t designate the source of anything.

The dazzling, late Italian novelist Italo Calvino once noted that the Roman poet Lucretius (c. 100 – c. 55 B.C.), in his remarkable The Nature of the Universe saw letters as “atoms in continual motion, creating the most diverse words and sounds by means of their permutations” so that “in the combinatoria of the alphabet” Lucretius “saw a model of the impalpable atomic structure of matter.” Calvino went on to muse that perhaps what we call a self is nothing but a “combination of experiences, information, books we have read, things imagined? Each life is an encyclopedia, a library, an inventory of objects, a series of styles, and everything can be constantly shuffled and reordered in every way conceivable.”

Isn’t this already suggested by the “Periodic Table of Style” with which the almanac begins? I mean isn’t it already clear there that the individuals that follow, rather than being the origins of style, are rather the effects of particular combinations of style elements? Just as we ourselves are, physically and spiritually, the combination of elements that existed long before our selves and will persist long after we have faded into oblivion.

Indeed in “seeing” certain styles, we are ourselves engaged in an invention that is every bit as stylized. My story above about Connie, Magic, and Blake successful fast break (over Larry, Bown, and Ben) says as much about the stylistic elements of which I am composed as it does about any of those actual players (and it would be no different if I were describing a play that actually existed). In fact, the best basketball culture, to my mind, knows that it is itself part of the thing it is describing, and finds the sweet spot between the stupidity of thinking itself to be objectively about the game and the precious narcissism of describing its own image in the mirror. The best of basketball culture knows its own freedom. Or, in other words, has style.

Go to Go Yago! to read these Spring Break reflections on style and basketball writing,

go back to read about the myth and reality of amateurism in basketball


Go on to enjoy the baffling greatness of the old Celtics.

Day 7: The Age of Wonder

I can hardly believe — let alone comprehend — what is happening, my good fortune and bliss. I’m teaching classes I love, more people are reading this than have read everything I’ve written in academia over the last twenty years combined (not saying a lot, I know, but still), I’m making new friends, learning new things. Life is opening. There’s a book for kids I have really loved for a long time, called His Dark Materials by Phillip Pullman. In it the protagonist, young Lyra on the cusp of puberty, has an idea and she is so excited by it that she tries not to think of it, as though, we are told, it were a soap bubble that has landed in her unexpecting palm. She wants to grasp it and preserve it but she’s afraid to break it and it is so beautiful. This is the day, as the snow falls thickly, the wind whips up a veil, and the temperature plummets, for contemplating mysteries and being at rest.

It didn’t start out this way. It started out with me trying with my right hand to foil a young gun’s hard cross, on the hard court in the Lou, hearing a loud crack, and lamely trying to stay on the floor before realizing that something was wrong with my right hand. It was broken. I am right handed. I shoot right handed, but I can work on my left. I use it to type, but I can peck away decently even with the splint. But I think exclusively with my right hand: as in, my right hand, a pen and a piece of paper. It’s always the same kind of battle, one whose outcome is preordained but it plays out anyway as though it weren’t. My right hand starts out writing down words in an orderly, outline fashion. But disorder makes some initial incursions and pretty soon that controlling right hand quickly gives way: scratching things out, writing new words in different sizes, some all caps, arrows in several directions that connect boxes and circles I’ve drawn around other words.

Don’t get me wrong: I love and aspire to orderly thought. I’m not one of those loopy, whimsical humanists who fetishize messiness, absent-mindedness and other equally morally suspect forms of lassitude and indolence. And I like to imagine that I get there my share of the time as a teacher, thinker and writer. But I confess I rarely get there via the straight road. So I regularly console myself for this by recalling and aggressively reminding others of William Blake’s line (cast as a “Proverb from Hell”, of which he is a partisan): “improvement makes straight roads, but crooked roads without improvement are the roads of genius.” I don’t know about that. I do know I’m no genius. But it makes me feel better about my thought process.

Now, without my right hand I have to think and prep class with a computer keyboard and it just doesn’t work so well. I feel pushed into lines and outlines and boundary lines and I get anxious about what bubbles I might be squashing without knowing it, about the paths I’ve left behind. All of which left me prepared for class in the sense that I had a printed out, orderly outline and unprepared for class in the sense that I had a printed out, orderly outline.

On the other and, as a kid I always felt jealous of the bratty stupid narcissists who floated through a school day with a cast on some foolishly incurred injury, beaming as the entire school neglected me in order to sign their arms or legs or whatever. I don’t have a real cast (curse the reasonable orthopedist – if I’m gonna live in this insane country with its insane health care system I at least want my share of insurance-covered, unnecessary medical procedures). Still, I prayed that my injury, suffered playing crafty man-to-man defense in a pick-up game would score me sympathy with the players and hasten our bonding process. Just for good measure, I posted on our class Facebook page an announcement of the injury together with a plea for sympathy.

All of this combined with the anticipated blizzard and the beginning of our new course unit – dealing with the long decade of the 60s and which I had named, with deliberate irony, “The Golden Era” – to have me especially wired as I entered the classroom. Adopting FreeDarko‘s periodizing schema, the four days of the unit would cover the period from 1957-1969.  FreeDarko’s history calls its chapter on the period, written by Bethlehem Shoals and illustrated by Jacob Weinstein, “They Walked This Earth.”  And that title is where I wanted to begin.  But it’s not where I did begin.

Instead, an image got stuck in my mind.  I was remembering that Cynthia Bailey, the chronic runaway bride on The Real Housewives of Atlanta, gets married under a dinosaur skeleton in a natural history museum in the season finale.  As I watched, my mind didn’t know where to go: will she runaway again? the disgusting Kim snarks and snarls from the sidelines, the event seems tacky, the dinosaur is so so so enormous, dwarfing her groom who waits nervously until he sees Cynthia appear at the top of the spiral staircase and says, tears in his eyes, “oh my god”.   And with that, they sparklike shoot the gap between the petty petty pettiness of the human and the mythical grandeur of the dinosaurs.  Maybe that’s where we are in class in this unit: dwarfed by grandeur and trying to find a way to reach.  But I can’t talk about that in class, not at the beginning of class, and yet my mind is utterly trapped in the image, tires spinning on ice, burning themselves out.

I abruptly switch to show them a series of clips. It’s important to me to do this, but not for the right reasons. I’m hot again, I mean sweaty, and I haven’t gotten this computer projector hookup to work in two previous attempts and it’s weighing on me. Preformance anxiety. I desperately want to watch clips with them. I am sure that I will be cool if I can make this work and we can all munch popcorn and laugh knowingly – all insiders, all initiates – at the moving images, and the short shorts, and the dramatic voice-over narrations I have to get over this.

So before anything else happens I have hooked things up (having already cleared by Desktop and my Chrome of anything that I can antasize might be embarrassing to me) and behold! It works. So we watch Cousy, and the Celtics dynasty, and Russell in college. It’s good because the clips stir them up: goofy shorts sure, but damn Cousy had a handle (though what’s with the no left running out the clock in the finals) and Russ put up the first no fly zone. And then, drunk with success, we watch the Mikan videos I tried and failed to show last week. Uh oh, I forgot, one of them is set to “I can’t make you love me.” They are laughing – at me? with me?  I don’t know. “I can’t make you love me” I think to myself pathetically, “Exactly!”  The way of those thoughts lies middle school angst. So I just burrow into the flickering pictures, and I am happy in the cocoon of darkness and basketball images. I could do this all day.The pictures end. Lights snap back on. I squint and stifle a groan. The spell is broken. Awkward transition, how do I steer this ship back? It occurs to me: I am in this moment navigating another passage among the fjords that run between myth and history; the obscurity of aesthetic enjoyment, silently mesmerized by black and white video clips and the glaring bright lights of the classroom where learning and, yes, illumination should occur.  I don’t know how to make this move gracefully so I just blast the ship toward the light of learning, dreading the silence, loathing teaching and the way I teach.“They walked this earth” I drone, turning my back to clumsily write on the board. “Who?” I asked, turning back dramatically.  Or rather, “Of whom do we say ‘they walked this earth’? What is the meaning of this?” One student says: “They were unreal, not human.” “Like aliens?” I ask, cleverly being funny while trying to get provoke him to be more specific in elaborating his thoughts. “No,” he says, rejecting my obvious ploy, “I’m not saying they were aliens,” “Okay, what then?” “Dinosaurs,” someone calls out. “Okay,” I say and scrawl “dinosaurs” furiously on the whiteboard.–(We interrupt this program for an unscheduled rant: Why whiteboards?! What was wrong with blackboards and chalk?! What is this place, Trump Tower or a university classroom? There are rarely markers, when there are they rarely work, and the palimpsistic traces of the previous idiots who wrote on it with a Sharpie are always visible and distracting so that the whole board starts to look like the taped up floor of a middle school gymnasium. That concludes our rant. We now return you to our regularly scheduled programming.)–“Or Greek gods,” someone else shouts out. Yes! Titans? Yes! And with dinosaurs or, especially, gods or titans (or Monstars as another student says) in mind, I point out, we are in a special zone of story telling.

