Basketball
Page 47
I pointed to his footwork; he pointed to a gorgeous young woman in the stands wearing a Battier jersey. (“You don’t see too many good-looking girls with Battier jerseys on,” he said. “It’s usually 12 and under or 60 and over. That’s my demographic.”) I noted the uncanny way in which he got his hand right in front of Bryant’s eyes before a shot; he motioned to his old high school library (“I came in here every day before classes”). He took my excessive interest in this one game as proof of a certain lack of imagination, I’m pretty sure. “I’ve been doing the same thing for seven years,” he said, “and this is the only game anyone wants to talk about. It’s like, Oh, you can play defense?” It grew clear that one reason he didn’t particularly care to watch himself play, apart from the tedium of it, was that he plays the game so self-consciously. Unable to count on the game to properly measure his performance, he learned to do so himself. He had, in some sense, already seen the video. When I finally compelled him to watch, he was knocking the ball out of Bryant’s hands as Bryant raised it from his waist to his chin. “If I get to be commissioner, that will count as a blocked shot,” Battier said. “But it’s nothing. They don’t count it as a blocked shot. I do that at least 30 times a season.”
In the statistically insignificant sample of professional athletes I’ve come to know a bit, two patterns have emerged. The first is, they tell you meaningful things only when you talk to them in places other than where they have been trained to answer questions. It’s pointless, for instance, to ask a basketball player about himself inside his locker room. For a start, he is naked; for another, he’s surrounded by the people he has learned to mistrust, his own teammates. The second pattern is the fact that seemingly trivial events in their childhoods have had huge influence on their careers. A cleanup hitter lives and dies by a swing he perfected when he was 7; a quarterback has a hitch in his throwing motion because he imitated his father. Here, in the Detroit Country Day School library, a few yards from the gym, Battier was back where he became a basketball player. And he was far less interested in what happened between him and Kobe Bryant four months ago than what happened when he was 12.
When he entered Detroit Country Day in seventh grade, he was already conspicuous at 6-foot-4, and a year later he would be 6-foot-7. “Growing up tall was something I got used to,” he said. “I was the kid about whom they always said, ‘Check his birth certificate.’ ” He was also the only kid in school with a black father and a white mother. Oddly enough, the school had just graduated a famous black basketball player, Chris Webber. Webber won three state championships and was named national high-school player of the year. “Chris was a man-child,” says his high school basketball coach, Kurt Keener. “Everyone wanted Shane to be the next Chris Webber, but Shane wasn’t like that.” Battier had never heard of Webber and didn’t understand why, when he took to the Amateur Athletic Union circuit and played with black inner-city kids, he found himself compared unfavorably with Webber: “I kept hearing ‘He’s too soft’ or ‘He’s not an athlete.’ ” His high-school coach was aware of the problems he had when he moved from white high-school games to the black A.A.U. circuit. “I remember trying to add some flair to his game,” Keener says, “but it was like teaching a classical dancer to do hip-hop. I came to the conclusion he didn’t have the ego for it.”
Battier was half-white and half-black, but basketball, it seemed, was either black or white. A small library of Ph.D. theses might usefully be devoted to the reasons for this. For instance, is it a coincidence that many of the things a player does in white basketball to prove his character—take a charge, scramble for a loose ball—are more pleasantly done on a polished wooden floor than they are on inner-city asphalt? Is it easier to “play for the team” when that team is part of some larger institution? At any rate, the inner-city kids with whom he played on the A.A.U. circuit treated Battier like a suburban kid with a white game, and the suburban kids he played with during the regular season treated him like a visitor from the planet where they kept the black people. “On Martin Luther King Day, everyone in class would look at me like I was supposed to know who he was and why he was important,” Battier said. “When we had an official school picture, every other kid was given a comb. I was the only one given a pick.” He was awkward and shy, or as he put it: “I didn’t present well. But I’m in the eighth grade! I’m just trying to fit in!” And yet here he was shuttling between a black world that treated him as white and a white world that treated him as black. “Everything I’ve done since then is because of what I went through with this,” he said. “What I did is alienate myself from everybody. I’d eat lunch by myself. I’d study by myself. And I sort of lost myself in the game.”
