The Latest: Trades mean several NBA draft picks will wear many hats
Look around and it might feel like we’re in a golden age of rap tours.
Rhyme greats De La Soul recently finished a European tour billed The Gods of Rap with the legendary Public Enemy, Wu-Tang Clan and Gang Starr’s DJ Premier. And the summer concert season is set to feature even more high-profile hip-hop shows.
West Coast giant Snoop Dogg is headlining the Masters of Ceremony tour with such heavyweights as 50 Cent, DMX, Ludacris and The Lox. Lil Wayne is doing a string of solo gigs and will launch a 38-city tour with pop punk heroes blink-182 starting June 27. Stoner rap fave Wiz Khalifa will headline a 29-city trek on July 9. The reunited Wu-Tang Clan continue their well-received 36 Chambers 25th Anniversary Celebration Tour, and Cardi B will be barnstorming through the beginning of August.
With all this rap talent on the road, The Undefeated decided to take a crack at ranking the 20 greatest hip-hop tours of all time.
Our list was compiled using several rules: First and foremost, the headliners for every tour must be from the hip-hop/rap genre. That means huge record-breaking, co-headlining live runs such as Beyoncé and Jay-Z’s On the Run II Tour were not included, given Queen Bey’s rhythm and blues/pop leanings. We also took into account the cultural and historical impact of each tour. Several artists, ranging from Run-DMC and Salt-N-Pepa to MC Hammer and Nicki Minaj, were included because they broke new ground, beyond how much their tours grossed. For years, hip-hop has battled the perception that it doesn’t translate well to live performance. This list challenges such myopic ideas.
With only 20 spots, some of rap’s most storied live gigs had to be left off the list. Many were casualties of overlap, such as Run-DMC and the Beastie Boys’ memorable 1987 Together Forever Tour and the Sizzling Summer Tour ’90, which featured Public Enemy, Heavy D & the Boyz, Kid ’n Play, Digital Underground and Queen Latifah. The 12-date Lyricist Lounge Tour, a 1998 showcase that featured Big Punisher, The Roots, De La Soul, Black Star, Common, Black Moon’s Buckshot and Fat Joe, also just missed the cut.
You may notice that Tupac Shakur and The Notorious B.I.G. are missing from the list. But this was no momentary lapse of sanity. ’Pac’s and Biggie’s brief runs took place when rap shows were beginning to become a rarity, leaving most of their memorable stage moments to one-off shows. Dirty South royalty Outkast’s strongest live outing, when Big Boi and Andre 3000 reunited in 2014, was not included because it was less of a tour and more of a savvy festival run.
There are other honorable mentions: Def Jam Survival of the Illest Tour (1998), which featured DMX, the Def Squad, Foxy Brown, Onyx and Cormega; the Ruff Ryders/Cash Money Tour (2000); Anger Management 3 Tour with Eminem and 50 Cent (2005); J. Cole’s Dollar & A Dream Tour (2013); and Drake’s Aubrey & The Three Migos LIVE! tour (2018).
With that said, on with the show!
20. Pinkprint Tour (2015)
Nicki Minaj, featuring Meek Mill, Rae Sremmurd, Tinashe and Dej Loaf
The most lucrative hip-hop trek headlined by a woman also served as the coronation of Nicki Minaj as hip-hop’s newest queen. What made The Pinkprint Tour such a gloriously over-the-top affair was its seamless balance of dramatic Broadway-like theater, silly high jinks and a flex of artistic ferocity. One moment Minaj was in a black lace dress covering her eyes while mourning the loss of a turbulent union during “The Crying Game.” The next, she was backing up her memorable appearance on Kanye West’s “Monster” as the most wig-snatching guest verse of that decade. And the Barbz went wild.
Gross: $22 million from 38 shows
19. The Damn. Tour (2017-18)
Kendrick Lamar, featuring Travis Scott, DRAM and YG
When you have dropped two of the most critically lauded albums of your era in Good Kid, M.A.A.D City (2012) and To Pimp a Butterfly (2015), there’s already an embarrassment of riches to pull from for any live setting. But Kendrick Lamar understood that to live up to his bold “greatest rapper alive” proclamation he also needed populist anthems to turn on the masses. The Damn. album and world tour presented just that, as he led his followers each night in an elevating rap-along. It kicked off with a martial arts film, a cheeky nod to Lamar’s Kung Fu Kenny alter ego, before launching into the chest-beating “DNA.”
Gross: More than $62.7 million from 62 shows
18. Summer Sixteen Tour (2016)
Drake and Future
This mammoth, co-headlining tour was a no-brainer: Drake, the hit-making heartthrob, Canada’s clap-back native son and part-time goofy Toronto Raptors superfan. And Future, the self-anointed Atlanta Trap King, gleeful nihilist and producer, whose slapping, codeine-addled bars made him a controversial figure on and off record. The magic of this yin/yang pairing shined brightest when they teamed up to perform such tracks as “Jumpman” and “Big Rings” off their industry-shaking 2015 mixtape What a Time to Be Alive. When the smoke settled, Drake and Future walked away with the highest-earning hip-hop tour of all time.
Gross: $84.3 million from 54 shows
17. Salt-N-Pepa Tour (1988)
Featuring Keith Sweat, Heavy D & the Boyz, EU, Johnny Kemp, Full Force, Kid ’n Play and Rob Base
It may seem preposterous in this outspoken, girl-power age of Cardi B, Lizzo, Megan Thee Stallion, Kash Doll, Young M.A, Tierra Whack and City Girls, but back in the early ’80s, the thought of a “female” rhyme group anchoring a massive tour seemed out of reach. That was before the 1986 debut of Salt-N-Pepa, the pioneering group who’s racked up a plethora of groundbreaking moments and sold more than 15 million albums. The first female rap act to go platinum (Hot, Cool & Vicious) and score a Top 20 hit on the Billboard 200 (“Push It”), Salt-N-Pepa led a diverse, arena-hopping showcase that gave the middle finger to any misogynistic notions. And Salt, Pepa and DJ Spinderella continue to be road warriors. They’re currently on New Kids on the Block’s arena-packing Mixtape Tour.
Encore: Opening-act standouts Heavy D & the Boyz would co-headline their own tour the following year off the platinum success of their 1989 masterpiece Big Tyme.
16. Glow in the Dark Tour (2008)
Kanye West, featuring Rihanna, N.E.R.D, Nas, Lupe Fiasco and Santigold
Yes, Kanye West has had more ambitious showings (2013-14’s button-pushing Yeezus Tour) and more aesthetically adventurous gigs (the 2016 Saint Pablo Tour featured a floating stage, which hovered above the audience). But never has the Chicago-born visionary sounded so hungry, focused and optimistic than he did on his first big solo excursion, the Glow in the Dark Tour.