It’s not exactly history anymore, not by our modern scientific standards. Myths are the histories we invent, I remind them, to explain how something works that is mysterious, or how something came into being whose origin we cannot fathom.  In that way, myth is a rope bridge spanning the gap between our finite capacities for knowledge and the infinite scope of the cosmos.  Where we cannot know with certainty, I think, we can at least invent and narrate with wonder.  FD, I suggest, may be telling us — in the midst of the undisputed guide to pro basketball history, indeed just a couple of pages after the appearance of Mikan prompted the declaration “let history begin in earnest” – that we are approximating the realm of the mythical.  Really, I’m still watching the wedding under the dinosaur, but now somehow it makes sense to me and so that banal image can coexist peacefully cozied up to the discussion that I can feel is going to be good.  I am dizzied by how often this whole process seems to work itself out.

Another abrupt transition.  I don’t want to lose them by belaboring the point with my desperate desire to be understood.  “What jumped out at you as you read about the Celtics and Russell?”  They’re ready, in a rush ideas tumble out (I’m so proud of them, momentarily projecting into them my own difficulty speaking out in class and feeling grateful and satisfied that in my class they seem unrestrained). These are just a few of the things they noticed:

  1. how many future Hall of Famers they had
  2. the fast break as an invention
  3. how dominating they were
  4. specialization of roles and the pride of players in their roles
  5. how many of their players were also great all around athletes
  6. Auerbach’s selective berating of Heinshohn out of a sensitivity to both racial issues and the personalities of his players

My mind races pushed from behind by their ideas, pushed toward the thinking I can do when my hand isn’t broken and I can use my pen and paper, I write on the stupid white board with the marker I inadvertently stole from Webster University during my stint as an adjunct last year (because the Michigan marker really doesn’t work).  My wrist cramps (I should have had one of them be my secretary – a player – they would’ve loved that as I loved as a child when one of the nuns called me to the board, or let me turn the film strip, or clap the erasers after school), but I write on. I don’t know where this will go, but I let go, I trust. This is mystery.

Those last two points they made are actually drawn from the margins of the text.  Readers of the Undisputed Guide will know that the authors have sprinkled marginalia throughout the book.  Most often, these marginal comments offer specific anecdotes or seemingly trivial facts related to the main subject of the chapter (though I would argue that part of what this book aims to accomplish is to challenge the traditional, hierarchical distinction between significant and trivial).  This is the first time in class that I can remember a student drawing upon the marginalia.

So it puts me in mind of one of the general points I want to drive home about FreeDarko’s history and why I picked it. I tell them that I chose the book as much for how it tells the story as for the facts of the story it tells. And part of that, I say, involves layout and the multi-dimensional nature of the text, with its marginalia, its charts, and its illustrations. For example, I say, look at the picture here of the Celtics (click on the image of the book’s cover to get to the full excerpt, then click on the thumbnail image at the bottom center to get to the two page illustration).

I’ll come back to the picture again in detail, but for now just notice that the book is aware and subtly communicates its awareness that it is a telling a story, a version of history.   We see this already in the title of the book itself with its ironically overstated claim to authority, simultaneously tacitly admitting the possibility of dispute.  And we have seen it, as I tried on Day 2 to draw out, in the multiple narrative models through which the story of Naismith’s invention is narrated.  FD knows, in other words, that in the dialectic of enlightenment (look it up): the line between myth and history is nowhere near as fast and bold as we who believe ourselves to be beyond myth would like to believe.

Now I want to pick up on the link between points 1, 3, and 5.  In other words, I’m interested in what at first glance what appears to be an equation; a formula for sucess: Hall of Fame talent + athletic ability + specialization of roles = Celtic domination (or, parenthetically, a similar equation that would have perhaps generated a different route to similar conclusions: Mikan + shot clock + racial integration = Celtic domination).  Shoals, I say, reading aloud, tells us that “Red’s way speaks directly to the sphinxlike riddle of basketball: How do individual and team coexist in a way that makes the most of both?  Auerbach’s intermingling of player and team identity is perhaps his greatest insight.”

I stop there.  This is perfect.  Not because that is Shoals’ final thought, but because it is not his final thought and yet he lets it stand — a full sentence — as a complete thought in itself.  And it’s perfect because as a complete thought it appears to echo the formulaic assertion I offered above.  The Celtics dominated because great individual talent was specialized and skillfully blended into a whole that was greater than the sum of its parts.  It’s gonna get more complicated in a minute, but for now, as in class let’s just look at that.

How, I ask them, does Auerbach actually solve this riddle?  For the moment, in class, I deliberately ignore that Shoals never said he solves it (only that he “speaks directly to it” and that this was his “greatest insight”) because I feel that part of the beautiful subtlety of the argument here lies in that the rhythm of Shoals’ argument, the word riddle, the image of the Sphinx and the historical facts of Celtics domination conspire to allow us to believe for just a split second that the riddle has been solved, and this heightens the effect when, a moment later, Shoals then asserts that it’s not the case, or at least not the case in any way that could be explained.  But I’ll come back to that point and elaborate it in a moment, as I did in class.

Returning to the question I asked — how did Auerbach solve the riddle of basketball — we muddled around and got lost quite a bit (crooked roads and all that).  I don’t think I can reconstruct that muddle nor, especially the energy that it somehow managed to generate in the room.  But, briefly and in all its inchoate glory:

  • broad initial agreement that it can’t be done today because of money and the marketing of individual players;
  • Why not?
  • A whole generation grown up thinking the point is to get to the NBA and get your own.
  • But what about today’s Celtics someone says, or the Spurs? some people ask?
  • Well, they have accepted their roles.
  • Okay, but what makes someone accept and even feel pride, as Shoals emphasizes of the Celtics of yore, in their specialized and therefore necessarily limited role, especially when that someone, at some previous level of competition was used to being the star?
  • players get convinced that it will be worth it to them to accept a role
  • but how exactly? what convinces them, especially given all the reasons you’ve given for why it’s not in their interests?
  • Winning
Perfect!  There it is:  a student, who is also a role player, says that it’s a lot easier to accept a role when the team is winning,  But wait a minute, I say, didn’t we start out by saying that the Celtics were dominant because players accepted their roles?   A paradox: the dream teaching moment for a humanities professor with my inclinations! Y’all told me the Celtics won because people accepted their roles and you’re telling me they accepted their roles because they won. What?!
But in this case, I let the momentum of the discussion roll along a bit more, even though we weren’t, of course, going to solve that paradox because it can’t be solved and that is the point I wanted to get to, and the point, I think, that Shoals drives at when he follows up his assertion about Red and the Sphinx with the statement:  “And, at the same time, it’s a nonanswer.  That might explain why, to this day, no team has managed to replicate either Red’s methods or the run of success they yielded.” I think this justly characterized “nonanswer” to what is properly a paradoxical riddle is in some way conveyed by Jacob Weinstein’s arresting image of the Celtics as a trophy machine.
Now ordinarily a machine is the very emblem of rational interconnection of parts and forces for maximum efficiency.  And Weinstein’s image at first glance conveys that perfectly.  Recognizable players are shown in poses reminiscent of or evocative of the specialized roles we associated with them and out the bottom right a steady stream of trophies parades past the cigar-smoking Red Auerbach.  At first glance it seems to reinforce the idea that Red solved a riddle and that if we analyzed it sufficiently we could make a similar machine and even reproduce the results.  At first glance.
Now, I’m neither artist nor engineer so I might be badly misreading the image (if I am, please don’t tell me and ruin the mystery), but when I look at the image more closely I start to feel some confusion about how the individual players and their actions are causally related in such a way as to lead to the trophies.   Like I say, I could be missing something, but look at it closely and try to map out the relational chain of causes and effects for each player’s action within the works of the machine.  When I do that, I quickly wind up with a non-linear mess.  So I choose to see in this image an echo of the point I think Shoals arrives at in his essay, and that we arrived at in our clumsy — mysterious way — in class discussion.
Namely, isn’t “the Celtics mystique,” for all that it can appear through knowing eyes as a banal cliche in sports history, really a phrase that mutely points toward a deeper truth?  The truth, I mean, that there is mystery and that perhaps some mysteries cannot be unraveled by the science of history and so are better approached through the art of myth, which makes of their unapproachability an object of beauty and enjoyment and quickening wonder that, in turn, becomes our way to bring the mystery closer and even to commune with it.
I’m no expert in these things, but I believe that the words mystique and mystery, as words, both trace their derivations back to ancient Greek mystery cults, which were secret religious rites (not to be spoken of) that permitted the initiated (which is what the original Greek root actually refers to) more emotional religious experiences than the more common acts of public propitiation.  Mystery and mystique, this leads me to think, are the names for what makes us feel that we are in on something special, something affecting and spiritually deepening but which it is hard — if not prohibited — to speak of.  Or maybe we can speak of it, but we have to stop short of talking about it as if we knew for certain what we were taking about (because then, of course, it stops being a mystery).

This is a tricky position for a professor to take, especially one who likes to talk as much as I do, but I have found myself in all areas of my teaching and writing about literature and philosophy drawn to the places where knowing and the kind of talk that supports and expresses it fall short, or crack and in through that fissue rushes a different sort of relationship in which feeling — perhaps especially feelings of wonder, but also of love — predominates.

