That kid has one of the better arms in baseball,” said former Braves and Orioles pitching coach Leo Mazzone. “If you have an arm like that, he shouldn’t be a setup guy. Your setup guy doesn’t do you any good if your starting pitchers can’t get you to him.”

…”I don’t think the Yankees are risking injury by starting him,” Mazzone said of Chamberlain. “I’ve always felt that if you have a regular time to pitch and programs to get the pitcher ready in between starts, it’s easier to start than be in the bullpen.”
(Anthony McCarron, N.Y. Daily News)

Pat Jordan likes to bust my chops about the Yankees, the team he grew up rooting for. He doesn’t much like them much these days and never misses a chance to get under my skin when they are not playing well. His favorite rant this spring has been about Joba Chamberlain, about how the Yankees are wasting Chamberlain as a set-up man instead of using him as a starter. Well, that’s one gripe Pat can’t beat to death now that Chamberlain has officially begun the process of moving from the pen to the starting rotation.

In the Daily News, John Harper writes that this is a sign that, without conceeding anything yet, the Yankees are looking beyond this season to 2009. I agree. One thing that occured to me yesterday was how exciting it is going to be to watch this all unfold. To see Chamberlain pitch two, then three, four, five innings. I imagine his demeanor will change somewhat. All that fist-pumping is part of what comes with being a late-inning reliever, but I don’t expect he’ll do quite as much of as a starter–unless he gets out of a big jam in the sixth, seventh or eighth. Regardless, I’m goosed about the whole thing. Ain’t you?

Slate has the latest from Pat Jordan, Josh Beckett Won’t Return My Phone Calls:

In January, I got an assignment from the New York Times Magazine to write a profile of Josh Beckett, the Red Sox pitcher. I was excited about this because I had always admired Beckett as both a pitcher and a person.

…But, alas, in a single-sentence e-mail from his agent, Beckett declined to be interviewed by me or anyone else. I could understand that. Why would he want me poking around in the closet of his life? Maybe I’d spend four days with him, and catch him saying something derogatory, in a moment of weakness or fatigue, about his manager, Terry Francona, or about Manny Ramirez. He was making, what, $10 million a year? He had just pitched superbly in the 2007 World Series after compiling a brilliant 20-7 record during the season. He didn’t need a New York Times profile or recognition for anything but his pitching.

…But, still, I thought it was a shame Josh wouldn’t let me profile him in the Times. I had a long lunch with him a few years ago, when he was with the Florida Marlins, and came away thinking he was an interesting young man. At the time, and even now, Beckett had a reputation for being a surly, hard-ass, rednecked, Texas country boy in the way of old-timey ballplayers. But the Josh I met over lunch was smart, caustic, funny, sophisticated, and a much deeper and more nuanced man than his public gave him credit for. I would have loved to have burnished his image, to have shown his fans that side of him in a profile. But it wasn’t to be. His fans then lost an opportunity to know the real Josh Beckett.

This has become the curse of modern sports journalism. Writers and fans alike no longer get to know the object of their affections in a way they did years ago. Athletes see us as their adversaries, not as allies in their achievements. They are as much celebrities as rock stars and Hollywood actors are. They live insular lives behind a wall of publicists, agents, and lawyers. They don’t interact with fans or writers. They mingle only with other celebrities at Vegas boxing matches, South Beach nightclubs, and celebrity golf events, all behind red-velvet VIP ropes. We can only gawk at them as if at an exotic, endangered species at a zoo.

Yesterday afternoon, Pete Abraham excerpted a portion of Cynthia Rodriguez’s chat with Michael Kay on the new YES program, YESterdays:

“As tough and big as [Alex] seems, he is real wimpy around doctors or any type of medical situation. I don’t know why I thought the birth of our child would be different. In the middle of the night, I realized that I needed to go to the hospital. I wake him up. The first thing that comes out of his mouth, ‘Can we call your mother?’ And I started, ‘No. Let’s wait and make sure that I am in labor, and make sure that, you know, it’s the middle of the night.’ And go to the hospital and everything. And finally, a few hours later, I said, ‘I think you can call my mom now.’

“Uh, and the color came back to his face when I told him he could call my mom. And then forget it. I was like not even having a baby; he was the one. The one nurse had a cold cloth on his head. The other nurse had the blood pressure on his arm. And my mother was like rubbing his back. And he is passed out on a couch. And I am there, in the middle of labor. And really, I am not being paid much attention to besides the doctor and a couple of nurses. And he is there moaning. In between pushing, I am going, ‘Honey, are you OK?’ And are you breathing? Are you OK?'”

I can’t even watch child birth on TV, so I can only imagine how I’d fare up close. Still, this story reminded me of another, more upsetting reality for baseball wives. From Pat Jordan’s classic profile of Steve and Cyndi Garvey, “Trouble in Paradise”:

The other day my daughter fell out of a tree and broke her wrist.  My husband and I rushed her to the hospital.  While she was in the operating room I had to fill out a questionaire for a nurse.  When I said my husband’s occupation was ‘baseball player,’ she asked, for what team?  I told her.  Then she asked, what position?  I got so pissed off, I shoved the paper at my husband and told him to deal with her, she was obviously more interested in him than our daughter.  Now there’s another woman who’s gonna think I’m just a stuck-up wife of a star.