Before the Kardashian reality-show level freak-outs and MAGA hat obsessing, West was just a kid who wanted to share his spacey sci-fi dreamscape with the public, complete with a talking computerized spaceship named Jane. Even the rotating opening acts — topped off by the coolest pop star on the planet, Rihanna — were ridiculously talented.
Gross: $30.8 million from 49 shows
15. I Am Music Tour (2008-09)
Lil Wayne, featuring T-Pain and Keyshia Cole
Between 2002 and 2007, Young Money general Lil Wayne was hip-hop’s hardest-working force of nature, releasing an astounding 16 mixtapes. Then Weezy broke from the pack with the massively successful I Am Music Tour. The bulk of Lil Wayne’s 90-minute set was propelled by his career-defining 2008 album Tha Carter III, which by the show’s second leg had already sold 2 million copies. By the time T-Pain joined the New Orleans spitter for a playful battle of the featured acts, Lil Wayne’s takeover was complete.
Gross: $42 million from 78 shows
14. Hammer Don’t Hurt ’Em Tour (1990-91)
MC Hammer, featuring En Vogue and Vanilla Ice
With 15 background dancers, 12 singers, seven musicians, two DJs, eight security men, three valets and a private Boeing 727 plane, MC Hammer’s world tour was eye-popping. Rap fans had never seen anything of the magnitude of the Hammer Don’t Hurt ’Em stadium gigs, which recalled Parliament-Funkadelic’s army-size traveling heyday in the 1970s.
Each night the Oakland, California, dancing machine, born Stanley Burrell, left pools of sweat onstage as if he was the second coming of James Brown. If the sight of more than 30 folks onstage doing the Running Man, with MC Hammer breaking into his signature typewriter dance during “U Can’t Touch This,” didn’t make you get up, you should have checked your pulse.
Gross: $26.3 million from 138 shows
13. Things Fall Apart! Tour (1999)
Each gig was a revelation. This was no surprise given that Philadelphia hip-hop collective The Roots, formed by longtime friends drummer Questlove and lead lyricist Black Thought, had a reputation for being unpredictable. Still, it’s ironic that a group known for being the ultimate road warriors — they were known for touring 45 weeks a year before becoming the house band on The Tonight Show Starring Jimmy Fallon in 2014 — is represented on this list by one of their shortest tours.
But the brilliant Things Fall Apart club and hall sprint, which took place throughout March 1999, proved to be an epic blitz fueled by the band’s most commercially lauded material to date, Questlove’s steady percussive heart and the inhuman breath control of Black Thought.
Encore: Neo soul diva Jill Scott, who co-wrote The Roots’ breakout single “You Got Me,” gave fans an early taste of her artistry as she joined the band onstage for some serious vocal workouts.
12. House of Blues’ Smokin’ Grooves Tour (1996)
The Fugees, Cypress Hill, A Tribe Called Quest, Busta Rhymes, Ziggy Marley and Spearhead
While gangsta rap was topping the charts, the hip-hop industry faced a bleak situation on the touring front. Concert promoters were scared to book “urban” acts in large venues. Enter the House of Blues’ Kevin Morrow and Cara Lewis, the booking agent who achieved mythic status when she received a shout-out on Eric B. & Rakim’s 1987 anthem “Paid in Full.” The pair envisioned a Lollapalooza-like tour heavy on hip-hop and good vibes. The first ’96 incarnation came out of the gate with Haitian-American rap trio The Fugees, multiplatinum weed ambassadors Cypress Hill, A Tribe Called Quest and Busta Rhymes.
Encore: The series, which has also featured Outkast, The Roots, Lauryn Hill, Gang Starr, The Pharcyde, Foxy Brown and Public Enemy, is credited with opening the door for a return to more straight-ahead hip-hop tours led by Jay-Z, DMX and Dr. Dre.
11. Watch the Throne Tour (2011-12)
Jay-Z and Kanye West
In better times, Jay-Z and Kanye West exhibited lofty friendship goals we could all aspire to, with their bromance popping on the platinum album Watch the Throne. Before their much-publicized fallout, Jay-Z and West took their act on the road for the mother of all double-bill spectacles.
Two of hip-hop’s greatest traded classics such as the ominous “Where I’m From” (Jay-Z) and soaring “Jesus Walks” (West) from separate stages on opposite sides of the venue. Those lucky enough to catch the tour can still recall the dream tag team launching into their encore of “N—as in Paris” amid roars from thousands of revelers.
Gross: $75.6 million from 63 shows
10. The Miseducation Tour (1999)
Lauryn Hill, featuring Outkast
In 1998, Lauryn Hill wasn’t just the best woman emcee or the best emcee alive and kicking. The former standout Fugees member was briefly the voice of her generation as she rode the multiplatinum, multi-Grammy success of her solo debut The Miseducation of Lauryn Hill. By February 1999, it was time to take the show on the road. Hill and her 10-piece band went beyond the hype, especially when they tore through a blistering take of the heartbreaking “Ex-Factor.”
Encore: Outkast (Atlantans Andre 3000 and Big Boi) rocked the house backed by some conspicuous props, including two front grilles of a Cadillac and a throwback Ford truck, kicked off their own headlining Stanklove theater tour in early 2001.
9. No Way Out Tour (1997-98)
Sean “Puff Daddy” Combs, Lil’ Kim, Ma$e, Busta Rhymes, Foxy Brown, 112, The Lox, Usher, Kid Capri, Lil’ Cease and Jay-Z
The Los Angeles Times headline spoke volumes: “Combs to Headline Rare Rap Tour.” Combs, of course, is Sean “Diddy” Combs, the music, fashion, television and liquor mogul who Forbes estimates now has a net worth of $820 million. But back then, the hustler formerly known as Puff Daddy was struggling to keep his Bad Boy Records afloat after the March 9, 1997, murder of Brooklyn, New York, rhyme king The Notorious B.I.G.
But out of unspeakable tragedy rose Combs’ chart-dominating No Way Out album and an emotional all-star tour. Despite suggestions that large-scale rap shows were too much of a financial gamble, Puffy rallied the Bad Boy troops and a few close friends and proved the naysayers wrong. The No Way Out Tour was both a cathartic exercise and a joyous celebration of life. “It’s All About the Benjamins” shook the foundation of every building as Combs, The Lox and a show-stealing Lil’ Kim made monetary excess look regal. And the heartfelt Biggie tribute “I’ll Be Missing You,” which was performed live at the 1997 MTV Video Music Awards, had audiences in tears.