Losing himself in the game meant fitting into the game, and fitting into the game meant meshing so well that he became hard to see. In high school he was almost always the best player on the court, but even then he didn’t embrace the starring role. “He had a tendency to defer,” Keener says. “He had this incredible ability to make everyone around him better. But I had to tell him to be more assertive. The one game we lost his freshman year, it was because he deferred to the seniors.” Even when he was clearly the best player and could have shot the ball at will, he was more interested in his role in the larger unit. But it is a mistake to see in his detachment from self an absence of ego, or ambition, or even desire for attention. When Battier finished telling me the story of this unpleasant period in his life, he said: “Chris Webber won three state championships, the Mr. Basketball Award and the Naismith Award. I won three state championships, Mr. Basketball and the Naismith Awards. All the things they said I wasn’t able to do, when I was in the eighth grade.”
“Who’s they?” I asked.
“Pretty much everyone,” he said.
“White people?”
“No,” he said. “The street.”
As the third quarter began, Battier’s face appeared overhead, on the Jumbotron, where he hammed it up and exhorted the crowd. Throughout the game he was up on the thing more than any other player: plugging teeth-whitening formulas, praising local jewelers, making public-service announcements, telling the fans to make noise. When I mentioned to a Rockets’ staff member that Battier seemed to have far more than his fair share of big-screen appearances, he said, “Probably because he’s the only one who’ll do them.”
I spent the second half with Sam Hinkie, the vice president of basketball operations and the head of basketball analytics in the Rockets’ front office. The game went back and forth. Bryant kept missing more shots than he made. Neither team got much of a lead. More remarkable than the game were Hinkie’s reactions—and it soon became clear that while he obviously wanted the Rockets to win, he was responding to different events on the court than the typical Rockets (or N.B.A.) fan was.
“I care a lot more about what ought to have happened than what actually happens,” said Hinkie, who has an M.B.A. from Stanford. The routine N.B.A. game, he explained, is decided by a tiny percentage of the total points scored. A team scores on average about 100 points a game, but two out of three N.B.A. games are decided by fewer than 6 points—two or three possessions. The effect of this, in his mind, was to raise significantly the importance of every little thing that happened. The Lakers’ Trevor Ariza, who makes 29 percent of his 3-point shots, hit a crazy 3-pointer, and as the crowd moaned, Hinkie was almost distraught. “That Ariza shot, that is really painful,” he said. “Because it’s a near-random event. And it’s a 3-point swing.” When Bryant drove to the basket, instead of being forced to take a jump shot, he said: “That’s three-eighths of a point. These things accumulate.”
In this probabilistic spirit we watched the battle between Battier and Bryant. From Hinkie’s standpoint, it was going extremely well: “With most guys, Shane can kick them from their good zone to bad zone, but with Kobe you’re just picking your poison. It’s the epitome of, Which way do you want to die?” Only the Rockets weren’t dying. Battier had once again turned Bryant into a le
ss-efficient machine of death. Even when the shots dropped, they came from the places on the court where the Rockets’ front office didn’t mind seeing them drop. “That’s all you can do,” Hinkie said, after Bryant sank an 18-footer. “Get him to an inefficient spot and contest.” And then all of a sudden it was 97–95, Lakers, with a bit more than three minutes to play, and someone called timeout. “We’re in it,” Hinkie said, happily. “And some of what happens from here on will be randomness.”
The team with the N.B.A.’s best record was being taken to the wire by Yao Ming and a collection of widely unesteemed players. Moments later, I looked up at the scoreboard:
Bryant: 30.
Battier: 0.