 

Anyway, just before they set my daughter’s wrist, my husband had to leave to go to the stadium.  He couldn’t wait.  That’s the clearest vision of when the game comes first.  Before anything.  It’s so cut-and-dried with him.  I got furious.  It’s always been like that.  Another time I had a baby while he was playing in the World Series.  When they wheeled me back from the delivery room–I’m just coming out of the anesthesia–the nurse is putting on the TV.  ‘I thought you’d like to watch your husband playing in the World Series,’ she says.  I screamed at her to shut it off.  Hell, he didn’t come to watch me.  I could have died in childbirth and my man wouldn’t have been there.  The burden is always on the wife’s shoulders.  Her man is never there.

For a candid and revealing portrait of what is like to be the wife of a ball player, consider Home Games: Two Baseball Wives Speak Out, written by Bobbie Bouton and Nancy Marshall. Both women are divorced their husbands, Jim Bouton and Mike Marshall.

My favorite part about asking people for their list of ten essential baseball books was not learning that "Ball Four" or "Glory of Their Times" are so popular. We already knew that. What really turned me on were the titles I had never of like Man on Spikes, or the ones that I knew precious little about like The Celebrant and The Great American Baseball Card Flipping, Trading and Bubble Gum Book. I was over at Jay Jaffe’s new crib in Brooklyn last Friday and he showed me his copy of the card book which looks like terrific fun.  Dig this:

"Earl Torgeson’s two favorite activities were fist-fighting and breaking his shoulder, both of which he did whenever he got the chance. On the back of this card it says, "Torgy likes a good practical joke" – which is the biog writer’s subtle way of suggesting that he enjoyed knocking people’s teeth out. He is probably also the only left-handed hitting first baseman over 6’2" who ever stole 20 bases in one season."

 Brendan C Boyd and Fred C. Harris.

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Getting to know Pat Jordan has been one of the highlights of my brief time hanging around sports writers. First, Pat was candid and funny in an interview I did with him for Bronx Banter back in 2003, then he occasionally gave me writing tips as I worked on my first book, a biography of Curt Flood. After that book came out, I approached Pat about doing a compilation of his best stories. I was shocked that one didn’t already exist. It’s the kind of project he’d never offer up on his own but he was more than delighted to be involved. So I wrote a proposal, got the book sold, and then we had a wonderful time going through well over one hundred profiles and finally selecting 26 stories to appear in the collection The Best Sports Writing of Pat Jordan.

The book is now out and Pat, a self-diagnosed troglodyte who still uses a typewriter and refers to himself as “the last knight of the freelance,” might be just that–the last guy who still makes a living strictly as a freelance magazine writer. Which isn’t to suggest he’s completely resistant to change, as he’s been busy doing publicity all ’round the ‘Net ever since his Jose Canseco piece appeared at Deadspin at the end of March. Derek Goold caught up with Pat for a nice blog entry he did on Rick Ankiel, and here is a profile on Jordan from the Florida Sun-Sentinel. There are also interviews with Rich Lederer, Will Carroll, Bill Littlefield for Only a Game, and Deadspin.

I like the following bit about the craft of writing from a Q&A with Playboy:

JORDAN: I grew up with radio and as a result I’d go to bed at night listening to “The Shadow,” “The Lone Ranger,” “Batman and Robin,” “The Green Hornet” and with radio I had to use my imagination to figure out what they look like. What does The Shadow look like? And so it stimulated my imagination and it made me very conscious of the way things look. To this day I’m very detail oriented, but unlike Tom Wolfe, who lists 48 things that a guy is wearing to supposedly describe him, I say it is not the accumulation of detail, it is right details. If you get the right details, you allow the reader to create the scene himself. It is always about the reader, I want the reader to think he wrote the story and that I didn’t.

PLAYBOY: You mention this in the book’s forward…

JORDAN: You create the ideal story when at the end of it the reader can’t yellow out a paragraph on page three and point to where you told him what the story was about. The reader needs to think that they discovered something in the story that the author didn’t because the author didn’t spell it out. If the writer doesn’t hand it to him the reader to thinks that they are in the process of discovering more of the story than the writer intended to put in. I think of it as a collaborative deal.

PLAYBOY: So you’ve made a living by making people think that you aren’t as smart as you actually are?

JORDAN: Exactly. They don’t think that you are leading them and they don’t know you set it up bit by bit. As far as sentences go, I feel that you should never have a sentence so complex that the reader has to stop and go over it again to get the meaning. The same applies to images. If you use a metaphor you need the reader to not reread the metaphor over again and sit down and think, “What does he mean a cow is like a moon?” If the reader has to unravel a sentence or a metaphor, that’s bad. You want them to read it all through effortlessly so they would be reading the story as if they were looking over your shoulder when you were typing. Some stories come easily. The stories you think came easily you think are genius and it comes out later that they weren’t that good. And the one that was like pulling teeth, that you had to bang on your typewriter like hammering nails into wood, that you hated doing because it was so hard to get right, you find out that that was the good one. In the end you want it to appear that the story is flowing out of you and that it is effortless. These are all the things that you do that nobody knows about.