A pretty obscure writer named Felisberto Hernandez began one of his early works of fiction saying “I’ll also have to write many things I know very little about; it even strikes me that impenetrability is intrinsic to them. Perhaps when we think we know them we stop knowing that we don’t know them, because their existence is inevitably obscure, and that must be one of their qualities. But I don’t believe I have to write only what I know, but also the other.”

Credit Shoals and Weinstein for understanding this and for getting it across in a — paradoxically — accessible way; which is to say, credit them for the acceptance of mystery and the paradox or nonsense into which it shoves us like a hard crossover when we try to defend against it.  The chapter title tells us that everything that follows is myth (they walked this earth), then analyzes and explains the Celtic dynasty (knowledge), then tells us in a single breath that Red solves (knowledge) the riddle of the Sphinx (more myth) and that solving it is not to solve it (mu).  If you’re intellectual ankles aren’t broken by this move, then you aren’t really in the game in my opinion.  Can we just – and I hate the fucking Celtics – just pause and wonder?! How could this happen? How were they so good, so dominant? Why does every clip look like they are playing the Washington Generals?

Bigger question: is it a legitimate function of the humanities to lead its students to the “conclusion” that, sometimes, wisdom is 1) knowing only that we don’t know and 2) learning to feel a rush of joy at that knowledge? Maybe that — as Claire suggested to me the other night — is what my broken right, “thinking”, hand symbolizes for me: a challenge to let go of the control I believe it gives me; control, among other things, by acting like I know things I don’t know. And maybe in that partial surrender is a secret to the mystery. Maybe,

{Postscript because even – especially –in the face of mystery there is always more to say.  I was extremely gratified to receive a thoughtful, well-written e-mail from a student, who is also a role player a few hours after class, apparently composed on the team bus en route to Columbus Ohio for Thursday nights game, elaborating his thoughts on role players.  It launched me into another eddy of giddiness and prompted me to reply with a meaningful, heartfelt message explaining how today’s class had held the key to why UM could beat # 1 ranked OSU.  I did so partly because last week I’d told another player why I believed they could beat Michigan State, which they did, obviously because of my message,  And that, I now realize, is my role on the team – offering my unsolicited opinions to role players about why and how they can win games they aren’t supposed to win.  This is what I dreamed of when I was a child in the driveway, holding a coke bottle and pretending to hand it to Mean Joe Greene.}

Go back to learn how basketball at the atomic level is exactly like life in the universe

Go on to read Day 8’s meditation on greatness and not winning.

Day 5: For the Love (and Hate) of the Game

Man, was that fun. I was feeling pretty unsure about today’s class. In addition to the usual adolescent insecurities (which I stepped squarely into by deciding to wear my Sheed jersey), I found myself approaching the week’s teaching with a deeper nagging worry that I’m somehow getting away with something here, teaching a basketball course, writing stuff that more than fourteen readers read. But I had the equivalent of a pregame session with the trainer and got right with my demons. Short version: “so what if I am?” No wait. I forget. Well, I’ll come back to that later. In any event, there was minimal neurotic drama today. There was, however, a different kind of challenge: how to incorporate discussion of the college game – especially its early years — into a course structured around a book on the history of pro basketball. My response: evade.

Not really. Well, sort of, yeah. I certainly was prepared, so I didn’t evade in that department. I spent a lot of time sifting through histories until I found a readable, reasonably succinct source, the 1994 Encyclopedia of College Basketball. Then I photocopied the first two chapters, which do a good job of chronicling the rise of the college game through 1950 (and especially up through the first NCAA tourney in 1939). Then I scanned the photocopies and put them up online for the students to read. I read and reread them. I carefully outlined them in my notebook so that I could take the students through the decades. Here’s the summary:

  • 1900s: birth of the conferences, IAA, the emergence of outside shooting and longer passes, the dominance of Chicago (78-12 between 1900 and 1909)
  • 1910s: Rules standardization as AAU and NCAA join forces; banning of the double dribbling, allowing the dribbler to shoot, only 4 personal fouls, no coaching during game; self-supporting basketball programs, professionalization of coaching ranks despite Naismith’s skepticism, coach as recruiter; Navy (109-9 b/w 1900-1909)
  • 1920s: Bigger arenas, limited integration of some teams; fouled players have to shoot their own FT’s, charging foul introduced, substituted-for player can return once; Ned Irish gets an idea, stock market crashes, Montana State (what?) (213-44 b/w 1920-1929)
  • 1930s: here we go: MSG promotions with NYC and other east coast colleges bring big crowds and cash leads to NIT 1938, NCAA 1939; Rule changes: 5 seconds closely guarded (1930), 10 second line (1932), 3 second (1932), 2 reentries permitted, center jump eliminated (1937), Luisetti one-handed runner
  • 1940s: first telecast 2/28/1940; ball movement, little dribbling; gambling – decade ends with gambling scandal, sets up rise in popularity of pro game, popularity of NCAA tourney over (NY-based) NIT tourney.  Oops.

Bored yet? Well, if you’re not, imagine me droning my way through this over the course of half an hour. Is that why you signed up for Cultures of Basketball? Me neither.

Enter evasive tactics. I decided on the spur of the moment to go in a different direction. I had already been uncomfortably aware that the set of names I couldn’t remember equaled “white-males-who-are-neither-on-the-basketball-team-nor-blogging-about-the-course.” While not unheard of, this is unusual for me three weeks into the semester. I needed to firm up the mnemonic webs so I decided to go around the room and have everyone introduce themselves and say what they were doing in the class. At the last second I told them to tell me their favorite team and their favorite player, any level.

This turned out to be maybe the best time we’ve had yet in the class: lots of banter and ribbing. One student offered the following logic for loving the Lakers: “I love the Yankees, and hate the Red Sox and all things Boston. Boston and the Lakers have been rivals a lot lately.” By the time we got all the way around everyone seemed really relaxed, particularly the student who explained thusly why he felt the class was made for him: “All I think about in life is basketball, females, and making money.” Wow. Ice broken.

Then a student asked me to answer my own questions (If you care: Portland, Oregon and Madison, Wisconsin; in class because I teach it; Early 70s Bucks, Mid 70s Blazers, Pistons – general bandwagon-ass cat as Sheed once said; players: Sheed, AI, Nash, Big O, Clyde, Zeke, forgot to mention Magic, forgot Ernie D). And the give and take only amped up further when someone asked me which player I most hated (Anderson Varejao) and then suggested we go around one more time to get everyone’s most hated player, with the stipulation that the player had to be current and you could only name one.

The best part of this round for me was when a student would start out by saying “umm, I dunno, I hate [insert names of two or three players ‘x’ ‘y’ and ‘z’].” Then, when I pressed the kid to name only one, he or she would suddenly blurt out the name of an entirely different player, as though shedding an enormous burden of repressed disgust. Best instance of this: “Um, Dwyane Wade and Vince Carter, ‘cause they’re always falling down, acting hurt.” Me: “you can only name one.” Student, rapidly: “Wally Sczerbiak.” “Wally Sczerbiak?” Ice totally shattered. Sometimes you just gotta play games.

For the record here are the tabulated results, carefully anonymized to protect the identities of the students (a promise I’m trying carefully to keep despite the enormous delight I think it would provide me to use the actual names).

Fav Player
Fav Team
Hated Player
Grew Up
Bad Boys
Grosse Pointe, MI
Washington, D.C.
T Parker
Bronx, NY
Big Baby
Chicago, IL (South Side)
Big Baby
Saginaw and Kalamazoo, MI
JR Smith
Troy, MI


Beverly Hills, CA
Reading, MA
Highland Park, IL
Lindsay Whalen
Scoop Jardine
“Small town north of Twin Cities”
Marquise Daniels
Seattle, WA
Novi, MI
Rye, NY
2004-05 Illinois team
Lake Forest, IL
UM Men’s
“NJ b/w Philly and NY”
N Robinson
Kalamazoo, MI
Bloomfield, MI
Whoever Dirk is playing for
Buffalo, NY
Miami, FL
No fav
Okemus, MI
D Williams
Troy, MI
Chicago, IL (North Side)
Carmel, IN
Evanston, IL

By this time I think we’d taken up half of class. There was no way I was going to squander the stash of excellent vibes we’d accumulated in the first 45 minutes. So I bagged the boring outline and just cut to the chase. I should say that most of the time that I’d been preparing for this day’s class, in fact back when I was putting the syllabus together I’d felt some obligation (and equal and opposite resentment) to putting the college game on the syllabus. A voice in the back of my mind kept nagging me: why are you doing college here? Of course, one obvious answer is that it is a college class, with college players. Another obvious answer is that the college game was crucial to the game’s development in the first fifty-odd years after the invention of the game. Another obvious answer is that the college game continues to make a ton of money, and currently serves at least in part to feed terrific Freshmen into the maw of the NBA draft each season. So, with all these obvious answers why was I resistant at all?

I used to love the college game. When I was little basketball for me was equal parts Bucks, Knicks, and UCLA Bruins. By the time Magic and Larry squared off in the ’79 final (late in my 8th grade year), I was already hooked and I participated fully in the well-documented madness that ensued all the way through college. An ACC fan at the time, I even chose my graduate school partly on the basis of basketball. My grad school years coincided with Duke’s 1991 title and then, after a one year stint at UCLA (passing hallowed Pauley Pavilion with a knot in my stomach and a quickened pulse), I landed at Michigan in time to see the tragedy of the talented, intelligent Chris Webber call a timeout his team didn’t have in the final seconds of the second of their back to back title-game appearances. And then, kind of suddenly, I stopped caring.