Gross: $16 million
8. Hard Knock Life Tour (1999)
Jay-Z, featuring DMX, Redman and Method Man
Jay-Z stands now as hip-hop’s most bankable live draw. In 2017, the newly minted billionaire’s 4:44 Live Nation production pulled in $44.7 million, becoming America’s all-time highest-grossing solo rap jaunt. It’s a long way from the days of Jay-Z lumbering through performances in a bulletproof vest when he was last off the bench on Puff Daddy’s No Way Out Tour.
Surely the seeds of Jay-Z’s evolution as a concert staple were first planted on his Hard Knock Life Tour, which was documented in the 2000 film Backstage. This was a confident, full-throated Shawn Carter, and he would need every ounce of charisma, with Ruff Ryders lead dog DMX enrapturing fans as if he were a Baptist preacher at a tent revival and the duo of Redman and Method Man rapping and swinging over crowds from ropes attached to moving cranes. What a gig.
Gross: $18 million
7. Bring the Noise Tour (1988)
Public Enemy and Ice-T, featuring Eazy-E & N.W.A. and EPMD
There has always been a controlled chaos to a Public Enemy live show. Lead orator Chuck D jolted the crowd with a ferocity over the intricate, combustible production of the Bomb Squad while clock-rocking Flavor Flav, the prototypical hype man, jumped and zigzagged across the stage.
DJ Terminator X cut records like a cyborg and never smiled. And Professor Griff and the S1Ws exuded an intimidating, paramilitary presence. Armed with their 1988 watershed black nationalist work, It Takes a Nation of Millions to Hold Us Back, an album many music historians consider to be the pinnacle hip-hop statement, Public Enemy spearheaded arguably the most exciting rap tour ever conceived.
Encore: Along for the wild ride was the godfather of West Coast rap, Ice-T, who was putting on the rest of the country to Los Angeles’ violent Crips and Bloods gang wars with the too-real “Colors.” N.W.A. was just about to set the world on fire with their opus Straight Outta Compton. Eazy-E, Ice Cube, Dr. Dre, MC Ren and DJ Yella unleashed a profanity-laced declaration of street knowledge that was instantly slapped with parental advisory stickers. And Erick and Parrish were making dollars with their rough and raw EPMD joint Strictly Business.
6. Nitro World Tour (1989-90)
LL Cool J, featuring Public Enemy, Eazy E & N.W.A., Big Daddy Kane, Too $hort, EPMD, Slick Rick, De La Soul and Special Ed
In early ’85, LL Cool J was a 16-year-old rhyme fanatic living in his grandparents’ Queens, New York, home. Three years later, the kid who became Def Jam Records’ signature artist with his iconic B-boy manifesto Radio was the most successful solo emcee on the planet with more than 4 million albums sold and counting. LL Cool J was also headlining some of the hottest events of rap’s golden era. And he was at his cockiest love-me-or-hate-me peak during the Nitro Tour.
But not even LL Cool J was ready for the monster that was N.W.A. The self-proclaimed World’s Most Dangerous Group completely hijacked the spotlight when N.W.A. was warned by officials not to perform their controversial track “F— the Police” at Detroit’s Joe Louis Arena. A minute into the song, cops stormed the stage and shut down Eazy-E and crew’s volatile set, a wild scene that was later re-created in the 2015 N.W.A. biopic Straight Outta Compton.
Encore: A few months before the Detroit gig, N.W.A. was booed during a Run-DMC show at New York’s Apollo Theater. “We all had watched Showtime at the Apollo, so we all knew if it went bad what was gonna happen,” Ice Cube explained on the Complex story series What Had Happened Was … “We hit the stage, and as soon as they saw the Jheri curls, all you heard was ‘Boo!’ I mean, before we even got a line out, they was booin’. I guess they just wasn’t feeling the Jheri curls.”
5. The World’s Greatest Rap Show Ever (1991-92)
Public Enemy, DJ Jazzy Jeff & The Fresh Prince, Queen Latifah, MC Lyte, Geto Boys, Kid ’n Play, Naughty by Nature, A Tribe Called Quest, Leaders of the New School and Oaktown’s 3.5.7.
Props to the promoter who put together this awesome collection of hip-hop firepower for a tour that at least aimed to live up to its tagline. What stands out the most was the early acknowledgment of rap’s reach beyond the East and West coasts. The significance of including Houston’s Geto Boys, for instance, cannot be overstated.
Scarface, Willie D and Bushwick Bill carried the flag for Southern hip-hop, winning over skeptical concertgoers with their raw dissection of ’hood paranoia, “Mind Playing Tricks on Me,” which had become a favorite on Yo! MTV Raps. Jazzy Jeff and The Fresh Prince proved they could still rock the house with PG-rated material. (It helped that Will Smith had just begun the first season of NBC’s The Fresh Prince of Bel-Air.) Queen Latifah busted through the testosterone with the empowering “Ladies First.” And Naughty by Nature frequently knocked out the most crowd-pleasing set of the night with their promiscuous anthem “O.P.P.”
Encore: The World’s Greatest Rap Show Ever made its Jan. 3, 1992, stop at New York’s Madison Square Garden less than a week after nine people were fatally crushed at a hip-hop charity basketball game at City College of New York. Before Public Enemy’s powerful message of black self-determination, Heavy D, an organizer of the doomed event, made a plea for unity. Fans were certainly listening. The gig was a resounding, peaceful triumph.
4. Def Jam Tour (1987)
LL Cool J, Whodini, Eric B. & Rakim, Doug E. Fresh and the Get Fresh Crew, and Public Enemy
From 1986 to 1992, New York’s Def Jam Records was the premier hip-hop label. Its roster of artists, which included Public Enemy, the Beastie Boys, EPMD and Slick Rick, was unparalleled in range and cultural dominance. So when it came time for partners Russell Simmons and Rick Rubin to spread the Def Jam gospel on its first international tour, the imprint’s biggest star, LL Cool J, was chosen to lead the way. And he didn’t disappoint.
James Todd Smith strutted out of a giant neon boombox sporting a Kangol hat, dookie rope gold chain and Adidas jacket. Of course, that jacket would soon be thrown to the floor as a shirtless Ladies Love Cool James tore through his ’85 single “Rock the Bells” as if it were the last song he would get to perform.