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 More voting…(S-W)

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 Here’s the voting, in alphabetical order: A-R (S-Z to follow)

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Last month I received an e-mail from Chris Illuminati, the content editor of Phillyburbs.com. He told me he was asking different people for one baseball book that they’d consider essential. I picked "No Cheering From the Press Box," Jerome Holtzman’s wonderful collection of interviews with old time sports writers, but sent Chris a list of ten essential books just for the fun of it. Shortly after the story ran I thought it’d be fun to ask a group of seamheads–historians, biographers, columnists, beat writers, screenwriters, novelists–for a list of their ten essential baseball books. Not the ten best books or even the ten most essential books just ten essential ones.

I deliberately rigged the question because there are more than just ten essential books in any self-respecting baseball libray. But I was more interested in lists that would reveal the quirks and personal tastes of each individual rather than trying to assemble an authoratative or comprehensive poll. 

The top vote getters are interesting–though not particularly surprising–and because the lists are so subjective there are no consensus selections. "Ball Four" and "The Glory of Their Times" and "The Bill James Historical Abstract" were the top picks, though some people distinctly went with the original Historical Abstract while others chose the new one.  Bill James got more votes than any individual writer followed by Roger Angell (the most common difficulty for the contributors seemed to be which Angell compilation to go with).

I heard back from 55 people via e-mail and even trooped to the far reaches of the upper east side to visit Ray Robinson and get his list (I also had some partial responses and decided not to include them). A total of 168 different books were selected.  Here are the results.  Tomorrow, I’ll post the individual ballots.

Table 1: Here are the top 15 (7 or more votes):

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When Pat Jordan told me that he still uses a typewriter to write his stories instead of a computer I wasn’t surprised. He’s so old school, why would he change? His wife calls him a trogliodyte, kicking a screaming into the 19th century. A few years later, I visited Pat at his home in Florida and looked through hundreds of manuscripts and drafts. I saw his tools of ignorance: an old Hermes 10 typewriter (he buys old machines on ebay for the parts), yellow second sheets (discontinued), stubby corrective pencils, a glue-pot, a pair of sissors, and even a bottle of yellow white out (also discontinued). Having come from a fine arts background, I could immediately relate to the tactile nature of Pat’s writing process.

And in fact, if I’ve learned anything from Pat, it is how important thinking is to good writing. Jordan is a deliberate and meticulous writer. When he has a magazine assingment, he first researches the subject, reading as many articles as his researcher can find, then composes his own questions before he conducts interviews and takes notes. Then he transcribes those interviews, orgainzes them with his notes and then he begins to make outlines. If afforded the time, he’ll review the notes, the transcribed interviews and his outlines, and revised outlines, over and over before he starts writing. He might not stick to his outlines, might alter them as he goes, but he always has them as a safety net, a way to organize and structure his thinking. When he finally does begin to write, he goes sentence-by-sentence. If he writes two pages a day–a productive day for him–when he starts again in the morning, he’ll review what he wrote, revise anything that needs fixing, and then proceed.

The tools Pat uses to write are antiquated but they are an essential part of his thinking and his writing. When I worked in post-production, I was fortunate enough to be on jobs with Ken Burns, Woody Allen, and the Coen Brothers, who all still cut on film when I was with them (mid-90s). The physical nature of the medium forced the editor and director to make hard, clear descisions. For instance, if you made a cut on Tuesday, it would take a lot of time and man-power to fix it by Thursday. And even after Joel and Ethan had previewed a reel on their KEM flatbed, it would take five, six minutes to rewind the reel to the head, during which time they would sit and contemplate what they had just watched. I learned to value this down-time, how productive it was for them to be able to think things through.

All three filmmakers cut on computers now. Last winter I spoke with Paul Barnes, Burns’ longtime editor, and asked if he’d ever go back to cutting on film. “Not in a million years,” he said. But he doesn’t need to. He got his chops the old fashioned way, so the new technology is simply a dream. However, for a younger generation, who didn’t grown up cutting on film, there can, at times, be too many choices, so many options that the creative process is overwhelmed by possibilites.

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From “The Crowd Sounds Happy” (due out May 6th)

By Nicholas Dawidoff

I acquired a clock radio of my own. It was a Realistic Chronomatic 9 model, low-built and squared-off at the corners like a shoe box, with a faux-oak plastic cabinet, chrome and clear-plastic control dials, and rounded hour and minute hands that in the dark were backlit a dim lunar orange. These features had aspirations toward sleekness, but only a few months of ownership made clear that my radio was drab in the way the design ideas dominating mainstream consumer electronics in the mid-1970s were all drab. It was a look that was somehow between looks, one in which everything resembled everything else and nothing so much as the dashboard on the clumsy, rowboat-like LTD station wagons Ford was then producing. But if I stared at my Chronomatic 9 long enough, in the right mood it could seem, if not beautiful, almost handsome. My attachment to what came out of the clock radio quickly grew so intense I wanted an appearance to match.