Now, it’s not fair to set this all on the doorstep of the college game. Much was unmanageable in my life at the time, both personally and professionally, and part of that entailed turning away from the game I loved (long story). And it wasn’t just college,  I eventually stopped caring about pro ball around 1998. But while I came back to the pro game pretty strongly around 2001, I still only really care deeply about the college game during the NCAA’s. Why?   Pretty reasonably, if you love something you want to see the best in the world do it. That’s the NBA. Of course, that’s been true for my entire life. But in the past the college game, for me at least, compensated for the relative inferiority of its individual players with other charms: an emphasis on team play, the opportunity to watch cohorts grow over several years and blend with other cohorts, the whole college spirit thing.

But now it’s a different world than the one in which I had to walk five miles to school … in the snow …  barefoot … uphill … both ways. The NBA won’t let high school kids come straight into the League so most standout high school players put in an obligatory year at college before jumping to the pros. Even second tier potential pros rarely stay around for more than two years. Coaching salaries have grown astronomically so that coaches flit from program to program like drunken hummingbirds. Television and apparel contracts have injected even more money into the whole system and helped contribute to a the perception (if not the fact) of widespread, large scale corruption. But even all of that wouldn’t bother me so much if the NCAA-Media-Coaching-Nike complex weren’t shoving the “One Shining Moment” discourse of the stirring charm of college basketball up my ass so hard. That’s why I resisted putting it on the syllabus.

I don’t want to stress the perception (undoubtedly fueled by personal nostalgia) that the college game was once (at least in my life time) somehow “pure” and has progressively grown tainted, though there’s probably some truth to that story. I’m more interested in the categories that get mobilized to defend the status quo in the college game: terms like “spirit,” “emotion,” “teamwork,” “effort” and, of course, “amateurism,” which is to say, the love of the game. And the way these get grouped together and made mutually exclusive with an NBA game that is seen as cold-blooded, lazy, individualistic, and mercenary. Don’t forget the racialization of these groups of categories too: though it is true that the percentage of African-American playing college basketball is disproportionate to the percentage in the general population, it is as yet smaller than the percentage in the NBA ranks. Then these college terms get a boost from the barrage of images of cutesy, clean-cut cheerleaders with something painted on their cheeks (as opposed to slutty dance teams), a pep band (as opposed to blaring house music), and ivy covered halls (as opposed to massive branded, arenas in anonymous suburbs or downtowns).

So it all adds up to something like the following cultural formulas:

  • college game = tradition + amateurism + spirit + teamwork + effort + wholesomeness + innocence x whiteness.
  • pro game = rootlessness + mercenariness (it’s a word) + heartlessness + selfishness + laziness + vulgarity + sinisterness (also a word) x blackness.

It’s offensively simplistic and hypocritical and so widely disseminated (even by the same agencies that expose it) that I felt a pedagogical responsibility to try to challenge it in class.

“Amateur,” I explained, “comes from the Latin word for ‘love.’” As in, I play basketball for the love of the game (as opposed to, say, for money). A big part of the history of college basketball in the period in question, as the game increased in popularity, drew larger and larger crowds, attracted promoters, investors, and gamblers, is the emergence of amateurism as a problem for college athletics. I wrote “amateur” on the board and above it the word “love.” I wrote “professional” on the board and above it drew a dollar sign. As with my Globetrotters good or bad question last week, I meant deliberately to pose a stark, oversimplified opposition. And then I just said, “I just want to hear your thoughts about these terms.”

Whoa! I was not expecting this. A student’s hand shot up. “I think players should get paid.” And here I wish I had a recorder. Almost everyone had something to say. I don’t know if this is pedagogically sound or not, but I know from experience that when college professors observe other college professor’s classrooms one of the indexes of successful teaching is the number and variety of students who participate in a given session. I don’t know exactly how many did yesterday, but it was more and more varied than for any other discussion we’ve had yet this year. So I didn’t record it, but I want to try to convey the discussion by just listing paraphrased versions of the comments (oh, and I want to emphasize that players were on both sides of the issue).

  • “Players should get paid.”
  • “Players do get paid.”
  • “Players should get paid more because they can’t hold regular jobs or take summer internships that might enhance their future career prospects in other fields.”
  • “If we pay players, what about athletes in ‘non-revenue’ sports.”
  • “We shouldn’t pay players because they will get big heads. The humility of paying your dues as a player is an integral part of the experience of growing into a professional.”
  • “It’s hard to be a player and see all the money that is being made around you and not feel like you should be getting more of it.”
  • “No way that 18 to 22 year olds should be getting money to play basketball for a college team. They are already getting an education. They aren’t professionals. In fact, in the Ivy league there are no scholarships.”
  • “Should there be no scholarships at all?”
  • “If there were no scholarships a lot of people who have the desire and the ability to attend college wouldn’t be able to because it’s too expensive.”
  • “While scholarships are great, a lot of people don’t realize that they don’t cover lots of the essential costs of attending college. Players don’t have the time or the opportunity to cover those costs with other jobs.”
  • “If we pay players then the richest programs will field the best teams and there will be no parity.”
  • “That already is the case because the richest programs have the best facilities which attract the best players.”
  • “The players should just be happy with the attention they get. Try playing a sport that nobody attends.”
  • “The players are already getting paid. Anyone who has been in the basketball community knows that every year the top players are bidding themselves out to colleges.”

I can’t resolve these issues and I have no positive alternative to offer. For my part, I was mainly just thrilled that the class had finally hit its full stride, with lots of participation and disagreement and mutual respect. I did try to suggest that they might think of various different policy pieces as “delivery devices” with advantages and disadvantages and the path to a sounder system might begin by prioritizing, honestly, the purposes of intercollegiate athletics and then formulating policies that help fulfill those purposes while discouraging others that are in conflict with the prioritized purposes. But whatever, it’s not my job to formulate or even think coherently about the details of NCAA policies. It’s my job (and what I love) to think and talk about the way we think and talk about the various aspects of basketball culture.

So I was excited that even in a college classroom, in a university strongly associated with college athletics, in a course 33 % full of college athletes, there was a willingness to take apart the ridiculous, dualistic equations I mentioned above. And, in a way, the seemingly random evasive tactic with which I began class — who do you love? who do you hate? — turned out not to be incidental to the subject of our discussion because in going around the room we # 1 inflamed passions and # 2 tacitly admitted that the pro game aroused at least as much passion as the college game. We saw, in other words, that we were basketball culture even as we were studying it; that there’s (fortunately) no divorcing passion from reason in this case (which isn’t the same as saying that they can’t or don’t inform and check each other); and that love of the game and love of money exist in both the college game and the pro game.

I’m not saying college players don’t love basketball, just that I’m tired of the assertion that they and their coaches and fans are the ones who really love it. And, even more deeply, I’m tired of the assumption on which that assertion rests: that the proof that you really love something is to do it for free. That smacks of something rich people say to everyone else: “ooh, money’s dirty.” “Yeah,” I want to reply, “it’s dirty because you’ve been wiping your ass with it for the last hundred years. But I’ll still be happy to take it off your hands.”

That attitude, especially coming from people who are making loads and loads of cash off talented, hardworking young people, that’s just too stinky. I have nothing against people doing what they love for free or for little if that’s what they want and if they are truly free to choose. But I’m offended by the obverse normative stricture that if you are doing what you love and getting paid you have fouled something clean, and are somehow getting away with something, or gaming the system. Yago 1, Demons 0.

Go back to read about the way categories of race, ethnicity, and gender shape our basketball narratives


Go on to read about the elements of style in hoops.

Day 4: Why Can’t I Be Chris Paul?

Woke up excited: the players will be back today! I can’t wait! Stop it! You’re not supposed to be a fan. You’re the professor. Plus, you know better than to glorify college athletes. You’ve read the headlines, you’ve read the exposés: these guys have probably been tracked since they were 12, spoiled, pampered, egocentric beyond the usual adolescent norm, entitled. They’re probably jerks.  Who cares if they’re back? It was better when they weren’t there and we had space to spread out and the room wasn’t so hot. I wonder if they’ve read my blog. I wonder if they’ve talked about me. Besides, those exposés are usually written by moralizing old white guys, huffing indignantly about the state of the game, hiding behind a pious claim to really care about the kids, while secretly hating them for their talent. But I really do care about the kids. They fill me with tenderness. Will the beaten up old red and black Clash hoodie I’m planning to wear seem cool to them. Idiots won’t even know the Clash.  Faker: you didn’t even know about the Clash when they were playing.  Does it go with my Nike sweats? The red on the hoodie is faded and doesn’t really match the red of my red and black 25th anniversary Air Jordan Alpha 1’s. Oh, and thank you for the zit on my forehead — what am I, 13?  It’s shining like a beacon in the dim basement light bulb that is the sun in Ann Arbor in midwinter. Now I’ll have to wear my hat for sure, even if it’s too hot. Crap. I’ve only been up for thirty seconds. I thought I had this shit under control. It’s a good thing I have therapy this morning. 

