The Yankees, Red Sox, and Phillies are out. Was Billy Beane right about small-market teams?
At first glance, baseball's post-season this year would seem to dovetail nicely with the theme of the recently released Brad Pitt movie Moneyball, based on the Michael Lewis bestseller of the same name. The big money teams--the Yankees, the Red Sox, the Phillies--are out, and the networks are left to contemplate a World Series in Detroit, Milwaukee, St. Louis, or Dallas--a field of decidedly less-lucrative baseball television markets.
But just because the big dollar teams are out doesn't necessarily mean that the success of those smaller-market teams is due to the kind of statistical maneuvering Lewis stressed in Moneyball. Not that managers don't look at statistics. Or that smaller-market teams don't have to get more creative in how they compete against teams with payrolls almost twice their size. It's just that writers, looking for a hook that will sell a book, sometimes focus overmuch on "the thing" or "the answer," when the reality is more complex than that.
Yes, the Oakland A's, the team Lewis profiled in Moneyball, made the playoffs five times in the early 00's--a record Lewis attributed to their rogue statistical approach to baseball. But as a couple of recent articles have pointed out, they never won a championship, and they haven't even made the playoffs since 2006. So--despite the fact that the philosophy highlighted in Moneyball has achieved guru-status fame in the business world--how powerful was that approach, really?
I found an interesting take on that question from--appropriately enough--a former MLB ballplayer who now coaches in the Rangers' farm team system. Casey Candaele might not be a household name, although he played nine years in the majors (Montreal Expos, Houston Astros, and Cleveland Indians) before joining the Rangers' coaching staff. But Candaele comes from memorable baseball stock. His mom was Helen Callaghan--the woman portrayed by Geena Davis in the hit movie A League of Their Own. After leading the All-American Girls Professional Baseball League (AAGPBL) in batting average, homers, hits, doubles, and total bases in 1945, Callaghan got married and had five sons. All five played baseball, growing up, but Casey was the only one who went pro.
In an interview with his brother (writer and filmmaker Kelly Candaele) last week, Casey weighed in on the Moneyball philosophy. An excerpt here:
Question: Billy Beane and the people who agreed with his philosophy operated under the assumption that the old way of analyzing ball-players was mostly about a lot of talking and guessing and that they had a more scientific way of going about this. What was your sense of this?
CC: "I retired in 2000, so the Moneyball approach started a bit later. The thing that struck me about the movie is that the A's were actually pretty good. They had Eric Chavez, a young third baseman who had been playing for a number of years. Miguel Tejada had over 30 home runs and over 100 RBIs that year, I think. Jemaine Dye was on that team and had a great year. They also had Terrance Long, who was in the running for Rookie of the Year the year before.
But most importantly, and this is the film's major problem, I think--the A's had a great pitching staff. They had Tim Hudson, who led the league in ERA and wins a number of years in a row. They had Mark Mulder, who won 19 games, and Barry Zito, who won 23 and was on the top of his game. The pitching was outstanding, but the movie doesn't even mention those guys. So this team was not like the Bad News Bears.
In terms of the Moneyball philosophy, I guess it makes sense to combine people on the team who can get on base consistently with guys who can drive them in. And as it said at the end of the movie, the Red Sox used this philosophy and went on to win the World Series. The Sox had many great players at the time and they are not a small market team, so they spend money. So I don't think it is a matter of assembling a team of all players that have a high On Base Percentage, which is what the movie portrayed. You have to have some people who can drive those guys in quickly."
Question: What was realistic about the film?
CC: "What was realistic was that Beane made a decision about how to re-create the process of how to win in a small baseball market. In that respect, it was unique, as they were trying to find a way to compete, and they had a good year. But, as I said, they had a really good team those years."
other words, the simple, win-by-numbers revolutionary secret that made Moneyball
such a phenomenon ("You, too, can beat the Yankees (or any other
competition) at just half the cost!") appears, on closer inspection, to be
not quite so simple. That's true of most easy, secret formulas for success, of
course. But in baseball, as opposed to business, happiness, health, or other
fields where sure-fire strategies for success abound, I think we're actually
half glad to discover that truth.
On the one hand, we don't want to think that money decides everything. So the idea of an outsider like Beane being able to beat the monetary odds and win appeals to us. On the other hand, we don't really want Beane's underdog success to be the result of some impersonal and predictable accountant's formula.
One of the reasons baseball retains such national appeal is its unspoken parallels to life and human attempts at achievement, in general. It is not only a product of our heartland sandlots, but also a metaphor--a microcosm of human striving, individual and collective effort and achievement, disappointment, defeat, comeback, redemption and ... sometimes ... unexpected victory.