What I was listening to in my room were Boston Red Sox baseball games. I hadn’t been able to get the Boston games on my old transistor, and to discover now that reception was possible on the Chronomatic 9 was joy. By game time I would have spread my homework along my bed, distributing the books and papers lengthwise, so that when I positioned myself on the floor, knees to the rug, chest pressed against the edge of the mattress, head bent over my books, to Sally and my mother passing behind me, it must have looked as though I was supplicating myself to physics and Lord Jim. The radio was to my left, on the night table, and, as I worked, the team broadcaster, Ned Martin, said, “Welcome to Fenway Park in Boston,” and right then a part of me zoomed down the I-91 highway entrance ramp and lifted out of New Haven. Martin and his commentating partner would discuss the game to come, building the anticipation until Martin cried, “Here come the Red Sox!” As he introduced the players position by position—”Jim Rice left field, Fred Lynn center field”—it was like having the cast of characters read aloud to you from the beginning of a Russian novel. All quieted as the crowd rose to listen while an organist played the National Anthem, and I stood too, put my hand to my heart, and with no flag in the room to gaze upon, instead stared fixedly at a red, white, and blue book spine on my shelf for the duration of the song. My mother began to come in and watch me standing there in still, patriotic tribute. At first I wished she would just leave me alone, but over time I began to like her observance of my observance, and when the door didn’t open, I’d reach toward the radio and raise the volume to let her know she was missing the Anthem.

Early in the game, sometimes the reception would be erratic, clogged with static, and I’d have to jiggle the tuning knob, making such minute adjustments my hand trembled. It often helped if I stood near the radio in a certain position, invariably contorted, with one arm akimbo, another limb up in the air, a palm hovering inches over the speaker, trying to maintain position, barely breathing, as the sputtering details came out of the Chronomatic 9. Then the evening progressed, and the connection grew pure. Some nights when the Red Sox weren’t playing, around the fifth inning, I could even begin to pick up broadcasts from Philadelphia or Baltimore or Pittsburgh. That had the appeal of combining the pleasures of baseball with the exploring of distant, unknown places. Between the Red Sox and me it was about something more.

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One of the most exciting events of the spring has been the recent launching of the SI Vault. Talk about an embarassment of riches. Dag. To my dismay, the site does not offer anything close to a complete author index, making finding stuff a frustrating experience at best. I can only hope that this is a temporary problem, because it would be a real shame for something as rich and varied as the SI archives to be needlessly difficult to navigate.

Still, here are a couple of gems for you as we wait for today’s game. No telling if the rain will mess with things this afternoon. It’s warm and foggy this morning and the sun is even shinning here and there in the Bronx. I’m gunna throw up this game thread now cause I won’t be around for the start of the game. If they get it in, Andy Pettitte will make his first start of the year. If there is a delay, grab another bowl of soup, and consider the following bag o treats from the SI vault.

Come Down Selector:

A Diamond in the Ashes: Robert Lipsyte’s highly critical take on the rennovated Yankee Stadium (April, 1976).

This Old House: William Nack’s essay on the Stadium (June, 1999), and The Colossus, his piece on the Babe (August, 1998).

The Play that Beat the Bums: Ron Fimrite’s look back at the Mickey Owens game and the 1941 season (October, 1997).

Mickey Mantle: Richard Hoffer’s piece on the legacy of the last great player on the last great team (August, 1995).

A Real Rap Session: Peter Gammons talks hitting with Ted Williams, Don Mattingly and Wade Boggs from the Baseball Preivew issue (April, 1986).

Yogi: Roy Blount’s takeout piece on the Yankee legend (April, 1984).

Once He Was an Angel (March, 1972) and Tom Terrific and His Mystic Talent (July, ’72), two classic portraits (Bo Belinsky and Tom Seaver) by Pat Jordan.

No Place in the Shade: Mark Kram considered this portrait of Cool Papa Bell to be his finest work for SI (August, 1973). And while we’re on Kram, check out A Wink at a Homely Girl, his wonderful piece about his hometown Baltimore that appeared on the eve of the ’66 World Serious (October, 1966).

Laughing on the Outside: John Schulian’s fine appreciation of the great Josh Gibson (June, 2000).

And finally, He Does it By the Numbers: Dan Okrent’s landmark essay, you know, the one that “discovered” Bill James (March, 1981).

There, that should keep you busy for more than a minute.

Unlike many of my colleagues I did not grow up reading the Bill James Abstracts. I wasn’t interested in numbers (I was given a copy of The Hidden Game of Baseball for my birthday when I was ten or eleven and didn’t open the book until I was over thirty). I didn’t read Bill James until about eight years ago when I inherited my cousin’s collection of the Abstracts. I still wasn’t especially interested in numbers (though is arguments were appealing), but I found James to be a wonderful critic and lucid writer (hey, I used to read Ruth Reichl’s restaurant reviews all the time even though I never intended to go to any of the places she wrote about, I just liked reading her). In fact, the first post ever here at Bronx Banter was about the Red Sox hiring of James.