You don’t care about my therapy. If I really take the foot off the brake the whole post could veer drastically over the edge of the cliff, tumble, crash, explode and burn, and then explode once more. So I’ll try to keep it tight. I really, really like my therapist. And I’m pretty sure he really, really likes me. In fact, he once told me (cause I asked) that he thought we could be friends if he wasn’t my therapist and I wasn’t his patient. And that admission probably tells you about as much about my therapy (and my problems) as you need or want to know.   Suffice it to say it’s where I go to enjoy the spectacular parade of disgusting and pathetic poses and pratfalls my mind continually trots out behind the scenes; or while I’m on the bench, sitting next to Scottie and Dennis, just before the house lights darken, the spots start to swirl madly, and the Alan Parsons Project’s “Sirius” kicks in.

So after getting my due props from the doc for following my bliss with the course and the blog we put on the hipboots and waders and went fishing in the chattering stream of fantasies, fears, and self-judgment that flows pretty much constantly through the mind of a resurgent insecure adolescent wanna-be baller who is posing as a university professor.   That always helps clear the air. I’m settled and relaxed again, perspective restored, reassured that my issues aren’t deep in this case, that I’m not crazy, that it’s probably pretty normal and that I’m probably doing the best I can to manage them by just naming them and being aware of them. It’s like the scene in Maus where Artie, who has already published the first volume to acclaim and fame goes to see his therapist cause he feels guilty and awful and he draws himself child size sitting on the chair in session. But after he talks through it and gets some perspective, he is restored to his adult self.

Chuckling compassionately at my adolescent self, patting him on the shoulder with a hint of condescension, I well-nigh bound out of there, and go to teach my first class. (Great students, by the way, we’re reading dizzying Jorge Luis Borges short stories — for example, this one — and they are rocking it in our discussions: too bad they’re not college athletes or I’d write about them too.  I suck.) I put on the headphones and turn on the iPod and head over to hoops class. I don’t like how fast I have to walk to get there in time. It leaves me feeling rushed, sweaty, breathless and unathletic by the time I enter the classroom. I wonder if my music is cool. Claire made me a hip hop mix a few months ago. The her cousin, Li’l Gherkin, made us a couple of different mixes. Then I made one combining the things I liked most from those two. I’m happy and buoyant listening to it; except when I’m stabbed by the certainty that as much as I like it, it must not be the really cool stuff or I wouldn’t even know about it. I pause as I enter the building to switch the song to something that I think they will think is cool if they happen to ask me what I am listening to.

Nobody asks me what I am listening to. They look bemused, as always. Everyone’s there, which is good, but they’re sitting in different places, which is both good (the players are a little more evenly distributed) and bad (early in the semester I remember names best by where people sit, until I begin to associate them with the way they think and speak). Lots to do today: we are scheduled to talk about “Only the Ball was Orange,” the section of FreeDarko’s history in which, in a series of cartoons and short descriptions, Jacob Weinstein introduces some of the best known of the many barnstorming squads that crisscrossed the country from the late teens through the 1940s. But I also have to take care of some logistical matters, like making sure everyone has chosen their elective assignments for Unit 1. And I have to attend to the helpful AV tech who is bringing me the adaptor cable so that I can project youtube clips from my laptop to the large pull down screen. I’m glad we have a lot to do.  I’m businesslike and important. But it also makes me sweat more and feel disorganized because papers are all over the place, including the notes where I wrote down what we have to get done.

So I am shuffling paper, glazed and talking, and some students are straggling in so that I have to start over, and then the AV guy comes in and a player realizes that I’m gonna want to show video and he is sitting directly under the screen so he gets up to move, saying “Oh, are you gonna show video, then I’m gonna move” and I stupidly respond “Oh, uh, yeah, but you don’t hafta move.” And then, realizing my stupidity, I apologize, “Oh sorry, that was stupid I guess you do hafta move if you want to see the video and not get hit on the head by the screen.” Why do I talk so much, why do my sentences always have to go on and on and on? Why do I always have to say everything?

Logistics covered, questions answered – well and with a sprinkle of successful humor, I might add – my self-satisfaction is on the rise.  Then it skyrockets!  We’ve had a fun little exchange about the class and the blog and how famous writers on the internet are following our syllabus. My one student that I’ve had before says, “Yago, you blowin’ up.” And I laugh, tilt my head back and stretch my arms out to the side in my best we are all witnesses pose [LINK}. And then – here is my moment of triumph – I say, “You can’t check me.” Cash. Count it. Game. I win. Go home.

Today I have divided my notebook page into two columns. Left hand side: things I want to say about the barnstorming teams, with a few talking points and some arrows; right hand side: blank with the heading “things they say.” I tell them I have some ideas of what I want them to notice about the reading but I’m gonna keep them on the back-burner (that suddenly seems like a terribly unfashionable expression; I wish I could download urban dictionary directly into my brain like in the Matrix). I want to know what struck them as they read?

I’m impressed by the fact they’ve actually read the assignment (which I should not be since today’s reading – no disrespect to Jacob Weinstein who I think actually did a brilliant job of condensing and making interesting complex and repetitive raw material — was pretty much like reading the comics section of the paper, in terms of length and intellectual complexity). But I’m also impressed by their instincts for what is interesting.

Someone points out the humor in Weinstein’s description, giving the example of the entry on the “Hong Wah Kues,” a Chinese American team from San Francisco who barnstormed for one season in 1939. Weinstein wryly observes that one of their games was publicized with “flyers announcing ‘WAR! Grangeville to be attacked.” It’s funny. Even funnier to me, is his introduction to the Buffalo Germans, an early barnstorming team that mercilessly pounded lesser opponents: “Shrouded in mystery, this team of creepy teenagers from Upstate New York was forced into barnstorming by geographic isolation.” We laugh. I make fun of one of the players who I know is from somewhere in Upstate New York. We all pretend he looks just like the creepy teenagers in Weinstein’s cartoon: goth without realizing it.

I ought to have slowed down here. In fact, my main teaching point from today’s class is that I ought to slow down in general in class. Breathe more. Listen better to what they say. Slow down in my response. Usually I’m good at abiding silence in class. I haven’t been so good here. Then, I would be better able to push them more deeply into the presuppositions, implications, and associations of what they say. Because in this case, the humor of the section – while in some ways an incidental stylistic feature – can also be an avenue into what is most substantively relevant about the barnstormers.

Some of what now is funny – like the Hong Wah Kues poster, or the quotation from Paul Gallico’s 1920’s New York Daily News column that noted, of the SPHAS, Jewish barnstormers from Philadephia: “The reason that basketball appeals to the Hebrew is that the game places a premium on an alert, scheming mind, flashy trickiness, artful dodging and general smart aleckness” – wouldn’t have been funny then and is only funny because of the ironic distance, which is to say because we would never hold such attitudes today. Except that, maybe just a teensy weensy bit, we do.  Weinstein says in the next line:  “Though Jews soon faded from the courts as players, these traits continued to serve them well as they moved into coaching and managerial positions in later years.”

Good time to tell my students about irony. Not just as a trope or an attitude, but as a way of knowing  in which we can simultaneously (1) know things and (2) understand (2a) how we have known them, (2b) that our knowledge is partial, and (2c) that things could actually be different than what we feel we know them to be. Irony can be a valuable component of the stories we tell. In this case, the deadpan paraphrasing or direct quoting of racist statements, framed by the comic genre, sheds a critical spotlight on that kind of statement, but without defensively over-distancing itself from the attitudes, so that we know the author doesn’t think he’s absolutely purified all such offensive discourse.  What this does is let us safely acknowledge our own participation in racism, which is of course indispensable to beginning to transform it.   The brilliant caricatures, some based on real photos, help – again ironically – to stress what the section’s introductory text has already told us: as funny as these teams will be, they were struggling against real issues, real issues that still exist today.

I certainly didn’t say any of this though maybe over the course of the day I described it or evoked it without actually calling it irony. And someone, it might have been me, did build off the observation about the humor in this section to notice that just about every team was distinguished either by race, ethnicity, or gender. Weinstein puts it quite succinctly when he notes that, while for some teams barnstorming was the best financial option among several, “for other teams, generally those made up of minorities, nomadism was the only option available. Like much of America’s society in the early twentieth century, these teams fell along ethnic and religious fault lines.” So, it seems, the barnstormers, in many cases, are the marginalized flip side of the early pro leagues that we had discussed on Day 3.

But as it turns out the early pro leagues were themselves the marginalized flip side of early 20th century American capital (just then flexing its post-pubescent muscle and beginning to go global) under the auspices of the WASPish ethos that held, among other things, that the “gentleman sportsman” wouldn’t deign to sully vigorous physical activity and healthy competition with an exchange of cash (see Robert Peterson’s Cages to Jump Shots for some good passages on this). That is to say that even the pros who were not minorities were often in the game in order to supplement arduous, underpaid working class jobs or to escape dead-end lives in some ethnic ghetto.