For many overseas, their first taste of American rap also included DJ Eric B. & Rakim, who were killing the streets with their 1987 masterpiece Paid In Full. Almost overnight in Germany, France, Norway and the Netherlands, hip-hop became the new religion.
Encore: This was the first proper world tour for Public Enemy, who had just dropped their 12-inch single “Rebel Without a Pause.” Although they were the opening act, Chuck D and his posse stole the show, establishing their standing as global behemoths. The now-legendary show at London’s Hammersmith Odeon can be heard throughout It Takes a Nation of Millions to Hold Us Back.
3. Up In Smoke (2000)
Dr. Dre, Snoop Dogg, Ice Cube, Eminem, Tha Dogg Pound, Warren G and Nate Dogg, and Xzibit
As over-the-top, profane spectacles go, the Up In Smoke Tour has few rivals. Detroit’s Eminem stormed the stage wearing a red jumpsuit with “County Jail” stitched on the back. Ice Cube, before being joined by his Westside Connection cohorts, Mack 10 and WC, emerged from a cryogenic chamber. Hennessy-sipping and weed-toking Dr. Dre and Snoop Dogg rode out in a hydraulically juiced lowrider. There was a 15-foot talking skull!
The multimillion-dollar stage design put the concert industry on notice that not only could rap shows attain the lavish production values of the best rock shows, they could surpass them. It was also an emphatic statement that the largely West Coast rap dignitaries knew how to throw a party. And there still isn’t another hip-hop song that matches the first 20 seconds of Dre’s “Next Episode” in concert.
Gross: $22.2 million from 44 shows
2. Raising Hell Tour (1986)
Run-DMC, featuring LL Cool J, the Beastie Boys and Whodini
There’s a reason Run-DMC is hailed as the greatest live hip-hop act of its era. They understood that less is always more. Because of their stripped-down beats and rhymes, the group amplified the genius of every aspect of their concert presentation up to 11. Jam Master Jay’s scratching was more thunderous than the other DJs on the 1s and 2s. Run’s pay-me stage presence commanded respect. And D had the throat-grabbing voice of God. They wore Godfather hats, black jeans and shoelace-less Adidas sneakers. The Hollis, Queens, crew was the personification of cool.
LL Cool J was just 18 during the Raising Hell Tour, but he was coming after Run-DMC’s crown every night. The hotel-wrecking Beastie Boys co-piloted rap’s bum-rush into Middle America, scaring parents wherever they landed. And Whodini brilliantly straddled the line between electro funkateers and around-the-way dudes representing BK to the fullest.
As “Walk This Way,” Run-DMC’s genre-shifting Aerosmith collaboration, exploded on the pop charts, vaulting the Raising Hell album to 3 million copies sold (the first hip-hop album to go triple platinum), ticket sales followed. The 45-city tour affirmed hip-hop’s cultural takeover.
Encore: The image of Joseph Simmons commanding 20,000-plus fans to hold up their sneakers during a performance of “My Adidas” at a New York show is still a surreal sight.
1. Fresh Fest (1984)
Kurtis Blow, Run-DMC, Whodini, The Fat Boys, Newcleus & the Dynamic Breakers, New York City Breakers, Turbo and Ozone
Ricky Walker had an idea: The concert promoter wanted to put together the first national rap music and break-dancing tour. In 1984, hip-hop had moved on from its underground beginnings in the Bronx. Run-DMC had just dropped their self-titled debut, and their “Rock Box” became the first rap video to received play on MTV. Breakin’, the first break dancing movie to hit the big screen, pulled in nearly $40 million at the box office on a minuscule $1.2 million budget. Walker saw the future.
He called New York impresario Simmons to tap some of his Rush Productions talent, which included heartthrob Brooklyn trio Whodini, rap’s first solo superstar Kurtis Blow, the comedic Fat Boys and, of course, the hottest hip-hop act in the country, Run-DMC. But when it came time to promote the first show, billed as the Swatch Watch NYC Fresh Fest Festival, in Greensboro, North Carolina, Walker was laughed out of the room by a radio ad man.
Rap was still viewed by many record industry power brokers as a passing fad. In a 1985 interview with Billboard magazine, Walker recalled the salesperson pleading with him. “You’re a friend of mine,” he said. “Can’t I talk you out of doing this show?”
Walker’s instincts, however, proved to be dead-on. Fresh Fest moved 7,500 tickets in four hours. The tour, which also featured some of the best street dancers on the planet, such as Breakin’ stars Boogaloo Shrimp and Shabba Doo, as well as the synth funk-rap group Newcleus, not only did brisk business at mid-level venues but also sold out 20,000-seat arenas in Chicago and Philadelphia. Like the pioneering rock ‘n’ roll shows of the ’50s conceived by Cleveland radio DJ Alan Freed, the Fresh Fest proved that rap could be a serious and profitable art form. The rest is hip-hop history.
Gross: $3.5 million
Editor’s note: This story contains explicit language.
Right now, the Los Angeles Clippers are battling the reigning champion Golden State Warriors in the first round of 2019 NBA playoffs — despite being projected before the season to win just 20 games. Expectations weren’t high for the Clippers at the start of the 2000-01 season, either. Back then, on paper, the Clippers were the worst in the NBA.
“Led by the 19-year-old Darius Miles, the Clippers could be one of two things” read the final sentence of a New York Times’ NBA season preview, “one of the league’s most exciting young teams or a maddening bunch of knuckleheads still trying to learn the game.”
In June 2000, the Clippers had drafted Miles, a 6-foot-9-inch forward, out of high school with the No. 3 overall pick. Fifteen selections later, the Clippers took Quentin Richardson, a sophomore swingman from DePaul University. The two shared the same home state — Richardson a native of Chicago, and Miles from the streets of East St. Louis, Illinois. They’d known each other since they were kids. And in Los Angeles, they became “The Knuckleheads” — a duo recognized across the league by their on-court celebration of two taps to the head with balled-up fists.
In their only two seasons together with the Clippers, Miles and Richardson emerged as a cultural phenomenon. Michael Jordan handpicked the two phenoms to endorse his brand, and spoiled them with every pair of Air Jordans imaginable. They appeared on magazine covers, and made cameos together in films and on television shows. And both players had the respect of the early-2000s community of hip-hop. “For a minute there, we really were the culture,” Miles wrote in a first-person essay for The Players’ Tribune, published in October 2018 and guest-edited by none other than Richardson.
Now, nearly two decades after being drafted together, Miles and Richardson are the retired NBA veterans with their own podcast. Of course, it’s called Knuckleheads, and just nine episodes in after its February debut, it has a 4.9 rating out of 5 on iTunes.