Which brings me to the 60 Minutes segment on James that was aired this past Sunday. Anyone catch it? I thought it was superficial at best. The worst part about it was that it divided baseball people into two groups–stat heads and the people who go by their “gut,” by what their eyes tell them. In other words, the same, tired, old song. You would figure that 60 Minutes would be above this uninspired kind of journalism, even though they are a populist program. Billy Beane was mentioned as the man who brought sabermetrics to organized baseball. Nevermind Sandy Alderson, or Branch Rickey. Forget about Allan Roth. I guess it didn’t fit their narrow profile, which didn’t shed much light on the Red Sox or James.

Joe Posnanski has a good blog entry about the 60 Minutes piece over at his blog:

There were numerous silly moments, my favorite being when Morley Safer — whose first piece for 60 Minutes was, I believe, on Napoleon — made his statement about how Bill said there’s no such thing as a clutch hitter, and Red Sox Manager Terry Francona replied, “I’ve heard him say that (ed. note: very doubtful) but then I’d want him to be introduced to David Ortiz.”

Really? Does Francona really think Bill James is somehow unaware of David Ortiz?I’m always baffled when people say goofy stuff like this — when they go up to coaches and say, “Have you guys thought about playing zone?”* To me, this is a lot like hearing that a doctor has come up with a new method to perform a heart transplant, and saying, “Yeah, but have you tried that like thing where you have people open their mouths and stick tongue depressors on their tongues and stuff?”

*Roy Williams always had a classic Roy Williams-like answer whenever anyone came up to him with the “Have you thought of this” type suggestion. He would say, “No offense, but believe me, we’ve thought of it. Anything you have thought of, we’ve thought of. It’s our frickin’ job.”

Georged

Veteran scribe Peter Golenbock is writing a book on George Steinbrenner. Peter asked if I’d be kind enough to post the following request. Here goes:

Dear Yankee fans, I am researching a book on the life and times of George Steinbrenner. If any of you have any interesting stories about him, as fans, employees, or recipients of his generosity, I would love to hear them. Send them to petergolenb@yahoo.com. Please include your address and telephone number.

Yanks, Jays take two tonight…

Pat Jordan has a funny story about chasing Jose Canseco for a magazine profile over at Deadspin:

I have been pursuing Jose, like the Holy Grail, for three months now, trying to nail him down for a magazine profile he’d agreed to do in January, partly because, as his lawyer/agent had told me, “Jose’s on the balls on his ass,” and partly because Jose was trying to interest a publisher in his second steroids-tell-all book, which existed only as a two page proposal of typos that had yet to interest any publisher. This second book would be titled “Vindicated,” and it would “encompass approximately 300 pages and will require six months to complete.”

My pursuit of Jose began in January when I called him in California. His girlfriend, Heidi, answered the phone. I told her that I was writing a magazine story about Jose writing a book. “And a movie,” she said. “Jose is writing a book and a movie about himself.” I said, “You mean a screenplay?” She paused a beat, then said, “No, a movie.” I said, “Of course.”

Uh, and nice zinger to end the piece, right? One commentor on Deadspin said you could just skip the entire story and go right to the last line and that pretty much sums it up. Yow.

Did anyone catch the segment on Lenny “Nails” Dykstra on the latest edition of HBO’s Real Sports? Ex-ballplayer-turned-shrewd-businessman. It’s worth watching for the highlight clip they show of Nails throwing bolos at Dodger catcher Rick Dempsey back when he was with the Phillies. It’s also interesting to see how Dykstra looks and sounds like a troll, almost as if he’s drugged. (And if you want to get good and steamed, wait around until the post-segment interview between reporter Bernie Goldberg and host Bryant Gumbel, and dig how Goldberg cops out of telling the truth about Dykstra’s alleged use of PEDS.) Pat Jordan wrote a piece on Dykstra for Fortune.com back in December of 2006. The published version concentrates mostly on the nuts-and-bolts of day trading, but Jordan’s original (“The Dude Abides”) focused more on what it was like to hang out with Dykstra.

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Billy Crystal will suit up and play in an exhibition game with the Yankees tomorrow. It’s a frivolous, ego-driven stunt, that is being promoted as a good, light-hearted time for all. The Yankee players, management and announcers, seem to fawn over celebrities like Crystal, and, as we well know, stars like Crystal just love being around jocks. Maybe I’m turned off by it because I wish I was Crystal, being able to live out my fantasies. More than that, though, I’m embarassed by his need to fulfill his every desire. Color me a spring training Scrooge.

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Mike Lupica and Allen Barra, an incongruous couple if I’ve ever heard of one, both mention W.C. Heinz this week. Barra has a tribute to Heinz in today’s Wall Street Journal:

Perhaps the lasting legacy of Bill Heinz is something he told me in a phone interview 15 years ago. What, I asked him, was the greatest lesson he had learned in nearly half a century of sportswriting? His answer was surprising. “In the end, all of us — fans, writers, coaches, athletes — have something in common: We’re all losers. Everybody is a loser, let’s face it. None of us wins all the time, in games or in life, not Joe DiMaggio, not Muhammad Ali. And none of us is going to live forever.”