If the game's outcome could be reduced to predictable, formulaic numbers, it would cease to resonate as a metaphor and salve for our own sometimes-frustrating and often unpredictable lives. It would also lose all its poetry. For poetry comes from those moments of perfection, discovery, alchemy and victory that catch our hearts and attention--and are so achingly and unforgettably sweet and magical--precisely because they defy expectation. Poetry is perfection stumbled upon, not perfection engineered.
One of the most perfect moments of baseball poetry I ever witnessed, in fact, occurred not in a traditional baseball stadium, but in the streets of lower Manhattan. And it involved a Candaele. Not Casey, but his brother Kelly.
Kelly had often said that he'd wished he'd inherited his mother's baseball swing. It was, he said, a thing of beauty; a seamless movement of power and grace that led to her success at the plate. He didn't, of course. Casey was the one who got the swing. Kelly went on to other pursuits of writing and film production. But the longing and legacy were still there, underneath it all.
One fall day a number of years ago, as baseball moved, once again, into its post-season games, I met Kelly for a late lunch in New York. After the meal, we wandered the streets of the East Village, taking the long route back the subway to enjoy the fall afternoon. A couple of blocks north of Houston Street, we came across a group of tough-looking teenagers playing stickball in the street. And with bravado I'd never have attempted, Kelly walked up to the guy at bat and asked if he might have a turn.
The response from the group was half-ridiculing, half-menacing. But it was clear they had no interest in the proposal. Tough street kids in New York do not let 40-ish, academic-looking old guys in on their stickball games. But Kelly persisted. He pulled out a $20 bill and offered it to the group in exchange for a single swing. The group laughed. Not only was this guy old, he was a sucker, too. But, hey. If he wanted to throw away his money, well, that was okay with them. They exchanged glances, nodded, and the batter took the money and handed Kelly the stick.
Kelly got in his stance, and the pitcher wound up and delivered the ball across the "plate." Kelly tensed his muscles, swung--and connected with nothing but thin air. The teenagers laughed, guffawed, and swaggered their ridicule all the way down the block. Watching from the sidewalk, I cringed in vicarious embarrassment. But Kelly was undeterred. He asked for another swing. The stickball players scoffed, reminding him that he'd paid for a single swing. I thought, for a moment, that it might turn ugly. But Kelly persisted, cajoling and friendly, until they agreed to give him one more try.
I shook my head, wishing he'd just quit and get us the hell out of there. But there he was, instead, calmly loosening up his shoulders, pulling the stick through a couple of practice swings, then poising it just above his shoulder, waiting for the pitch. The pitcher wound up, released the ball, and I braced for the humiliation that was surely going to follow.
But then, something magical happened. Kelly set the stick in motion, and there it was, out of the past--a swing that resonated with power, grace, and athletic perfection. His mother's swing. And it aligned perfectly with the fast ball delivered down the alley. There was a loud crack as stick and ball connected, and then all heads turned to follow the ball as it arced high and straight above the pavement ... right out of the ballpark. It cleared the blocks north of Houston, cleared the wide, multiple lanes of Houston Street itself, and finally descended back to Earth, bouncing off the pavement halfway down the block on the other side.
The stickball players stood, motionless, suddenly bereft of all taunts, menace, or cockiness, arms limp at their sides and jaws hanging open in stunned, wordless awe. Kelly himself was dazed for a moment, then just smiled, handed the stick back to the batter he'd supplanted, called out a cheerful thanks to the other players, and walked away.
No rational formula would have predicted that outcome. But that's what made it so poetic. And the possibility of victories like that, defying all the numbers, is a big part of what gives baseball its appeal. It might be harder to market that appeal to business audiences looking for a sure-fire edge, of course. But the truth is, what gives us hope, in the long history of human struggle, is that sometimes, we are more than the numerical sum of our parts. Yes, strategy matters. But so do intangibles like heart, will, and the magic that is created, sometimes, when the parts of a person, or the parts of a team, somehow click in ways stat sheets can't predict.
Whether it's the magic of the 1973 Mets, who went from the bottom of their division to the World Series in a matter of weeks on the strength of a relief pitcher's cry of "You Gotta Believe!" or the magic of a middle-aged man finding a perfect swing on a New York City street ... it's those moments in which we find not only only poetry, but a measure of hope, redemption and belief in possibility that helps us get through all the rest. And the fact that that kind of alchemy and magic is impossible to quantify, package and sell is precisely what makes it not only so powerful, but so valuable, as well.