In the spirit of the podcast — which has produced unfiltered interviews with NBA stars from Allen Iverson and Gary Payton to J.R. Smith, Kyrie Irving and Kevin Durant — The Undefeated chopped it up with The Knuckleheads about everything from the night they were drafted, to the sneakers they wore in the league and the journey of their friendship.
How did you two meet?
D-Miles: AAU ball brought us together …
QR: Many years ago.
D-Miles: Q’s AAU coach came down to Southern Illinois …
QR: Larry Butler …
D-Miles: … Yeah, Butler was looking for players to play in a ‘spotlight’ he was having. It was the top Illinois players from the state. We’d come down and play in … kinda like a camp … When I came down, that was the first time I saw who Q was … When Larry saw how good I was, he invited me to a tournament and had me play [on his team] two grades above me. He had me playing with Q and them.
QR: Me and D-Miles hit it off from there. Once he began playing AAU with us and would come to Chicago, he would normally stay at my house. He would stay the weekend, and that’s how we got tight.
Fast-forward to the 2000 NBA draft. Was there any idea that you’d both get picked by the Los Angeles Clippers?
D-Miles: We were going through the draft process together. But we never thought it would be a possibility to play on the same team … We didn’t even want to go to the Clippers…I don’t think anybody wanted to play for the Clippers. When I ain’t get picked No. 1 or No. 2, the Clippers weren’t gonna pass on me. They picked me anyway, even if I didn’t wanna go there … Q kinda slipped in the draft.
Q: We didn’t think there was an opportunity for us to play together because the projections were so far apart. He was a top-5 projection. I was anywhere from nine to 20. It was a big gap. And neither of us worked out for the Clippers.
D-Miles: After the draft, we hop on a private jet and go to L.A.? I couldn’t have written it no other way.
How did it feel to be together — at 18 and 20 years old — living in Los Angeles?
D-Miles: We didn’t live close to each other…But we was with each other, shittttt, every day probably.
This is always the first question you ask guests on the Knuckleheads podcast. Who was the first player in the league to bust your ass?
D-Miles: The first one to really give me a lot of buckets was Chris Webber. He was jumping hooking my ass to death. I think he had like 35 or 36. I felt like, I at least got 28 or 30 of them points. Seem like he was scoring every time he got the ball on me.
Writer’s note: On Jan. 27, 2001, Sacramento Kings power forward Chris Webber scored a game-high 33 points and 11 rebounds against the Clippers and a 19-year-old D-Miles, who finished the night with a team-high 16 points.
QR: This was early in my rookie year … I think it was in preseason. We’re out in Denver. This was the first time about to go deal with the altitude. The player was Voshon Lenard. You’re like, Who is VoShon Lenard? I knew he could play. I knew he could hoop, but I was being disrespected out there. The first timeout came at six minutes, I came and sat down … matter fact, D-Miles and Keyon [Dooling] was sitting on the bench. They looked at me and just started laughing. My man had the quickest 17 points I’m talking about in the first six minutes, though … Firing my ass up! Giving me post work … hitting 3s … pump fake, one-dribble pullup. He was cooking my ass. And I was dead tired … But I did get him back! He was on the team when I got career-high against the Nuggets on New Year’s Eve [in 2003]. I had 44 on they ass.
You two have probably told this story a million times — but how exactly did you two land with the Jordan Brand?
QR: One of the best moments ever. If anybody knows MJ, you know about his Flight School camp for kids. And they would have some epic counselor games … Flight School used to be held at UC-Santa Barbara … two weeks … two sessions. When I went when I was in college, they brought Darius because he was one of the top high school players. We were both counselors. It was our first time going. Fast-forward to after we get drafted by the Clippers, we’re in L.A., which is an hour [by car] from Santa Barbara. When August comes, we’re like, ‘Man, we’re gonna go out there to the Jordan camp …’ because the runs used to be really good … At this point we had no Nike deal, but AND1 was courting us really hard. They had Larry Hughes, and a few guys we looked up to. We were rocking a whole bunch of AND1. After we get through playing pickup, MJ looked at us like … ‘Why y’all got all this AND1 stuff on? I thought y’all was Nike guys.’ Me and D-Miles were like, ‘We wanna be Nike guys…but a contract ain’t happened.’ He was like, ‘Don’t even worry about it. Y’all gon’ be with us.’ We didn’t even know quite what that meant.’ Because Jordan Brand wasn’t what it was going to be. He just had the first years of it with Ray Allen, Derek Anderson, Eddie Jones, Vin Baker and Michael Finley … Then our agent Jeff Weschler was like, ‘I don’t know what happened, but Michael called up Nike and you guys are gonna be with him on some special team.’ We started getting flooded with the most gear you could imagine. Today they don’t give the same amount of gear they used to give. We got everything they made … Stuff that you wouldn’t wear, stuff that you have to give away because it was so much. We were literally in heaven.
View this post on Instagram
A post shared by Darius Miles (@blackking.21) on Apr 13, 2019 at 6:46pm PDT
What were favorite Jordans to play in?
D-Miles: Mine were the patent leather 11s … I watched Jordan my whole life, so when we had the opportunity to put them patent leathers on, I was just on superstar status. Nobody else in the league were really wearing these.
QR: We wasn’t those kids that were fortunate enough to have every pair of Jordans. My first pair I ever had came when I played AAU … My pops…the most expensive pair of shoes he was gonna buy me that were cool were Air Force 1s because they were $49.99 back then. My pops didn’t believe in buying Jordans that he knew I’m about to run through in two days … So for us to start getting Jordans? It was out of this world. Coming from Chicago and East St. Louis, being MJ fans, watching everything he did on WGN and public TV — for us, it was a dream. And every kid we knew from our hometowns were like, ‘I can’t believe y’all are on Team Jordan.’ And we could give all our friends, our family, our parents all the Jordan stuff they wanted … That was almost better than money to us at that point.
Do you still have a lot of your old Jordan PEs?
D-Miles: I just have a few. I left and went to Reebok, and I was under Allen Iverson’s line. Most of the Jordans I had, I gave them to these two kids. One was from Texas, and the other was from Memphis. My momma kinda built a rapport with they moms, and they was like me — young kids wearing a size 18 … So they didn’t have no options for shoes. So me and my mom shipped them out, I wanna say 40-50 pairs of shoes apiece. When my mom did it, all three moms were on the phone boo-hoo crying.
What’s your favorite PE?
