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Top Notch

by Alex Belth | October 6, 2011 11:17 am | No Comments

The Best American Sports Writing 2011 is out. Good news for us. This year’s edition of BASW is edited by Jane Leavy and features excellent work from the likes of S.L. Price, Sally Jenkins, Wright Thompson, Nancy Hass, Chris Jones, and Paul Solotraoff.

Here’s a sample of one of the best stories in the collection, a bonus piece by Mark Kram Jr. for the Philly Daily News:

CHICAGO – Quietly, Sonia Rodriguez got out of bed and padded into the other room, where the evening before she had laid out her clothes for work. It was Wednesday, 6:30 a.m., and her husband Paco was still asleep, the gray light of a cold Chicago dawn beginning to seep through the windows of the small house that the couple and their baby daughter shared with his parents. Sonia slipped into the outfit that she had picked out, brushed her hair and stopped back in the bedroom to look in on Ginette, who slept in the crib that was wedged against the wall. Sweeping up her purse, she glanced over at Paco and told herself she would phone him when he arrived later that day in Philadelphia. But as she stepped out the door he called to her.

“Oh?” he said, blinking the sleep from his eyes. “Are you leaving?”

She looked over her shoulder and said softly, “Yeah.”

“Come here,” Paco told her. Sonia walked over and sat on the edge of the bed. He reached up, drew her into his arms and said, “I want to say goodbye.”

Goodbyes were not easy for them. In the 5 years they had been together, they seldom had been apart. Even when they were still dating, he would stop by and see her at the end of the day, if only for an hour or so just to talk. But Sonia had not chosen to accompany her 25-year-old husband to Philadelphia, where that Friday evening Paco had a 12-round bout scheduled at the Blue Horizon with Teon Kennedy for the vacant United States Boxing Association super bantamweight crown. Boxing had become a sport that Sonia looked upon with equal portions of acceptance and disdain. She accepted it because of the passion Paco had for it, and even now says that boxing was who he was. And yet part of her held it in disdain and she had stopped attending his bouts because of it, unable to cope with the queasiness that would send her fleeing from her ringside seat whenever Paco would engage an opponent in a toe-to-toe exchange. So when he asked her if she would like to come along to Philadelphia, he was not surprised when she smiled and told him, “No, you go. But hurry back to me.” And he told her he would, adding as always, “I promise you.”

And here’s a bit from Howard Bryant’s profile of Dusty Baker:

CINCINNATI — “Light a candle,” Dusty Baker says, his lone voice softly skimming the looming silence of the empty church. “I’m sure there’s someone out there you want to pray for.”

He lights a candle, points the flickering matchstick downward in his large hands, the athlete’s hands, dousing it into the cool sand. It is here in the solitude of St. Peter in Chains Cathedral — funded by Ohio Catholics who donated 12 cents per month toward its construction in 1841 — where Johnnie B. Baker, born Baptist in California, raised in the traditions of the southern black church, kneels alone among the long pews and nourishes his spirituality.

After several moments of prayer, he rises and walks gingerly toward the altar, marveling at the Greek architecture, the Corinthian columns and stained glass mosaics, comforted, despite its bruises, by the sanctuary and the ritual of the church.

“I come in here before homestands, sometimes a couple of times a week during the season,” said Baker. “I pray for my family, for my team, and for Barack Obama, because I’ve never seen people try to take a president down like this, never seen such anger. I mean, what did he do to anybody?”

And from Gentling Cheatgrass, by Sterry Butcher in Texas Monthly:

THE MUSTANG HAS eyes that are large and dark and betray his mood. His coat is bright bay, which is to say he’s a rich red, with black running down his knees and hocks. He has a white star the size of a silver dollar on his forehead and a freeze mark on his neck. He cranks his head high as a rider approaches, shaking out a rope from a large gray gelding. The mustang does not know what is to come. His name is Cheatgrass, and he’s six years old. In May he was as wild as a songbird.