Hinkie followed my gaze and smiled. “I know that doesn’t look good,” he said, referring to the players’ respective point totals. But if Battier wasn’t in there, he went on to say: “we lose by 12. No matter what happens now, none of our coaches will say, ‘If only we could have gotten a little more out of Battier.’ ”
One statistical rule of thumb in basketball is that a team leading by more points than there are minutes left near the end of the game has an 80 percent chance of winning. If your team is down by more than 6 points halfway through the final quarter, and you’re anxious to beat the traffic, you can leave knowing that there is slightly less than a 20 percent chance you’ll miss a victory; on the other hand, if you miss a victory, it will have been an improbable and therefore sensational one. At no point on this night has either team had enough of a lead to set fans, or even Rockets management, to calculating their confidence intervals—but then, with 2:27 to play, the Lakers went up by 4: 99–95. Then they got the ball back. The ball went to Bryant, and Battier shaded him left—into Yao Ming. Bryant dribbled and took the best shot he could, from Battier’s perspective: a long 2-point jump shot, off the dribble, while moving left. He missed, the Rockets ran back the other way, Rafer Alston drove the lane and hit a floater: 99–97, and 1:13 on the clock. The Lakers missed another shot. Alston grabbed the rebound and called timeout with 59 seconds left.
Whatever the Rockets planned went instantly wrong, when the inbound pass, as soon as it was caught by the Rockets’ Carl Landry, was swatted away by the Lakers. The ball was loose, bodies flew everywhere.
55 . . . 54 . . . 53 . . .
On the side of the court opposite the melee, Battier froze. The moment he saw that the loose ball was likely to be secured by a teammate—but before it was secured—he sprinted to the corner.
50 . . . 49 . . . 48 . . .
The 3-point shot from the corner is the single most efficient shot in the N.B.A. One way the Rockets can tell if their opponents have taken to analyzing basketball in similar ways as they do is their attitude to the corner 3: the smart teams take a lot of them and seek to prevent their opponents from taking them. In basketball there is only so much you can plan, however, especially at a street-ball moment like this. As it happened, Houston’s Rafer Alston was among the most legendary street-ball players of all time—known as Skip 2 My Lou, a nickname he received after a single spectacular move at Rucker Park, in Harlem. “Shane wouldn’t last in street ball because in street ball no one wants to see” his game, Alston told me earlier. “You better give us something to ooh and ahh about. No one cares about someone who took a charge.”
The Rockets’ offense had broken down, and there was no usual place for Alston, still back near the half-court line, to go with the ball. The Lakers’ defense had also broken down; no player was where he was meant to be. The only person exactly where he should have been—wide open, standing at the most efficient spot on the floor from which to shoot—was Shane Battier. When Daryl Morey spoke of basketball intelligence, a phrase slipped out: “the I.Q. of where to be.” Fitting in on a basketball court, in the way Battier fits in, requires the I.Q. of where to be. Bang: Alston hit Battier with a long pass. Bang: Battier shot the 3, guiltlessly. Nothing but net.
Rockets 100, Lakers 99.
43 . . . 42 . . . 41 . . .
At this moment, the Rockets’ front office would later calculate, the team’s chances of winning rose from 19.2 percent to 72.6 percent. One day some smart person will study the correlation between shifts in probabilities and levels of noise, but for now the crowd was ignorantly berserk: it sounded indeed like the largest crowd in the history of Houston’s Toyota Center. Bryant got the ball at half-court and dribbled idly, searching for his opening. This was his moment, the one great players are said to live for, when everyone knows he’s going to take the shot, and he takes it anyway. On the other end of the floor it wasn’t the shooter who mattered but the shot. Now the shot was nothing, the shooter everything.
33 . . . 32 . . . 31 . . .
Bryant—12 for 31 on the night—took off and drove to the right, his strength, in the middle of the lane. Battier cut him off. Bryant tossed the ball back out to Derek Fisher, out of shooting range.
30 . . . 29 . . .