QR: Awww, man. That’s hard for me to say … I was fortunate enough to play for teams that weren’t close to the Bulls colors. So a lot of my shoes were different. I think I would have to go with my Clippers, Knicks and Suns PEs … So I probably would go with the Knicks 2s or 5s. But then my favorite pair of shoes to play in — it didn’t really matter which color — were the Retro 13s. I have those is Phoenix and Orlando colors. The Phoenix ones I had different flavors. I had purple and white ones, I had orange and white ones, I had all-black with orange trim. Those 13s, were the most comfortable shoe for me to play in, because they’re wide and I got wide, flat feet.
View this post on Instagram
A post shared by @ qrich on Apr 23, 2013 at 8:54pm PDT
D-Miles: Mine are the ones I wore in that picture with Udonis Haslem. I was so used to seeing red and white shoes when I was with the Clippers. But I got to the Cavs, it was different colors. When they sent me those bright orange ones, I loved them. You don’t even know.
View this post on Instagram
A post shared by Darius Miles (@blackking.21) on Apr 2, 2019 at 6:18pm PDT
QR: I’m telling you — the orange did something! They looked superdifferent than any Jordan you’d ever seen. Back then, you’d never seen an orange Jordan.
You two appeared in a commercial for the Air Jordan 17. What comes to mind when you think of that shoot?
D-Miles: Spike Lee. We grew up on Jordan and all the Jordan commercials. When we heard Spike Lee was finna do it, when knew it was a big, big deal.
QR: We thought we was Hollywood, boy!
Writer’s note: The Air Jordan 17, crafted by African-American footwear designer Wilson Smith, drew inspiration from the “improvisational nature of jazz.” The 30-second, Spike Lee-directed spot, featured Miles and Richardson playing maestro on the court, and debuted a special remix the Gang Starr track “Jazz Thing,” which the hip-hop duo originally co-wrote with saxophonist Branford Marsalis.
D-Miles: It was an honor. A real, true blessing. Spike is such a legendary director, and it was with Jordan Brand.
QR: It was like, ‘We’re about to have our own Jordan commercial … We really have arrived.’ Me and my bro, together, in a commercial … We went to New York to do it. You get there, and it’s like, ‘Spike Lee is shooting it! … Marsssss is shooting it! This is epic.’ We had our own trailers. They got the gear laid out for us. That was the first time I thought, ‘I’m a star … We some stars up in here, boy!’ This was all new to us. Stuff that you dreamed about as a kid. But to actually live it, it was super dope.
D-Miles: Then to hear Spike Lee, when we first met him, say ‘D and Q.’ Like, ‘Oh, he knows us.’
And you can’t forget the Jump Men cover of Slam Kicks …
QR: I have a copy up in my office.
D-Miles: Back then, Kicks was big. There were other magazines that were bigger, but we were just happy to do anything with anybody who wanted to mess with us. We came straight from the streets, so we dressed a certain type of way. Of course, they were giving us drip, we put it on. We weren’t the typical people wearing that gear. We turned the jerseys backwards, do-rags on, hats cocked …
QR: I got a do-rag, with a headband on, hat to the back. I got a pinky ring on! We both got big ass chains on. We were Allen Iverson’s babies. We were A.I.’s lil bros. That was the culture. That was what was going on. That was part of why people took to us. We were them — kids. We were 18 and 19, playing in a grown man’s league, representing other 18- and 19-year-olds. We dressed like them and did things like they did. We were trying to get into Hollywood clubs. We were too young, couldn’t get in … Literally, we showed up to training camp with Super Soaker guns. Media day, the first day of training camp, and we have those big ass Super Soakers strapped over our shoulders. They looked at us like, ‘What the hell is going on?’ … We were having fun, for real. And the best part about it was we were on this adventure together. Doing things that we never could’ve dreamed of. We got to spend New Year’s at Shaquille O’Neal’s house. And it was crazy. Like a fucking movie. We’re at Shaq’s big ass crib in L.A. To kick it with Shaq and be around him was enough … But Shaq was really rocking with us. He was showing us a good time and embracing us. Like, this is Shaq!
Where did that style come from — especially the backwards jerseys?
D-Miles: Kriss Kross started it, but that was just hip-hop culture. We grew up in hip-hop culture. The trend had kinda died down, because Kriss Kross did it in the early ’90s. Nobody was really taking chances, especially during photo shoots, except for Allen Iverson. We were young. Didn’t really care what people thought about us. It’s real traditional when you do photo shoots. They tell you to put your hands on your hips, like you’re a superhero. Put one hand on your hip, hold the ball on the other side. I used to be like, ‘Nah … ’
What was your relationship like with MJ during his last few years in the league?
D-Miles: Once MJ came back to the league [in 2001], we’d already known him for six or seven years, and it was a blessing. I love when I see the picture of me standing on the court next to Michael Jordan. I got that in my house. Those moments, those games we played against him, I’ll cherish them forever. We were on a West Coast team, so we only played him two times a year. But those times we played them those last two seasons? It was a dream come true.
July 30, 2002: D-Miles, that’s when you got traded from the Clippers to the Cavaliers.
D-Miles: One of the worst days of my life. I ain’t wanna leave, or play with nobody else. I didn’t know how good I had it until I got traded. The crazy thing about it is when I did get traded, I was doing the movie The Perfect Score. I was all the way in Vancouver, when I heard the news like, ‘What?’ It wasn’t a good feeling. But I did understand the move. I loved Andre Miller. He led the league in assists on the worst team in the NBA. So I understand why the Clippers traded for him. But, I wanted to stay.
Writer’s note: The Clippers traded Miles and power forward Harold Jamison to the Cleveland Cavaliers in exchange for point guard Andre Miller and shooting guard Bryant Stith.
QR: We were kids. We were having all this fun. And that was the first time it was like, ‘This is a business … This is real … This ain’t a game or haha fun.’ … I love Andre Miller to this day, but I didn’t want that trade to happen. I was upset. I was mad. I was hurt.
Can you pinpoint an NBA friendship quite like D-Miles and Q since you guys?
D-Miles: A lot of guys didn’t grow up together like we did. We were around each other when we didn’t have money. One of the bonds I do see that’s close to what me and Q got is Udonis Haslem and D-Wade. They’ve played so long together that they got that brotherly love like me and Q got. They changed that culture in Miami.
QR: They’ve been together for so long on the same team and same journey. And I don’t even count when D-Wade left. Let’s just throw that whole Chicago and Cleveland window out …
D-Miles: When did that happen!?!