That’s why, to answer the question begged by a student observation, they’d put themselves through what might seem to us like the terrible physical and emotional punishment of traveling around the country’s nascent road network, packed into uncomfortable cars, in order to play a couple of hundred games a year. Beckley Mason, who has been a great friend to the course and to this blog, had an excellent post on John Wall maybe hitting a wall here at mid-season.  Mason compassionately observed that it’s a big adjustment to play as much as the pros play, and to travel, and to be at least a little hurt all the time, and to still have to play. And that is true, but at least Wall has a crack medical staff to look after him and try to mitigate some of that. Who looked after the Rens, or even the Original Celtics when they sprained an ankle?

Someone in class says that they’re impressed that the Globetrotters beat the Minneapolis Lakers in 1948 and 1949. This is perfect for me because I wanted to show them a clip of the Globetrotters. I emphasize that the Globetrotters weren’t always primarily entertainers and they didn’t always play fixed competition. I try to get across that, in fact, up until right around the formation of the NBA (notice, I say,  hierarchy, centralization) they played pretty much straight basketball. It was only after the NBA was formed and began to grow in popularity that they became what we think of them as today.

I go to set up my AV cable and the projector and to pull up the clip on my computer. Disaster, I have the wrong cable. Hold up, I tell them, just sit tight for a couple of minutes. I run down to the main office to explain. The secretary makes a call. Hopefully the tech dude will be up in a few minutes to bring me the right cable. I’m so flustered that I dash out of the office and back up to my classroom without waiting to see if she even got hold of him and if he was in fact coming. So back in the classroom I stall for time: “while we’re waiting for the right cable, let’s talk a little about the Globetrotters.”

“Globetrotters,” I say, “good or bad from the point of view of racial progress?”  I think of the SNL parody of “The McLaughlin Group.”  Wrong!!  Sometimes I like to pose discussion points to my students in terms of either-or starkly opposed terms. My hope is that they will feel the constraint of the such binary categories; and to exercise their own powers of intellectual subtlety and nuance against those constraints and, like an angry Bill Bixby, bursting through the outworn clothes of dualistic thinking.

I’m pretty sure we didn’t really get there, exactly. Although maybe, on second thought, collectively we did. Students offered several different perspectives on the question, sometimes contradicting themselves so that I felt like they had a handle on what might be seen as problematic about the Globetrotters, but also why it might not be so simple as “the Globetrotters were and are bad for racial progress because they feed directly off tropes of black minstrelsy that in turn feed off the attitudes of slave holders.”  I wished I’d been able to show them this video, which presents the Globetrotters as the precursors of contemporary cool.

I pointed out that for some who have played or written about the game, the Globetrotters are often set in opposition to the NBA. I asked them what they thought of that, or rather, I provoked them by asking “are they really so different?” Of course, they are quite different in many ways that are important. But it’s also worth noting one major similarity: in both cases primarily African-American men are employed by primarily white men to entertain by exhibiting their athletic ability to a primarily white paying public.  And in both cases, each individual owner gets a bigger cut of the take than any individual players.

Just to push things a little further I brought up The Decision. I didn’t want to jump the gun too much because we’ll certainly talk about Lebron later in the semester, but the video cable wasn’t coming and we still had about twenty minutes of class left. I asked them why everyone was so mad about Lebron’s decision to leave Cleveland. Someone pointed out that it wasn’t the decision so much as The Decision.  Sure, I say, so he’s a little immature, a little high on himself. So what? Does that really – I mean really – hurt the millions of people who have heaped scorn and worse on him?

Another student points out that in Cleveland people acted like they owned Lebron and that this was fucked up because it sounded like slavery. I agreed and then added that it wasn’t only in Cleveland. Enter the Q ratings discussion from a few months ago, wherein it was observed that Lebron’s negative Q ratings skyrocketed (from 24 to 44 %) among Caucasians, while basically holding steady among African-Americans.  So white people hate Lebron for the decision or The Decision or both, but black people don’t. What is that about?

“This country’s racist,” a student said. I agree. And I agreed. But I also told them that the point of my raising these issues in class was not only to reach that pretty obvious conclusion. In fact, more important to me than what sort of judgment the students were to come to about the Globetrotters or the decision or The Decision or the Backlash to The Decision was the fact that we were able to take a step back – SLOW! IRONY WORKING – and to begin to make visible the invisible definitions of race, racism, and racial progress that were secretly driving our various contributions to the discussion, just as they suffuse most of the cultures of the game.

And what is true of race is also true of gender, though not only in the obvious ways such as that the women’s game doesn’t get nearly the coverage the men’s game does. It does so also in that one line of criticism of Lebron’s decision was that “he would never be The Man” in Miami. Several of my male students are practice players for the UM women’s team. We talked about that briefly. I think it’s a minor act of gender courage for a young man – who has probably grown up veering clear of the possibility of being told he plays like a girl – to assume the role of practice player for a women’s team. That is a young man who loves to play the game and who gives me hope that the next generation will have fewer hangups around gender issues than my own does.

Almost out of time, I shifted into motivational summary mode.  “All our stories about basketball are informed, if only implicitly, by attitudes about race, gender, class, ethnicity, and nationality. These racialized, gendered, etc stories have been around so long, are so common, and repeated so often, that they start to seem natural to us.  I  want to break that, to fracture that sense of naturalness and to make those aspects of the stories seem strange.  I don’t want to tell you what to think or what you can and can’t say.  But I want to make you look at the way you think and talk with a critical eye so that you can make a freer decision about how you want to think and talk.”

To give an example, I told them how at the playground or gym in my neighborhood in St. Louis, where I am frequently the only Caucasian playing pickup, if I have a bad day I am ignored. But if I have a good game I will be regaled with shouts of “Steve Nash! Manu Ginobili!” or, among the older fellas, “Vinny del Negro!” or even “Ernie di Gregorio!”

“Why,” I pleaded to my students, with mock and real desperation in my voice, “Why can’t I be Chris Paul?” I mean, seriously, I don’t really play like any of those players and those players don’t really play like each other. So what’s really being noted with the names is that I’m a white player who has surprised. And that is true. But it is only part of what I am. I don’t mind it. In fact, I kinda love it when they call me Nash. But that might be because there’s not any threat to my political, economic, or civic freedom attached to the reduction of my being to race and basketball performance. But what if it was? And what if it were repeated again and again? Only not just when I’m on the court, and not to praise me, but to criticize, humiliate, and to limit me in the expression of my being; and to try to cause me to doubt the worth of my being? And not just in words, but in deeds and practices and whole legal and economic structures?

Even without all that, it bothers me a little bit, maybe almost on aesthetic grounds because it shows a lack of imagination: exactly the kind of imagination I want my students to learn to exhibit and deploy. C’mon, I sometimes want to say back, we can do better than that, we can think more creatively than that.  I imagine crossing someone over and hitting a step back jumper and someone shouting out “AI!”  I’d about fall down:  “You are an artist!”  Because why, if you’re gonna call me by the name of a player who is a million times better than me and whose signature repertoire of skills I could not possibly begin to match, why, in that case, can’t I be Chris Paul?
I wanna be Chris Paul.

Stay tuned for next week’s installment (catch Day 5’s lively and frank discussion of amateurism here) when I might actually bust out my Sheed Pistons jersey for class. In the meantime, check out these sites where Cultures of Basketball is also being followed or discussed:

Hoopspeak, where Beckley Mason has recruited some of the fine journalists and bloggers from the TrueHoop network to “take” the class, beginning with Bret Lagree on George Mikan.
Hoopism, where one of my students, Matt Gordon, will be blogging about his experiences in the course.
FreeDarko, where Bethlehem Shoals, FreeDarko.com founder and co-author of our class textbook, responds to my accounts of our class discussions on Day 2 and Days 3 and 4.

Or work your way back by looking at my lament for the leagues and possibilities devoured by the seeming inevitability of the NBA

Day 3: Let a Hundred Flowers Bloom

When I first saw that UM players were signing up for the course, back toward the end of the Fall semester, I was mostly just excited. Then I started to feel a little anxious, which, as previously reported, bore gruesome fruit on Day 1. But I also a felt a more realistic, pedagogical concern: if I had 8 or 9 players in a class of 20, what would happen when they all had to miss a day (or more) because of travel for a game? And what would happen when they all came back the next day? At the time, I brushed this question off and didn’t really think through a good response since it was a bridge I hadn’t come to yet and I was still mostly just excited. But this particular repressed reared its ugly head earlier this week and I had to start worrying about it again. 

The e-mail came on Monday, as I was prepping for Tuesday’s class, from an Academic Counselor in the Academic Success Program at the University.   The subject line named all the players enrolled in my class. I was excited. Probably they’re writing because want me to get more involved with the team because the players reported to their coach what a phenomenal asset they were sure I’d be. As it turns, the message very politely, but pleasantly informally, let me know that players would miss class on Tuesday because they’d be traveling to their game against Northwestern and asked me about any assignments “the guys” (I did dig that the sender referred to the players as “the guys” to me; made me feel like part of the gang) would need to make up from not being in class on Tuesday.  My heart sank:  I’m nine and my older brother says he has to go to work and doesn’t have time to play me one-on-one.