The three leading candidates—Trump, Cruz, and Rubio—stumbled, as the governors in the race made their presence felt.
When is it bad to be a frontrunner? During a presidential debate three days before the New Hampshire primary, evidently. At Saturday night’s forum in Manchester, Marco Rubio, Ted Cruz, and Donald Trump all hit rough patches, while three often-overshadowed governors—Chris Christie, Jeb Bush, and John Kasich—delivered some of their strongest moments of the campaign so far.
Rubio, surging nationwide and in New Hampshire, believed he had a target pinned to his back coming in, and he was right. Christie was the hatchet man, coming after Rubio in the earliest moments of the debate and never letting up. (At one point, Christie even pivoted from responding to an attack by John Kasich to slam Rubio.) Christie jabbed that Rubio, as a senator, doesn’t have the executive experience needed to be president, citing Barack Obama as a cautionary tale. Rubio was ready with an answer to that: “This notion that Barack Obama doesn't know what he's doing?” he said. “He knows exactly what he's doing.” Rubio isn’t the only candidate to suggest that Obama is more evil genius than bumbling fool—Ted Cruz has done the same—but the crowd wasn’t buying it. Maybe Rubio’s phrasing was just too clever.
Hillary Clinton’s realistic attitude is the only thing that can effect change in today’s political climate.
Bernie Sanders and Ted Cruz have something in common. Both have an electoral strategy predicated on the ability of a purist candidate to revolutionize the electorate—bringing droves of chronic non-voters to the polls because at last they have a choice, not an echo—and along the way transforming the political system. Sanders can point to his large crowds and impressive, even astonishing, success at tapping into a small-donor base that exceeds, in breadth and depth, the remarkable one built in 2008 by Barack Obama. Cruz points to his extraordinarily sophisticated voter-identification operation, one that certainly seemed to do the trick in Iowa.
But is there any real evidence that there is a hidden “sleeper cell” of potential voters who are waiting for the signal to emerge and transform the electorate? No. Small-donor contributions are meaningful and a sign of underlying enthusiasm among a slice of the electorate, but they represent a tiny sliver even of that slice; Ron Paul’s success at fundraising (and his big crowds at rallies) misled many analysts into believing that he would make a strong showing in Republican primaries when he ran for president. He flopped.
My view on the Hillary Clinton email “scandal,” as expressed over the months and also yesterday, is that this is another Whitewater. By which I mean: that the political and press hubbub, led in each case on the press’s side by the New York Times, bears very little relationship to the asserted underlying offense, and that after a while it’s hard for anyone to explain what the original sin / crime / violation was in the first place.
The Whitewater investigation machine eventually led, through a series of Rube Goldberg / Jorge Luis Borges-style weirdnesses, to the impeachment of Bill Clinton, even though the final case for removing him from office had exactly nothing to do with the original Whitewater complaint. Thus it stands as an example of how scandals can take on a zombie existence of their own, and of the damage they can do. The Hillary Clinton email “scandal” has seemed another such case to me, as Trey Gowdy’s committee unintentionally demonstrated with its 11-hour attempted takedown of Clinton last year.
If passion is a job requirement, says the writer Miya Tokumitsu, employees have little room to complain about mistreatment at work.
It’s been said in many places and by many luminaries: Do what you love.
But what does this phrase actually mean?
Miya Tokumitsu, a contributing editor at Jacobin magazine and author of the new book Do What You Love And Other Lies About Success and Happiness, criticizes the pervasiveness of this idea in American work culture. She argues that “doing what you love” has been co-opted by corporate interests, giving employers more power to exploit their workers.
I recently spoke with Tokumitsu about work myths and why we should pay attention to them. The following transcript of our conversation has been edited for clarity.
Bourree Lam: Your book started as an essay, “In the Name of Love,” (which was later republished by Slate) that really touched a nerve with people. What were you talking about in that essay and why are people so drawn to it?
Thenew Daily Show host, Trevor Noah, is smooth and charming, but he hasn’t found his edge.
It’s a psychic law of the American workplace: By the time you give your notice, you’ve already left. You’ve checked out, and for the days or weeks that remain, a kind of placeholder-you, a you-cipher, will be doing your job. It’s a law that applies equally to dog walkers, accountants, and spoof TV anchormen. Jon Stewart announced that he was quitting The Daily Show in February 2015, but he stuck around until early August, and those last months had a restless, frazzled, long-lingering feel. A smell of ashes was in the air. The host himself suddenly looked quite old: beaky, pique-y, hollow-cheeky. For 16 years he had shaken his bells, jumped and jangled in his little host’s chair, the only man on TV who could caper while sitting behind a desk. Flash back to his first episode as the Daily Show host, succeeding Craig Kilborn: January 11, 1999, Stewart with floppy, luscious black hair, twitching in a new suit (“I feel like this is my bar mitzvah … I have a rash like you wouldn’t believe.”) while he interviews Michael J. Fox.