QR: UD and D-Wade played their whole 15, 16 year careers together. They came in, got married, had families, brought kids up at the same time, have businesses together. They rebuilt that organization. But I’ve known Darius since he was in seventh grade, and I was in ninth grade. We got drafted together, played together and now 20 years later, we’re doing a podcast because we’re still tight like that.
How’s it feel to be reunited on the Knuckleheads podcast — and why was now the right time for it?
QR: The thing that makes the podcast is so dope, is it happened organically, almost accidentally. I did my story with The Players’ Tribune. He did his story with The Players’ Tribune. A third party was like, ‘Y’all should do something together.’ And D-Miles, he was originally opposed to the whole media thing. He was like, ‘I don’t want no microphones in my face.’ I’m moving into the media space, so I was open to it. We did a trial demo here on my patio, and it was cool.
D-Miles, is it weird being on the other side now — asking the questions instead of answering them?
D-Miles: It’s definitely weird. I’m not sure if I’d do too much more after this. Like Q said, I’m not big on microphones or cameras. I gotta feel comfortable to let my personality go. Kinda like how you see NBA players now. It’s hard for them to let themselves go, because they don’t want nobody to take what they say the wrong way, or their actions be misconstrued. So you kinda got your guard up. With the podcast, I can kinda let go, laugh, joke and not worry.
QR: We’re tryna spark a real conversation. We don’t feel like we’re going to interview this person, that person. We feel like we’re about to see what’s up with this person and that person.
Are there any players you really want to get on the podcast?
D-Miles: Michael Jordan.
QR: That’s the GOAT. That’s our unicorn. But we got a lot of other players already committed that we can’t really share right now. We have some really, really, really big and good names … for season two.
What do you think you two have meant to basketball, and the culture, in the past two decades?
D-Miles: We carved out our space. I think that’s why we get the love and the respect that we get now. It’s overwhelming, and I’m definitely thankful and blessed to even have that. I only played two years with the Clippers, but every time people see me, they associate me with being a Clipper. I think it’s dope.
QR: I’m just superhumbled … I appreciate all the love, respect and support we get, from people who rocked with the Clippers. And we also get a lot of people that talk to us about the fact that we had that little bitty part in Van Wilder. It’s unbelievable to me how many people acknowledge that … To still be able to do stuff with D twenty years later, and they still remember us? People still remember that celebration, and still rock with it. That’s really cool to me.
This interview has been edited for clarity and length.
Tristan Thompson is the starting center for the Cleveland Cavaliers. The Cavaliers are a 12-46 team, which makes them the third-worst in the NBA, with only two nationally televised games on ESPN, TNT or ABC all year. He was once the team’s big-man defensive stopper who helped the LeBron James-led Cavs secure an unlikely NBA Finals win over the Golden State Warriors in 2016. Now, he’s just a solid performer for a team in the NBA’s dungeon. He was also the most Googled athlete of 2018.
Two days after the NBA All-Star Game in Charlotte, North Carolina, ended, it was Thompson — not former teammate James, unofficial All-Star host Stephen Curry or reigning MVP James Harden — who was the No. 1 trending topic in the country. Why?
Because of a TMZ story asserting that Thompson was allegedly caught cheating on the mother of his child, reality star Khloe Kardashian. With her sister Kylie Jenner’s best friend, Jordyn Woods. Who has almost the same first name as Thompson’s ex-girlfriend, the mother of his older daughter. Thompson left Jordan Craig for Kardashian two years ago.
Got all that?
Thompson’s current place at the forefront of a politically congested news cycle is a reminder of the unique intersection of two American cultural powerhouses: an unstoppable reality TV dynasty and a professional league always front and center in American pop culture. Thompson, all 11 points per game of him, is a household name.
Social media has turned this family melodrama into a series of unending memes about everything from Thompson’s alleged “womanizing” to Woods’ relationship to Jenner and the interfamily drama between the sisters. TMZ, Cosmopolitan, E! Online and everyone in between has run the same story about Kim Kardashian unfollowing Thompson and Woods on social media. That’s how dialed in everyone is. That’s the circus.
The blended family of the Jennerdashians includes Kim Kardashian, who is married to Kanye West, Khloe Kardashian, who has a child with Thompson, and Kourtney Kardashian, a model and reality star in her own right. There’s also model/entrepreneur Jenner, who has a child with rapper Travis Scott, as well as matriarch Kris Jenner and Olympic gold medalist Caitlyn Jenner. Individually, these people are celebrity powerhouses. Collectively, this clan is a cultural supernova. As BuzzFeed reported in 2015, “the family’s activities over the last eight years have been a masterclass in gaming the media to keep viewers hooked on Keeping Up With the Kardashians — and themselves firmly in the public eye.”
The Jennerdashian hurricane can overpower the (mostly black) athletes and artists who choose to walk into it. There’s usually the fun of the media spotlight followed by the free fall. Thompson has managed to avoid a fall so far, and if this is truly the end of his interaction with the family, then he’s walking out better than some.
Before Thompson there was Reggie Bush, who dated Kim Kardashian, and Rashad McCants, who dated Khloe Kardashian and was an early cast member on Keeping Up With the Kardashians. Lamar Odom was married to Khloe Khloe Kardashian . And Kendall Jenner’s exes include Ben Simmons and upstart NBA baller D’Angelo Russell. West, Scott and Tyga are just a few of the superstar artists who have jumped into the Jennerdashian ecosystem. An ecosystem that, while offering massive amounts of fame, can cloud each man’s achievements while also being blamed for each man’s downfall. Fair or not.
As Elle said in July, “What once began as an entertaining meme quickly developed into a full-blown belief that every single man that is brought into the Kardashian/Jenner family is cursed — destined to fall apart right in front of the public eye.” True or not, when West dons MAGA hats and aligns with President Donald Trump, he’s referred to as someone who is in the Sunken Place — because of his relationship to the Kardashians. When Odom faced drug problems, many believed they were due to the cameras in his face because of his relationship with Khloe Kardashian. When Scott drops a heralded album, he “breaks the Kardashian curse,” and so on.
Thompson, for his part, has played the role of a kind of lady’s man. In April, when TMZ cameras appeared to show the Cavalier kissing two women in a New York City club while Khloe Kardashians was on the verge of having their baby, he spent the playoffs fighting off crowds chanting about his infidelity. These are the reverberations of a relationship with a Kardashian-level celebrity, but he did appear to cheat on a woman who was about to go into labor with their child.