But the message in itself was neither a problem nor a surprise. Only last week, a member of the track team who is also in the class had handed me a copy of the track schedule covered by a letter from the Provost and Vice-president for Academic Affairs, endorsed by the Chair of the Faculty Senate Advisory Committee on University Affairs. I also enjoyed that letter because while I talk a good game,  I’m also craven enough to be gratified to be contacted by Power, even when it’s just telling me what to do.

The Provost informed me that “the student bearing this letter” would find it “necessary to miss a portion” of my class in order “for him/her to represent the University of Michigan.” It went on to explain that the student was not relieved of responsibility for completing course requirements and that the Provost expected the student and me to make alternative arrangements that did not “unduly inconvenience” me or the student. Alright, this seems like a reasonable approach to the issue.

After all, students miss class for much stupider reasons. Like, say, being drunk at 9 am on St. Patrick’s Day. I’m not kidding – I’ve passed them on my way to class and they call out to me with a surprising lack of sheepishness:  “Yo! Professsssssor CO-las!”

On Tuesday, it was great to have more space in our tiny overheated classroom.  The remaining students had dispersed throughout the available space like gas molecules in a drawing.  I noted with relief that I wasn’t worried about what I was wearing. But the absences made me a little down.  And, they present a practical problem in my class for reasons that have something to do, in a way, with the topics we covered in class yesterday. First, for those of you keeping track at home, the required reading assignment was pp. 16-19 of FreeDarko’s Undisputed Guide to the History of Pro Basketball. That’s the section, called “Go Forth and Dribble: Basketball’s First Great Age of Expansion,” covering professional basketball leagues in this country from 1898 up to the creation of the NBA from two existing leagues in 1949.

Though a short selection, it contains a wealth of material ingenously presented by Jacob Weinstein in four sections, one per page: “Micro Leagues: 1898-1909”, “Regional Leagues: 1910-1924”, “Big Leagues: 1925-1937”, and “Major Leagues: 1938-1950”. Each section includes a map showing the number of teams from different cities in each league and then provides short descriptions of the “Structure,” “Venues,” “Style” and “Innovations” characteristic of each of the four types of league. It struck me as a quite brilliantly economical way to present a great deal of information on the “pre-history” of the NBA to an audience that’s really mostly interested in the NBA. In a way, it read to me like a combination of summary and interpretation of the much more detailed book From Cages to Jump Shots, by Robert Peterson, which is a terrific resource in its own right.  This is a great section but because of its structure (which is not exactly narrative), it’s a little harder for me to feel at home there, like playing on a court without lines, or with different lines.

My plan for the day was to recap our discussion of Naismith and the invention of the game in ways that might link it to the reading about the early pro leagues, then to pull student impressions of the reading, and then to steer the discussion in the direction of the two most interesting topics that the Free Darko reading raised for me: first, how we tell “pre-history” of something (in this case the NBA), and what happens to our view of things that didn’t themselves know they were part of the pre-history of anything when they were happening; and second, how tensions between spontaneity and calculation, horizontal (or non-hierarchical, decentralized) organization and vertical (or hierarchical and centralized) organization, informal versus formal business models, and local vs. national scales were present and manifested themselves in these early leagues. That was the plan, but as always I wasn’t sure how – or if — we’d get from A to B to C.

I reminded them that we’d spoken of stories of how things come into being or how they come to have the form they have, and I pointed out that we can, in telling those stories, tilt the narrative to stress the chance or coincidental nature of the emergence of the thing or, conversely, to stress the inevitability of its emergence. Or, as philosophers might put it, we can, for reasons of temperament and agenda, stress contingency or necessity.  I’m not a philosopher, so I might have that not quite right.

In the case of Naismith, I cited the height of the goal, which didn’t “have to be” (necessity, inevitability) 10 feet, but “happened to be” (contingency, chance) because that was the height of the balcony in the Springfield Y to which he nailed the peach baskets. We also talked about how this plays out in other stories and had a good laugh imagining “Hoosiers” (a story narrated as destiny if there ever was one, but that really becomes a story worth telling only because a player hit a literally improbably, game-winning last-second shot) as a comedy. Maybe Chevy Chase could play the Gene Hackman role and a baffling series of wacky accidents and zany hijinks could brings tiny Hickory to the Indiana state title.Of course, I’m not the first to point out that the “Hoosiers”-as-destiny narrative is powerfully racially coded so that it’s unlikely that remake is gonna happen anytime soon.

For some, a stress on the contingency of history leads naturally to wonder: well, if it didn’t have to happen this way, what if it had happened another way? And these counterfactuals, as they are called, can provide for an amusing pastime, as exemplified for some in the “what ifs” section of Bill Simmons’ Book of Basketball: speculating as to how the course of history might have changed if you alter one chance variable in the past (what if Jason Williams hadn’t crashed his motorcycle, what if Memphis had won the Lebron draft lottery instead of Cleveland). In fact, it’s a whole subdiscipline in the field of history. But I wasn’t interested, not in class anyway, in actually debating these what-ifs. I said this with as much weary disdain as I could muster so as to discourage what I envisioned would be a disintegration of the classroom into a kind of amateur “Around the Horn” (or, for 30 Rock fans: Sports Shouting). I just wanted the students to learn to spot these sorts of elective emphases when they are present (as they must be) in any story about the coming into being of something new.

But with that recap in mind to orient our discussion, I let go of the reins and stepped into the abyss, asking the students what had struck them in the reading. Several hands went up, catastrophe averted. I don’t care so much whether they say anything smart, so long as they say something. For better and for worse I can make just about anything sound smart, at least to 19 year-olds. In this case, fortunately, the students picked up on things that I think really were at least potentially interesting aspects of the early history of the game.  One student was struck by the violence of the early leagues. Another student was struck by the mobility of the contract-less players in the regional leagues. We laughed imagining a league in which Melo could play for NY, NJ, and Denver. Then another student described being struck by the ability to “see the evolution of the game.” He talked about how bit-by-bit, as he read the four pages, the game he is familiar with started to emerge and take shape.

Good feeling.  Scintillating.  I liked the image and seized on the term evolution.  Here is possibility.  Here is the pebbled surface of the ball in my hands.  I pointed out, parenthetically acknowledging that he surely used the word evolution deliberately, that often times we use that term with a teleological (look it up) connotation, as though we knew all along where something that was evolving was evolving to. And then I pointed out that at the heart of the theory of evolution and its mechanisms of natural selection and genetic drift is the phenomenon of random variation generated by mutation.  Only after these random variations have manifested and proved advantageous do they begin to get “selected,” … “naturally.” That’s a bit too much chance for some storytellers though, I said, just because it sounded good, and so some want to assign a motivating, necessary cause to “random variations.” An example of such a cause would be God. I’m not a biologist (I know, I fake it a lot), so I might have that evolution stuff wrong, but if I do, it’s the way it ought to be.

I hadn’t planned it, or thought at all ahead of time about evolution in relation to the day’s reading (obvious though it now seems to me). But that’s one of the advantages of having a relatively unstructured class format and bright students willing to participate: they can come up with things I haven’t thought of and I’m free to pursue them. Of course, sometimes those things turn out to be a dead end or I’m not skillful enough as a teacher to make them pay off. You never know for sure. Yesterday, I only knew that evolution was an important word, but I didn’t yet know how and I was both exhilarated and a bit afraid as I grabbed the rebound and pushed the ball up the floor in traffic without numbers:  cool because I didn’t know what’s going to happen next, scary because I didn’t know what going to happen next.  It’s weird because I count on the trailer and even though I’ve been told a million times that I can always pull it back out if there’s nothing there, something inside me just keeps pushing me toward the basket where something magnificent or something catastrophic will happen.  Nothing in between.

And that’s the where the day’s topic of discussion connects back to my concerns about the absence of a third of my class. In this respect, I’m thinking, my course works very much like evolution itself: “random” variations (like a student throwing out a word that happens to catch my fancy) generate a kind of “natural selection” of topics (I take the word and shape the rest of the discussion with it, explicitly or implicitly).  Students who miss class can, and I’m sure will, keep up with all the formal assignments. However, because my class time is not carefully planned out, but relies heavily on impromptu student participation, discussion, and improvisation there is no real way for the absent students to ever “get” what they missed.

I can point them to other students’ notes, or to my own, or even to this blog post – but all of those are not only inevitably going to be partial and distorted representations of the discussion, they are of a completely different nature than discussion. Because class discussion is not only about the content and the points that were raised, not even mainly about that: it’s mainly about the form – the escalating energy and vibe of collaboration as a group tentatively stumbles and gropes its way to discovery.

As a humanities professor, I feel that one of the main things of which I am a steward and which I am responsible for conveying to my students and nurturing in them is just this experience of open-ended, collaborative discovery. In a way, the whole canon of the humanities can be seen as a very long, extended discussion in which one person says, for example, “Hmm, it looks to me like, despite the appearance of change, everything is, deep down, fixed and unchanging?” and then someone else says, “Mehhh, not so much, to me everything looks as though is fluid and mutable.  What makes you think there’s a ‘deep down’?”  I want my students to learn about that history.  More than that I want them to live it and to feel themselves heirs to it and participants in it and in that way to come to be invested in it and in making it better and more useful in addressing the world they live in.

