Baseball is back — and in a weird spot
For the first time in a long time, it feels like the sport is having an identity crisis
9:44 AMFor some people, Opening Day of the Major League Baseball season is amateur hour. Like New Year’s Eve, driver’s ed courses and cooking classes. You show up, complete the task, then claim for the rest of that particular time cycle that you’re good because you’ve completed the requirements of being a baseball fan.
But for me, Opening Day is a tradition that I’ll probably hold on to longer than any other. Not because I want to eat a hot dog and drink a beer with a bunch of other people, but because of the journey it represents. Hack sportswriters will all tell you that everyone starts at the same place and thus everyone can conceivably have hope for a successful season. That’s a false utopia, but whatever.
This year, though, baseball is in a weird spot. People who grew up watching the game as casual fans now feel alienated from the game because it’s too specialized, too long and too boring. All are understandable feelings. For the first time in a long time, it feels like the actual sport itself is having an identity crisis.
Minor League Baseball is experimenting with putting a runner on second in extra innings to make things more exciting, apparently. MLB is putting a limit on mound visits as a way to try to shorten games. One franchise, the Arizona Diamondbacks, is bringing back the bullpen car to liven up pitching changes, and in Baltimore, the team is letting kids age 9 and under into games for free because that’s what they’ve come to.
If I’m being real, it’s heartbreaking. The sport has understandably turned to various gimmicks to try to improve ratings and attendance, and at the risk of sounding like the oldest man in Oldmanistan, it’s sad. To be clear, bullpen carts are incredible and letting kids into the park is even better. It’s not about the specificity of the gimmick, it’s about the fact that baseball is no longer good enough.
Look around the league and tell me who the people are who move the needle the most. The guys with the personalities, who play like they don’t care what opponents think and just want to have a good time playing. You can see it in the World Baseball Classic when players represent their home nations, and you can see it at lower levels of the game, where the notion of decorum and code are a little less rigid.
As a kid who grew up a baseball fanatic in a city without a big league team, I fell in love with the characters on the field, doing my best to connect with their personalities as humans and players, far more than my allegiance to the success of any one team. And those years of the ’80s and ’90s, there was a large swag element that was noticeable, and from far more people than just the stars. Now, if a team has a manager who curses a lot and a player who wears his hat askew, they’re looked at as loose cannons.
All this is to say that it’s an important season for the big league product. When I sat on a panel at the winter meetings in Orlando, Florida, I was asked what big league teams could do to improve the television experience of baseball. There’s a monumental focus on time, when the reality is about the game. If people don’t want to watch guys field ground balls, make throws and foul off pitches, then they just don’t.
Throwing bells and whistles into random parts of the sport is not going to draw people to the yard or their television sets. Baseball has become too monolithic in style, with the personality of the game we’re told to draw on as a child to endear ourselves to the game erased by adulthood with the wholly idiotic phrase “that’s not how you play the game.”
I’ve been to probably 10 ballgames already this season. None of them in the big leagues, but the passion was equally present. The Opening Day crowds across the nation are an interesting indicator of who the big leagues are trying to draw. There are those who show up for the experience and those who show up for the game, while most people do both. But are pitch clocks and batter’s box restrictions going to bring them back to the park? Unlikely.
If a game is entertaining, it doesn’t really matter how long it is. That’s the whole point of the sport. And the players are the ones who make it so. But as long as those in the ranks are operating on a code that strips the diamond of what originally made it delightful, the fans will know better. Everyone who shows up this weekend to watch hardball is there to have fun. Whether they do or not will likely be on the guys in uniform, not the ones in the commissioner’s office.
Andy Reid on diversity in coaching: Just do the right thing
Kansas City coach has the league’s only black offensive coordinator, Eric Bieniemy, on his staff
6:20 PMORLANDO, Florida — During the Super Bowl, NFL commissioner Roger Goodell acknowledged that the NFL has too few coaches of color in the pipeline on offense. That’s a problem during an era in which owners prefer to pick from that side of the ball to fill openings.
“The trend now is offensive coaches,” Goodell said.
And Eric Bieniemy of the Kansas City Chiefs is the league’s only African-American offensive coordinator. So how can the gap be bridged?
Kansas City Chiefs head coach Andy Reid has some thoughts. Reid was recently honored by the Fritz Pollard Alliance, the group that helps the NFL oversee compliance with the Rooney Rule, for his contributions to furthering opportunities for candidates of color in coaching, front-office and scouting roles.
The answer to improving diversity in the ranks on offense, and coaching in general, is simple: Just do the right thing.
“I’m into good coaches,” Reid said. “I don’t get caught up in all the color. I don’t do all that. I can’t speak for other people on that. I talk to everybody. When you see me at the Senior Bowl, I’ve always got people coming up [to me] and I talk to ’em. Young guys. I don’t care what color they are, let’s talk some ball.
“As long as a guy loves ball, he’s got aptitude and is willing to work, I’m all in on him, man. And that’s what Eric Bieniemy is. That’s what I like. Just open your heart, man. Do what’s best for the game. I don’t care what color you are. Do what’s best for the game.”
Under Reid, Bieniemy is in a good spot. And that’s a big part of it, Cleveland Browns head coach Hue Jackson said.
“Eric Bieniemy is with Andy Reid, who’s definitely about diversity and about giving guys opportunities,” said Jackson, one of the NFL’s seven African-American head coaches. “There’s a lot of head coaches that feel that way too. But you have to be in the right situation at the right time.”
Off-White founder Virgil Abloh named artistic director of men’s wear at Louis Vuitton
The Illinois-born son of Ghanaian immigrants is noted for his ‘fascination with irony, with memes, and with context’
6:56 AMThe news broke just a few moments after midnight on March 26. Virgil Abloh, founder (in 2014) of the upscale street wear label Off-White, and a former creative director for Kanye West, is the new artistic director of men’s wear at Louis Vuitton. Vuitton, a staple of fashionistas around the world, is according to The New York Times, “one of the oldest and most powerful European houses in the luxury business.”
Known for a relentless work ethic, and his deep influence within the style world, Abloh is at the cutting edge of global fashion. His collaborations alone — Nike, Vans, and Levi’s among them — seem never to be not trending, whether on Instagram, or on the glossy pages of magazines. His portfolio also includes an upcoming project with Ikea, and a retrospective of his work at the Museum of Contemporary Art Chicago. The Illinois-born son of Ghanian immigrants, Abloh is noted for his “fascination with irony, with memes and with context.”
Abloh, who has an undergraduate civil engineering degree and a master’s in architecture, is Vuitton’s first African-American artistic director. He’s in a rare but rising space for black designers: Olivier Rousteing is currently creative director of Balmain, and Ozwald Boateng was designer for Givenchy men’s 2003-07. Vuitton though, from its classic monogram to its brightest and most whimsical eras, is Vuitton.
The house captures imaginations, whether they be on relaxing on the decks of yachts or the standing in a subway platform. At a panel a few years ago, Abloh said, “My motivation is, in part, a bit of angst that comes from feeling like I don’t belong; that our generation doesn’t belong. I made a conscious decision that I wasn’t just going to be a consumer; that at least one of us would appear at the end of a Parisian runway.” Talk about speaking it into existence.