Not even Roger Clemens…

This reminded me of what Roger Angell once said about failure, and why, when he started writing about baseball, he was drawn to the Mets and not the Yankees because, he contended, there is more Mets than Yankees in most of us. Most of us can generally relate more to failure than success. Pat Jordan was a failure as a pitcher and then made a career out of profiling so-called “failures” (though he writes just as convincingly about success stories). Check out Jordan’s latest, from last weekend’s Play magazine, on two young golfers.

I saw my favorite bus driver this morning. I went to visit my brother and his family. I take the BX7 bus which picks me up on 236th street and Riverdale Avenue and lets me off on 207th street and Broadway, just a few blocks from their apartment. The trip takes between 15-25 minutes, depending on traffic.

The bus stops directly across the street from where I live so pretty much as soon as I walk out my door I know whether I can make a bus or not. I know exactly how much time it takes if I break out and haul ass in a sprint. Today, I started the sprint but didn’t have a chance and missed the bus by a wide margin. Buddy, a fit, old wise guy that lives in my building–he’s always out walking his little venomous dog–watched me sprint and then let up in defeat. I caught his eye and he laughed at me.

Took more than ten minutes for the next bus to show up. But when it did I saw that it was being driven by my man, Bobby Riggs. Bobby Riggs is a pale, lean man in his late fifites with glasses and pockmarked skin. He has a thick New York accent and a friendly disposition. Straight forward, open. But not soft. He’s been driving long enough to have seniority and he only likes to work the 7 line. The first time we met we got to talking sports, cause I brought it up, but he didn’t really care about sports. Somehow we got to tennis and the Billie Jean King celebrity match against…what was that guy’s name again? When I left the bus that day, neither of us could remember the stupid guy’s name.

Couple of hours after I left him that day, it hit me. And the next time I saw the guy, I was ready to pounce. He opens the door and points at me and goes, “Hey, Bobby Riggs.” So we’ve always called each other Bobby Riggs ever since. He’s a real good guy. Lives with his mother. She’s 91 and has alzheimer’s but he’ll never turn her over to a home or an institution.

He was actually getting off the bus himself at 215th street, a shift-change stop for drivers. Time for lunch-o. Before he got off he turned to me and said, “By the way, my name is Paul.”

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Over at Yankees for Justice, Todd Drew writes about going to see Jimmy Breslin speak at the Barnes and Noble on 66th street, across the street from Lincoln Center, and just a few blocks north from where bar-restaurants like The Ginger Man and Saloon and O’Neal’s Ballon used to stand (bars where guys like Breslin, and my father, drank):

“Would you be a newspaperman if you were just starting out today?” I ask.

“That’s a good one,” he says. “The game’s changed and there’s probably no room for a guy like me.”

He pauses for a moment and then really gets rolling.

“Pick up any newspaper in the morning,” Breslin says. “Count the words in the lead sentences. There will be at least 25 in all of them: Guaranteed. The writers just want to tell you how many degrees they have from this college or that university.

“Steinbeck would use 12 words in the first sentence,” he continues. “Mailer 15 words. Hemingway five. That’s because they had respect for their readers. It may sound like I’m being hard on colleges and that’s because I am. None of them have any idea how to teach people to write. They have wrecked the business.”

The business has certainly changed. And it is still changing. Here is Frank Deford, who along with Dan Jenkins was the most celebrated of the old Sports Illustrated writers, in an on-line interview:

Given the flux in the whole journalism industry, I’d be presumptuous to advise any young student quite what to do. It’s too fluid right now. All I could safely say is that if you have talent, you will succeed, but in what venue I have no idea. You got to be quick on your feet now and be instinctive in choosing the right journalistic path for you. And then it will probably require a switch somewhere down the road.

Nothing stays the same–the nature of business, art, the city. But that shouldn’t stop us from appreciating the great tradition of newspaper and magazine writing. The Star-Ledger has a wonderful, eight-part tribute to Jerry Izenberg’s 55 years in the business. Video clips are included along with Izenberg’s memory pieces. In the second installment, he talks about his mentor, Stanley Woodward, the famed sports editor for the New York Herald Tribune. (Woodward wrote a wonderful memoir, Paper Tiger, introduced by John Schulian. Roger Kahn devotes an entire chapter to Woodward in his recent memoir, Into My Own.)

Also, in case you missed it when it ran late last summer, here is Mark Kram’s poignant memoir piece about his father, also Mark Kram. The elder Kram was a gifted but troubled star writer for SI in the sixtes and seventies–his piece on the “Thrilla in Manilla” is widely anthologized:

What I remember now is his back, the way it dampened with an enlarging oval of perspiration as he sat with his big shoulders crouched over the typewriter. Steeped in piles of newspapers and assorted coffee cups corroded with tobacco ash, he labored amid a drifting cloud of pipe smoke in Room 2072 wrapping up a piece on the National Marbles Tournament, which would later be included in The Norton Reader. I remember him chasing away a young woman that day who’d come early for his copy. Even at 17 I had to laugh, because he used every second allotted to him by a deadline, be it an hour or weeks. He’d get up, jam his pipe into his pocket, and pace, up this corridor, down the other, light his pipe and end up back at his office, where his typewriter remained with the same piece of paper in it on which 12 words had been written. His editor Pat Ryan refers to this as “stall walking” — what jittery thoroughbreds do to calm down – but eventually that sweat and tobacco paid off in prose that was like slipping into a velvet boxing robe.