The little horse belongs to Teryn Lee Muench, a 27-year-old son of the Big Bend who grew up in Brewster and Presidio counties. Teryn Lee is tall, blue-eyed, and long-limbed. He wears his shirts buttoned all the way to the neck and custom spurs that bear his name. He never rolls up his sleeves. A turkey feather is jammed in his hatband, and he’s prone to saying things like “I was out yesterday and it came a downpour,” or, speaking of a hardheaded horse, “He’s a sorry, counterfeit son of a gun.” Horse training is the only job he has ever had.

Teryn Lee was among 130 people who signed up this spring for the Supreme Extreme Mustang Makeover, a contest in which trainers are given one hundred days to take feral horses from the Bureau of Land Management (BLM), gentle these creatures, and teach them to accept grooming, leading, saddling, and riding. Don’t let the silliness of the contest’s name distract from the difficulty of the challenge. Domestic horses can be taught to walk, trot, and lope under saddle in one hundred days; it’s called being green-broke. But domestic horses are usually familiar with people. The mustangs in the Makeover have lived on the range for years without human interaction, surviving drought, brutal winters, and trolling mountain lions. The only connection they have to people is fear. Age presents another challenge. A domestic horse is broke to saddle at about age two, when it’s a gawky teenager. The contest mustangs are opinionated and mature. The culmination of the contest is a two-day event in Fort Worth in August, where the horses are judged on their level of training and responsiveness. The top twenty teams make the finals. The winner takes home $50,000.

For Teryn Lee, however, there’s more at stake than money. Most of his clients bring him horses that buck or bully, horses that have developed bad habits that stymie or even frighten their owners. Teryn Lee enjoys this work, but his goal is to become a well-known trainer and clinician who rides in top reined cow horse and cutting horse competitions. To step up to that level, he’ll have to do something dramatic. Transforming a scruffy, feral mustang that no one wanted into a handsome, gentle, willing riding horse would make people take notice. Winning would get his name out there, he says.

The Best American Sports Writing 2011 can be bought here.

[Featured image photo credit via My Modern Met]

From Ali to Xena: 40

by Alex Belth | October 5, 2011 11:09 am | 3 Comments

Brass Cannolis

By John Schulian

Every time I landed on a new show, my reputation preceded me. I was the ex-sports writer who had covered so much boxing that people must have thought I typed wearing eight-ounce gloves. Who better to write an episode about the fight racket? It happened that way on “Miami Vice” and when I freelanced an episode of Steven Bochco’s dramedy “Hooperman,” and I suppose I only called more attention to my past by setting a pilot and two screenplays in the world of boxing. The pilot was never shot and the screenplays never sold, but that was beside the point. I was still the guy to whom Muhammad Ali once said, “Pay attention, white boy.”

There was no escaping even at “Midnight Caller,” where I was reunited with my old amigo David Israel, who had covered more than enough fights to qualify for a boxing script. But I got the call. I dreamed up a Mexican boxer who had entered the country illegally and wound up in the clutches of a crooked boxing promoter. As soon as I concocted the promoter’s name – Ralston J. Cashdollar – I started hearing his voice in every line of dialogue I wrote for him. The voice belonged to Hoyt Axton, a rowdy, good-natured country singer who defined the expression barrel-chested. Whether he was doing a duet with Linda Ronstadt or breaking hearts solo with “Evangelina” or just getting silly with “Boney Fingers,” his music made me want to shake his hand. He’d done some acting, too, on TV in “WKRP in Cincinnati” and in movies like “Gremlins” and “The Black Stallion.” I pointed this out to anybody who would listen, and the next thing I knew, Hoyt was playing the promoter. It turned out to be a mixed blessing.

He was nothing if not great fun when he was offering people caramel-covered cashews he’d gotten from a woman in Ardmore, Oklahoma, or dipping into the leaf bag full of pot that he apparently never left home without. But when the time came for him to emote, it was a different story. He couldn’t remember his lines, couldn’t even come close. And every day the episode’s director, Jim Quinn, would call me from San Francisco, where we shot the show, and say, “Guess what the Hoytster did today.” It was funny if you were sitting in “Midnight Caller’s” offices in L.A., as I was. It was life shortening if you a director trying to get a serviceable performance out of Hoyt while the clock ate up the budget.