Like everyone else in the place, Battier assumed that the game was still in Bryant’s hands. If he gave the ball up, it was only so that he might get it back. Bryant popped out. He was now a good four feet beyond the 3-point line, or nearly 30 feet from the basket.
28 . . .
Bryant caught the ball and, 27.4 feet from the basket, the Rockets’ front office would later determine, leapt. Instantly his view of that basket was blocked by Battier’s hand. This was not an original situation. Since the 2002–3 season, Bryant had taken 51 3-pointers at the very end of close games from farther than 26.75 feet from the basket. He had missed 86.3 percent of them. A little over a year ago the Lakers lost to the Cleveland Cavaliers after Bryant missed a 3 from 28.4 feet. Three nights from now the Lakers would lose to the Orlando Magic after Bryant missed a shot from 27.5 feet that would have tied the game. It was a shot Battier could live with, even if it turned out to be good.
Battier looked back to see the ball drop through the basket and hit the floor. In that brief moment he was the picture of detachment, less a party to a traffic accident than a curious passer-by. And then he laughed. The process had gone just as he hoped. The outcome he never could control.
George Dohrmann
For generations, young sportswriters got their start on the high school beat, hoping to advance, like the athletes they covered, to the colleges, perhaps the pros, and, for the anointed few, enshrinement as columnists, with names and faces chiseled plaque-like above their musings. George Dohrmann (b. 1973) began in just that way upon graduating from Notre Dame in 1995, covering preps for the Los Angeles Times. Yet even after winning a Pulitzer Prize at the St. Paul Pioneer-Press in 2000 for exposing academic fraud in the basketball program at Minnesota, and landing at Sports Illustrated as a senior writer, Dohrmann couldn’t let grassroots sports go. He had been fascinated by something he saw up close at the outset of his career: the unregulated youth basketball scene that sprawls across Southern California, and the college recruiters, shoe company reps, and travel-team coaches angling for a piece of the action. Impressed by the deep, longitudinal work of Adrian Nicole LeBlanc in the book Random Family, Dohrmann decided to apply her approach. He spent nearly nine years following a youth coach in San Bernardino County named Joe Keller, as well as Demetrius Walker, the player Keller served as Svengali and impresario after identifying him as a prospect at age ten. The book that resulted, Play Their Hearts Out (2010), won the 2011 PEN/ESPN Award for Literary Sportswriting. Few people in its pages could be described as “household names,” including many of those once believed to be “can’t miss.” But that’s where the importance and very point of Dohrmann’s work lies. This chapter from late in the book recounts the dissolution of the relationship between Walker and Keller, who by now has gained influence in youth basketball to rival that of Reebok executive Sonny Vaccaro. And, near the end, the author drops a hint that another twist awaits—that even without Keller, Walker will ultimately find his way to Division I basketball.
from
Play Their Hearts Out
On the other end of the line, Keller sighed.
Taylor looked around. A few yards from where he stood in the gym at the Suwanee Sports Academy were more than 100 of the best young basketball players in the country, and he didn’t want them to overhear his remarks. He wasn’t shouting, but his statements were firm. He had been around Keller long enough to know that he didn’t respond to subtleties.
“Do you understand what I am saying, Joe? He’s in the bathroom. Right now. Hiding.”
Keller was across the country, in his home in Moreno Valley, but the distance did not lessen the gravity of the situation. Demetrius Walker, the prodigy Sports Illustrated had labeled the next LeBron, the young soul Keller often bragged was “like my son,” was hiding in a bathroom on the third day of the 2006 Adidas Superstar Camp, the most important event of his grassroots season. College recruiters lined the walls of the gym, and many had circled Demetrius’s name in their programs, anxious to see if he’d improved from the previous summer. Now, with his future hanging in the air like a ball on the rim, he cowered in a bathroom stall.
“I don’t know if he can ever come back from this, Joe,” Taylor said into his phone. “Do you understand, Joe? Do you hear what I am saying? This is it for him. This is it! It’s the bottom. Demetrius has hit the fucking bottom.”