Managing editor Andre Laguerre unlatched whatever raw abilities Dad possessed. The legendary Frenchman did not care if he had been to Georgia for three years or even three hours; in fact, a “Letter from the Publisher” in March, 1968 played up the phony telegram he concocted at The Sun as the act of a resourceful imagination. Laguerre divined in him a deep reservoir of moody sensitivities that could swell into uncommonly seductive prose. That became abundantly clear as his work developed in the ensuing years in an array of sharply observed pieces, none better than his 1973 profile of the forgotten Negro League star Cool Papa Bell called “No Place in the Shade.” That story begins: “In the language of jazz, the word gig is an evening of work: sometimes sweet, sometimes sour, take the gig as it comes, for who knows when the next will be. It means bread and butter first, but a whole lot of things have always seemed to ride with the word: drifting blue light, the bouquet of leftover drinks, spells of odd dialogue and most of all a sense of pain and limbo. For more than anything the word means black, down-and-out-black, leavin’-home black, gonna-find-me-a-place-in-the-shade black.” Dad would come to think of that piece as his finest effort at SI.

But it would be his work on the boxing beat that would bring him acclaim. Down through the years, few in that Ruyonesque galaxy of unrepentant rogues were spared the sharp point of his critical lance, including Ali, his entourage, the new Madison Square Garden, and rival promoters Bob Arum and Don King. “Boxing is a world of freebooters,” says Mort Sharnik, who covered boxing with Dad at SI. “And in that realm Mark was looked upon with much apprehension.” And yet as cynical as Dad could be, I think Sharnik is on to something when he says that he was oddly naïve. “Whenever you told him something, he would draw on his pipe and cock his eye in this skeptical way,” says Sharnik. “But a true cynic would not have allowed himself to be drawn in by some of the questionable characters Mark did. In that way there was always some rube in him.”

Speaking of the old days, Bob Ryan edited The Best of Sport a few years ago, a good introduction to guys like Arnold Hano, Myron Cope and Ed Linn.

If you like that sort of thing…

I tried to represent as many different sports as possible when I put together The Best Sports Writing of Pat Jordan. Funny thing is, while there may be more great writing about boxing than any other sport, including baseball, no boxing stories made the cut, though Pat’s done some decent ones, like this one about Amir Khan, the Great British-Pakistani-Muslim Hope:

At 10 p.m., Amir Khan walked into the arena amid the flash of cameras and TV lights and the Asian girls aiming their cellphone cameras at him. He was wearing his trademark silver trunks, but with a slight alteration: tartan trim had been sewn in. Steve Gethin stood in his corner, his blue eyes wide.

The bell rang for Round 1. Khan loped into the center of the ring and began to stalk Gethin. He moved gracefully, bent over at the waist, bobbing and weaving left and right, his hands dangling low to the canvas. Khan did not look so young now, nor so slight. He looked huge next to Gethin and dangerous in a primitive way. Suddenly he attacked Gethin, hitting him with three quick punches before Gethin could react. Khan did resemble Muhammad Ali in the ring. It’s almost sinuous, the way he moves. He’s a trained fighter, but an instinctive one too.

Khan pursued Gethin, who backpedaled, Khan weaving hypnotically, and then he sprang again, pummeling Gethin with so many quick punches it seemed as if they were all one long, continuous punch. Gethin wrapped his arms around Khan and waited for the referee to separate them.

The fight didn’t last very long. The referee stopped it in the third round, after Khan again battered Gethin’s head with so many quick blows in succession that Gethin could only cover his face with his gloves and forsake any thought of throwing a counterpunch.

Khan raised his arms in victory. Some cheered; others were upset the fight had been stopped early. The members of “Khan’s Barmy Army” poured out of their seats. They began to leave the arena, waving their Union Jack-Pakistani flag at the seated fans. The Scottish fans began to throw things at them. Bottles. Sharpened coins. Cups of beer. “Khan’s Barmy Army” covered their heads. Security appeared from the runways, surrounded Khan’s “army” and hustled them out of the arena. In the ring, Amir Khan, oblivious, was being interviewed on ITV with his father.

Pat did a handful of hockey pieces for Sports Illustraed in the ’70s including a good one on Derek Sanderson. We included a hockey story in our collection, one of his earliest pieces for Sport magazine, about the Bruins at the old Boston Garden. Here is a good little profile Jordan did on Mike Keenan for The Sporting News in 1994, just after coach Keenan left the Rangers for St. Louis.

Italian waiters at Gian-Peppe’s Restaurant in “The Hill” section of St. Louis are wearing tuxedos with frilly shirts. They hover around Keenan at his table as if he were the Mafia Don out of “A Bronx Tale.”