Okay, so that’s a lot. And it’s not like the absence of a third of the class a handful of times (or two handfuls; how many handfuls will it be exactly? I wonder) over the course of the semester is the end of the world, or a problem that can’t be addressed. But it adds a degree of difficulty to any class. And in a class in which there is already some awareness, for better and for worse, of differences, this just adds one more. It’s a loss not only for the players and the journalist who missed out on Tuesday’s class and who have to show up on Thursday, I imagine, with some degree of anxiety or pressure, but also for those who were there on Tuesday and may be wary of participating in ways that refer to Tuesday’s class and so exclude their classmates from fully participating. As I say, I can deal with this, but I also have to deal with this.

On the other hand, as I’m writing, it occurs to me – thinking of the ways in which discussion in my classroom and evolution resemble free-lancing in a pickup game – that it may perhaps be easier to deal with a shifting roster if you don’t have a highly structured, set offense that depends heavily on the skill set of particular players who might be injured or traded and that, moreover, has to be taught to new players that might be acquired.  In this sense, each class meeting is like a single game.  Players are removed and added to playground teams all the time – even the winning team. And that works in part because there are no set plays. Everyone is improvising and so its easier to remain effective even when you’ve lost a player and had to pick up a new one, even if that new player sucks. So maybe even as the unstructured nature of the class makes it harder to “catch people up”, perhaps it will be easier to accommodate the goings and comings of my student-athletes (and of other students for other reasons) because the class is more or less free-lanced.

At the same time, it’s also true that playing even a couple of games in a row with the same players can lead you to familiarize yourself with your teammates’ tendencies, strengths, and limitations and make you more effective.  So I think part of my job is going to be to step up and assert myself enough to communicate to returning students the valuable tendencies (things like an emerging class “vocabulary” or even a vibe) that the class developed in their absence. That sort of thing happens all the time on the playground. You join a team that’s been playing or where a couple of players already know each other and they pull you aside and in a few seconds bring you up to speed. And I think I can do this successfully while encouraging returning students to make their own improvisational contributions without fear that this is somehow going to jeopardize or destroy what is already in place.

And this issue of how to harmonize the interests and abilities of the individual with those of the group also echoes something we already talked about in class, though we were talking about it in the guise of the tension between “one-on-one” style and “team” style that is highlighted in Weinstein’s account, particularly, of the “Regional Leagues” that predominated between 1910 and 1924.  Weinstein makes the point that at this time, pro players were still permitted to double-dribble so that games were dominated by one-on-one play, “with the dribbler acting like a football running back and bowling over defenders by head-butting them.”   In other words, because players could double-dribble they did double dribble as a means of advancing the ball toward the basket.  At the same time, as he also points out, “while teams might barely last a season intact [because of player mobility], pairs and groups of players often stuck together for years, and their familiarity with each other led to the development of the pick and roll, or, as it was known at the time, the buddy system.”

So in the very same league two different tendencies are in effect; tendencies that, taken to their logical extreme, are incompatible with one another and so, in that sense, are vying for ascendancy in the game.  Will pro basketball come to be about one-on-one play and physical strength or will it be about collaboration, ingenuity, and finesse (the pick, after all, works only because it’s illegal for the defensive man physically to blast through a screener)? And what decides this?

In class (I feel obliged to point this out because some of the students at least will be reading this) none of this emerged with great clarity and we spent most of the time talking about the way the relative emphasis on one-on-one vs. team styles changes depending on the level of play, the skill of the players, the culture of the institution, and the power dynamics between players and coaches – all of which was very worthwhile in its own right. But here I want to stress what I only mentioned incoherently in passing on Tuesday: namely that “fitness” in the evolutionary sense of the term, as far as the history of pro basketball is concerned, has to some degree come down to commercial viability.

The double-dribble was eliminated from most pro leagues following its ban from the American Basketball League in the 1920s. The ABL, in turn, banned it in part because it had already been banned by the much more popular amateur circuits such as the Amateur Athletic Union (AAU) in 1908-1909. “Henceforth,” as Robert Peterson puts it, “the professional game would gradually become faster and depend less on bulk and strength and more on speed, agility, and cleverness,” like its more popular college and amateur counterpart.

Now, once the ABL banned the double-dribble, players were forced to make a different decision once they’d picked up their dribble. They had to shoot or pass. And it’s at this point that certain “team” features – like the pick and roll — that had originally emerged as an almost accidental function of small groups of players growing accustomed to one another in an era of no contracts and great player mobility became dominant strategies.

Don’t get me wrong: I don’t think the market “decided” ahead of time how the pro game evolved, then or now. Part of the beauty of basketball is that technical innovations born of informal, horizontally organized, extra-institutional venues make their way into the formal game because they are strategically more effective (indeed, the dribble itself began as an accident:  someone knocked the ball out of an early player’s hands and it rolled and as he raced to retrieve it he realized he’d succeeded in advancing the ball up the court without running with it, which was disallowed; eventually this became deliberate). But strategically more effective is only one of the variables that makes those innovations stick. By itself it might not be enough. Think, for example, of the anxiety that gets generated when those innovations appear to be too effective: Mikan camping in the lane, Russell’s offensive goaltending, Wilt or Kareem’s dunks.

In class, I tried to emphasize how this whole issue is heavily moralized and racialized so that one-on-one play is thought to be selfish and ostentatious and black while team play is though to be selfless and humble and white. I felt that this moral and racial coding of a properly technical, strategic issue is so prevalent and seemingly natural that it had to be named and not only named, but ridiculed, which I did by overstating the case that in no other game do technical and strategic choices get fraught with moral and racial meanings.   Of course, that’s not true, but it worked it seemed to get the students to really stop and see how weird it is that we make my decision about whether or not to pass the ball at a given moment in a fast-moving game into a morally and racially significant one.

Moreover, I stressed (or at least I wish now I had stressed), the history of the game can be told in ways that make it appear that the “essence” of the game is team play and has been from the very start. Whether or not it’s true that team play is critical to success at the highest level of basketball is beside the point. I want my students to understand how stories get told that associate the essence of something desirable with certain classes, races or ethnicities, and genders and thus position individuals of other classes, races or ethnicities, and genders as potentially dangerous interlopers, marauders. The snake in the garden.

But with all this in mind, the market, too, sooner or later plays a role in determining the “fitness” of certain innovations, sometimes in ways that dovetail with these moralizing and racializing narratives and sometimes in ways which run against them.  Part of what is exciting about the early history of the NBA is the decentralization that served as a kind of dispersed laboratory in which experiments with the game could thrive. That laboratory still exists today of course: on playgrounds, the And-1 circuit, minor leagues like the new ABA, and so forth. But the NBA, very obviously, exerts a much more powerful, constraining gravitational pull than any institution did in the first half of the 20th century.

I love the NBA game: not only the game on the floor, but also the accompanying personalities and even the consumer culture associated with it. I love, of course, the athletic ability and skill of the players. I love the variety of styles that teams play. I don’t think the game is worse now than it used to be, nor do I think it’s necessarily better than it will be. It’s just different and, well, amazing (sorry). So in that sense, I can’t really complain about how evolution has treated the pro game.

But I also couldn’t help but feel a little sad as we read about and discussed the early pros, who were riotously experimenting with a brand-spanking new game rife with possibilities and didn’t know that they were simply participating in someone else’s pre-history.  I can’t help but be irritated that when I search for early NBA history videos on line what I get are actually videos of a BAA game from 1946 that the NBA has colonized as its own, as though it were inevitable that the BAA would, after its merger with the more talent-laden NBL, evolve into the NBA.   And so I couldn’t and can’t help but pull for what I think of as some anarchic impulse that challenges the naturalized, hierarchized, centralizing force of the NBA, even if the expression of that impulse seems to come – temporarily — at the expense of the “quality” of the game on the court.

I love the NBA, but I also love the things that put the NBA in crisis in various ways.  Think of Rodman and Artest (maddening combination of effective and unruly on the court).  Think Iverson and Arenas (maddening combination of effective on and unruly off the court).  Think Russell and Chamberlain (maddeningly unstoppable).  Think Cousy and Robertson (maddeningly confrontational in the boardroom).  Think Rasheed (maddening combination of extraordinary individual talent, modest individual ambition, and extraordinary outspokenness).  I know the NBA probably isn’t really threatened by these figures.  Maybe even they learn to capitalize on them.  But when they first surface there’s a least a shudder in the powers that be.

I’m not sure, but I think that in a very roundabout way I just set myself up to be David Stern and my students to be the early pros. The point is that I want my class to have the room to evolve. I want there to be enough flexibility that random heretical comments – the classroom equivalent of a crossover dribble flying in the face of the conventional wisdom that the ball handler should keep his body between the ball and the defender; the kind of innovation a ref blows the whistle on because he’s never seen it before — have a chance to prove their fitness. And so that students have the opportunity to practice being part of a genuine intellectual dialogue. But part of that practice also entails I think developing with them some criteria of fitness in the form of an emerging common vocabulary and set of shared interests that we can return to when our actual or figurative wandering has left us feeling lost, which seems like an appropriate place to end since Thursdays class will be devoted to the itinerant barnstormers.

Go back to read about how basketball is like a religion or a nation

Go on to read about why I should be but am not identified as Chris Paul on the playground

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