The Islamic State is no mere collection of psychopaths. It is a religious group with carefully considered beliefs, among them that it is a key agent of the coming apocalypse. Here’s what that means for its strategy—and for how to stop it.
What is the Islamic State?
Where did it come from, and what are its intentions? The simplicity of these questions can be deceiving, and few Western leaders seem to know the answers. In December, The New York Times published confidential comments by Major General Michael K. Nagata, the Special Operations commander for the United States in the Middle East, admitting that he had hardly begun figuring out the Islamic State’s appeal. “We have not defeated the idea,” he said. “We do not even understand the idea.” In the past year, President Obama has referred to the Islamic State, variously, as “not Islamic” and as al-Qaeda’s “jayvee team,” statements that reflected confusion about the group, and may have contributed to significant strategic errors.
The championship game descends on a city failing to deal with questions of affordability and inclusion.
SAN FRANCISCO—The protest kicked off just a few feet from Super Bowl City, the commercial playground behind security fences on the Embarcadero, where football fans were milling about drinking beer, noshing on $18 bacon cheeseburgers, and lining up for a ride on a zip line down Market Street.
The protesters held up big green camping tents painted with slogans such as “End the Class War” and “Stop Stealing Our Homes,” and chanted phrases blaming San Francisco Mayor Ed Lee for a whole range of problems, including the catchy “Hey Hey, Mayor Lee, No Penalty for Poverty.” They blocked the sidewalk, battling with tourists, joggers, and city workers, some of whom were trying to wheel their bikes through the crowd to get to the ferries that would take them home.
Republicans may have a lock on Congress and the nation’s statehouses—and could well win the presidency—but the liberal era ushered in by Barack Obama is only just beginning.
Over roughly the past 18 months, the following events have transfixed the nation.
In July 2014, Eric Garner, an African American man reportedly selling loose cigarettes illegally, was choked to death by a New York City policeman.
That August, a white police officer, Darren Wilson, shot and killed an African American teenager, Michael Brown, in Ferguson, Missouri. For close to two weeks, protesters battled police clad in military gear. Missouri’s governor said the city looked like a war zone.
In December, an African American man with a criminal record avenged Garner’s and Brown’s deaths by murdering two New York City police officers. At the officers’ funerals, hundreds of police turned their backs on New York’s liberal mayor, Bill de Blasio.
Every time you shrug, you don’t need to Google, then copy, then paste.
Updated, 2:20 p.m.
All hail ¯\_(ツ)_/¯.
In its 11 strokes, the symbol encapsulates what it’s like to be an individual on the Internet. With raised arms and a half-turned smile, it exudes the melancholia, the malaise, the acceptance, and (finally) the embrace of knowing that something’s wrong on the Internet and you can’t do anything about it.
As Kyle Chayka writes in a new history of the symbol at The Awl, the meaning of the “the shruggie” is always two, if not three- or four-, fold. ¯\_(ツ)_/¯ represents nihilism, “bemused resignation,” and “a Zen-like tool to accept the chaos of universe.” It is Sisyphus in unicode. I use it at least 10 times a day.
For a long time, however, I used it with some difficulty. Unlike better-known emoticons like :) or ;), ¯\_(ツ)_/¯ borrows characters from the Japanese syllabary called katakana. That makes it a kaomoji, a Japanese emoticon; it also makes it, on Western alphabetical keyboards at least, very hard to type. But then I found a solution, and it saves me having to google “smiley sideways shrug” every time I want to quickly rail at the world’s inherent lack of meaning.
A growing field of research is examining how life satisfaction may affect cellular functioning and DNA.
“What is the truest form of human happiness?” Steven Cole asks.
It’s a question he’s been considering for most of his career—but Cole is a genomics researcher, not a philosopher. To him, this question isn’t rhetoric or a thought experiment. It’s science—measureable and finite.
Cole, a professor of medicine and psychiatry at the University of California, Los Angeles, has spent several decades investigating the connection between our emotional and biological selves. “The old thinking was that our bodies were stable biological entities, fundamentally separate from the external world,” he writes in an email. “But at the molecular level, our bodies turn out to be much more fluid and permeable to external influence than we realize.”*