“I used to hang around with seven Italian brothers when I was a kid,” he says. “I was the only Irish kid. If they got a beating from their mother, I got a beating from her, too.” He laughs, and drains his beer. Keenan asks a waiter to bring him a phone. He has to call his daughter, who will visit him tomorrow, and he’s worried that she might not have gotten the airplane ticket he sent her.

“It causes me great pain to be away from her,” he says, as the waiter returns with the phone. “I’m proud of my accomplishments, but maybe my ambition was selfish. You pay a personal price. Loneliness. It’s the only thing that scares me.” He makes the call, but his daughter is not home. The other waiter returns with a beer. For a tough-guy hockey coach, Keenan talks a lot about pain and lone-liness and even fear. He had a fear of failure when he took over at Philadelphia.

“I was confident,” he says. “I felt ready. But there’s always that fear in hockey if you’re not successful you’ll never coach again. I felt I had to be firm with my players and then I’d back off after a while, you know, the way a teacher does. But the players didn’t think I let up as much as I should have. I like to think my relationship with players has improved. I’ve improved. After the separation, I learned to reflect on life. To be introspective, tolerant and understanding. It was an awakening.” He picks up the phone and dials his daughter again.

I’m not a hockey fan and I never have been. I don’t follow boxing but I liked it as a kid. Hagler, Hearns, Sugar Ray. The tail end of Ali. The Rocky movies (seeing Rocky III in the balcony of Loews 83rd street–a theater no longer with us–with the place literally shaking during the big fight at the end, was one of the more memorable movie experiences of my childhood). Larry Holmes v. Tim Witherspoon, vs. R. Tex Cobb, all the way through Iron Mike’s early days.

I want to read more boxing writing at some point–there’s so much good stuff out there. I’d at least like to give it a shot. It’s such an appealing sport for writers because, as Len Shapiro of the Washington Post says, “It’s the greatest sport in the world until they get in the ring.”

Lot of good boxing movies too, come to think of it: Body and Soul, Somebody Up There Likes Me, Fat City, Rocky, Raging Bull, When We Were Kings. And Slap Shot is arguably the greatest sports movie of them all.

The Pat Jordan pick of the week is a profile he did on the ol’ red-headed Deadhead for the New York Times Magazine back in 2001. Here’s Bill Walton’s Inside Game:

Back at the house, Walton goes to practice his piano while his sons go outside to play one of their fierce two-on-two basketball games. Nate and Bruk Vandeweghe, who has lived with the family for 20 years, team up against Chris and a friend. Luke, limping from an ankle sprain he suffered in one of the boys’ recent games, sits in a chair and mimics his father broadcasting the game that is filled with rough play and profanity.

Nate fakes under the basket and tosses in a hook shot. “Nice utilization of the body,” Luke intones. Chris immediately hits a long jumper. “But Chris will not go away,” Luke says.

Chris drives toward the basket and tosses a pass behind his back that goes out of bounds. “A good look,” Luke says, “but a little too fancy.”

Nate and Chris dive for a loose ball and bang heads. Chris screams a profanity at Nate, and Nate curses back. As play resumes, Walton hobbles out on his crutches to watch. “What are you doing here?” Nate says. The boys’ game is deflated. They continue to play, but without their previous fury; no more curses, just a lot of uncontested jump shots until the game expires.

After the game, Vandeweghe sits by the pool and talks about his life with the Waltons. He acts as their unofficial manservant, serving drinks, giving the boys massages on the living-room table and running errands. “This house is in a time warp,” he says. “Like a monastery. Still, there’s a lot going on here you don’t know.” He smiles. “Bill wants everyone to have a good time. At his parties, there are three girls to every guy. Bill lets you do anything with girls as long as you don’t talk about it in front of Lori. She’s subservient, like a geisha. She serves her purpose for Bill. She’s thrilled to be with a star.” He says that the Waltons’ divorce was hard on Susie. “She was like my second mom. She can’t lie. Bill can’t talk about her because he knows she’s right.”

At that moment, Nate, furious, comes out of the house toward Vandeweghe. “Same old garbage!” he snaps. “I told Bill I was gonna see Mom, and he says he wants to talk to me for five minutes, and it goes on and on, nowhere.”

Not everybody loved Jordan’s story. Here is a letter the Times published on November 25, 2001:

In the 20 years since I wrote about the Portland Trail Blazers in an earlier book, Bill Walton and I have become good friends, and I have spent a good deal of time with him and with his sons (Pat Jordan, Oct. 28). The relationship between father and sons has always struck me as loving, supportive and mutually generous; I think it is not unimportant that in a home where the father let all of his sons follow their own stars, all four wanted to play basketball. More important, what Pat Jordan missed was the story right in front of him: the rarest kind of courage and exuberance on the part of an athlete, once gifted, whose ability to maximize the uses of his body is so critical to his psyche but is now so seriously jeopardized by the cruelest kind of injuries to both feet.

David Halberstam
New York

Clearly, Pat never read How to Wins Friends and Influence People.

[Photo Credit: L.A. Times]