And yet his mangled dialogue contributed a grace note to his mind-bending time with us. He was supposed to tell our hero he had “some brass cojones.” Not the greatest line in the world, admittedly, but the scene called for it. And then Hoyt unconsciously improved on it – was he ever truly conscious? – by saying our hero had “some brass cannolis.” It stayed in the show, of course. I wish I could claim it as my own.

All in all, there was nothing I didn’t like about “Midnight Caller” except a balky, antiquated computer that I put out of its misery with a baseball bat. (True story. I wrote it for GQ and got fan mail from fellow Luddites everywhere.) After competing as sports columnists, Israel and I meshed perfectly, much to the surprise of Reggie Theus, the ex-Chicago Bulls star, who did a double-take when he saw us hanging out instead of bickering or posturing or whatever it was we’d done in the day. We knew we had a good thing going, and a major reason for that was “Midnight Caller’s” thoroughly professional star, Gary Cole, who has gone on to play, among other roles, Mr. Brady in the Brady Bunch movies and a whacked-out agent on “Entourage.” For us, Gary played an ex-San Francisco cop who had accidentally killed his partner and got a second chance by doing talk radio from midnight to 3 a.m. The kinds of stories we did were as varied as the people who called him, and the characters we came up with enticed a parade of wonderful guest stars to step off our wish list. In episodes that I wrote, the comedian Robert Klein played a burned-out 1960s disc jockey and Levon Helm, the drummer in the Band, played an ex-convict who wanted to go back to prison because it was the only place he knew how to exist.

No TV series is a love fest – too many egos and agendas for that – but “Midnight Caller” came as close to being one as anything I experienced. The writing staff was composed primarily of red-meat eaters, and the crew in San Francisco put together a hard rockin’ band, and our executive producer, Bob Singer, took undisguised pleasure in being in the middle of it all. He was a man of consummate good taste in hiring people whether they were actors, writers, gaffers, or go-fers. And when a certain writer turned in a script that showed he had no feel for the show, Bob zapped him with a line for the ages.

The writer provided the straight line when, in a last-gasp defense, he told Bob, “You know in your heart this is a great script.”

And Bob said, “Carlton, I don’t have a heart.”

It hurts when I mention “Midnight Caller” today and get a blank look in return. It was on NBC for three seasons and I wrote for it for the last two, but the people I find myself surrounded with apparently never noticed because they were watching the mewling yuppies on “thirtyomething.” The yuppies were our competition on Tuesday nights when I got to “Midnight Caller,” and we beat them in the ratings more times than you might think. But their demographics beat our demographics, so the network moved us to Friday nights, when our audience was out cashing paychecks, drinking in neighborhood saloons, or watching high school football. Our audience never came back, and ultimately neither did the show.

It was a dark day when “Midnight Caller” wasn’t picked up for a fourth season, but I had no idea just how dark until I went to work on the show that replaced it on NBC’s schedule, “Reasonable Doubts.” Going in, it looked like a potential hit, with Mark Harmon, a genuine TV star and a first-class guy, as a cop and Marlee Matlin, the deaf actress who won an Oscar for “Children of a Lesser God,” as a prosecutor. On top of that, Bob Singer, who created the show, was running things, surrounded by lots of familiar faces from “Midnight Caller.” Israel had moved on and I had signed on as co-executive producer after Bob told me he wanted “Reasonable Doubts” to be “dark and sexy.” I could do that, I thought, and I hired two terrific writers, Steven Phillip Smith and Kathy McCormick, who thought they could, too. They were perfect for the show. I couldn’t have been more wrong for it.

The worm turned when I handed in my first script. I assume it was dark and sexy, but I’ll be damned if I can remember what it was about. It has been banished to the depths of my subconscious, along with the pain I felt when Bob and I met with NBC and an executive with a reptilian smile ordered my script thrown out and the show reconfigured. The best I could understand, it was now supposed to be a weekly love letter to Marlee’s character. I didn’t do love letters. The only good memory I have from rest of that season is a two-parter about a rape that Bob and I co-wrote, a serious and honest piece of work by anyone’s standards. Other than that, I sat in my office with the door closed, unable to wrap my head around what the show had become, hating the fact that I was letting Bob down, and, most of all, counting the days until the season ended. The great run I’d had in my first six years in Hollywood was deader than the flowers on Marilyn Monroe’s grave.

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