Things have been relatively quiet for Thompson in the year since his original alleged infidelity, when the media world seemed to close in on him. He’s been able to enjoy relative NBA obscurity in the middle of Ohio for a team that nobody cares about watching. He’s no longer James’ teammate. He’s no longer a part of the biggest rivalry in the NBA. He’s just a guy who grabs rebounds in a lot of lost games. The drama of the past few days, though, has put him firmly in the spotlight again — especially while the NBA is conveniently in between its All-Star Game and its first game back, Thursday night.
On Tuesday, Stephen Curry held a town hall meeting with Barack Obama. And James announced that he is a part of 2 Chainz’s album. But who cares, when there’s a living soap opera to watch? Are lives being destroyed, though, for our gaze? And are there real-life consequences we choose to ignore? After all, there are babies involved here, whose parents already have been separated, or are on the verge.
Minus the Kardashian affiliation, Thompson’s place as the talk of social media water coolers is unlikely. There’s nothing particularly flashy about him. But his current lifestyle is a convergence of themes that captivate. The interracial love affair of big, strapping black athletes and white women. The NBA’s extreme popularity, relevance and media maelstrom that never loosens its grip. The fishbowl of reality TV celebrity and the hundreds of millions of Jennerdashian Instagram followers watching these relationships come together, unfold, reconcile and fall apart again. Add all this to what can feel like our collective desire to invest our attention in anything other than the end of the world as we’ve known it. And hit refresh.
The baseball cap seems innocuous enough. A brimmed hat emblazoned with a team logo for players to wear while on the field for protection from the sun. Simple. But over the past couple of decades, the baseball cap has become a lightning rod. Depending on the direction it is turned, or who wears it, the cap is a stand-in for the sport’s racially contentious past … and present. From legends such as Ken Griffey Jr. to newcomers such as Ronald Acuña, the baseball cap has been as divisive as a Subway Series.
When is a hat not a hat?
Acuña walked into an Atlanta Braves training camp interview on Feb. 15 and left having been asked to make a sartorial change.
The Venezuelan outfielder signed with the Braves in 2014 and honed his skills with various minor league teams, getting ready for the big leagues. He’s dominated, garnering comparisons to Ken Griffey Jr. for his play, and his swagger. The buzz around him, and superior performance has led him to be named the top baseball prospect entering the 2018 season and has allowed him the leverage to turn down the Braves’ $30 million offer in the offseason. The Braves and the city of Atlanta are head over heels for Acuña and the possibility of what he can bring to the franchise when he gets called up from the Gwinnett Stripers minor league squad at some point this season.
But first, there was that training camp interview.
Braves manager Brian Snitker called Acuña in to address his cap. Acuña had been wearing his hat tilted to the side, and a little bit off of his head because his thick locs were making it impossible for the cap to fit perfectly. The style balked at tradition.
Tradition. Major League baseball celebrates Jackie Robinson day, Latin American athletes, and has launched a diversity pipeline initiative to create more executive positions for people of color, but Major League Baseball and its fans seemingly long for the years of Babe Ruth, Joe DiMaggio and Ty Cobb. When ESPN ranked the top 100 MLB players of all time in 2015, six of the top 10 players had played before integration. CBS’s 2016 list of its top 10 players also features six players from a segregated league. So when baseball fans talk about traditions or years past, they are talking about a time that excluded black athletes. And that’s not the only hard pill to swallow.
Other baseball traditions and taboos are alienating to black and Latino fans. Players are supposed to respectfully trot around the diamond after home runs, sans backflips or excessive celebrations. The same self-expression in the form of chest-pounding, trash talk and playing to the crowd that has made the NBA hip — and black — isn’t allowed in baseball. Celebratory dances are frowned upon, part of a culture of unwritten rules with a simple message: Fall in line.
For example, in 2013, Yasiel Puig was pulled to the side by opposing Mets players for rubbing their noses in his home run trot. His offense? Taking 32 seconds to round the bases. All of this is code for following traditions set in stone before black and white and Latino athletes played in the same pro league(s), and when fans were segregated in the stands. And part of those baseball customs is making sure players wear their hats straight.
“It’s the look,” Snitker told the Atlanta Journal-Constitution on March 2. “You do respect the game and the organization and the team on the front of it [the hat]. I tell these guys, we don’t do things like everybody else. There’s a lot of Hall of Famers who spent a lot of time in this organization. We wear batting practice jerseys, and people don’t put glasses on over the ‘A,’ things like that, out of respect for the Hall of Famers that put a lot into this organization, and all those flags that are hanging.”
With all due respect, Snitker’s point is not only silly but it’s another reminder that baseball is about its archaic traditions —the Braves organization was founded in 1871, for reference — more than its players, and what those players represent. Acuña, by all indication, is a transformative talent who can turn the Braves’ future around — the franchise hasn’t made the playoffs or had a winning season since 2013 and hasn’t won a postseason series since 2001. The organization is concerned about how he wears his hat, even as plenty of white Braves players have worn their hats backward, to the side and every other way besides straight.
The Acuña hat issue isn’t a new thing. It’s been around, most famously since the ’90s, when the aforementioned Ken Griffey Jr. was a young, swaggy outfielder who seemed poised to take over baseball. But his appearance — backward hats and untucked jerseys — flouted baseball tradition, and one of the biggest defenders of old customs was then-Yankees and current Baltimore Orioles manager Buck Showalter.
“I shouldn’t say this publicly,” Showalter told the New York Times Magazine in 1994. “But a guy like Ken Griffey Jr., the game’s boring to him. He comes on the field, and his hat’s on backward, and his shirttail’s hanging out.” Showalter added Barry Bonds to his list of transgressors for having his shirttail untucked at the All-Star game. “To me, that’s a lack of respect for the game.” Respect. Tradition. Coded language.
What people who share Showalter’s views didn’t understand or don’t want to understand is that Griffey, who only actually wore his hat backward for batting practice, wore his hats backward as a tribute to his father, Ken Griffey Sr. When Griffey Jr. wore his dad’s hats, they were too big, so his turned them backward so they’d fit. Then he just kept doing it, into his pro career. There isn’t a bigger sign of respect for tradition than honoring a father who also used to play in the very same MLB that wanted to maintain said customs. But the controversy wasn’t about why Griffey wore his hat backward. Nobody seemed to care. They only saw a black man with his hat backward and all of the negative connotations that come with it — disrespect, nonchalance. Code words.
Griffey wasn’t afraid to hit back at his detractors. “Why should I care about a person from an opposing team?” Griffey said to the Seattle Times a week after Showalter’s quotes surfaced. “I don’t take the game seriously? Why, I do believe [Showalter] was coaching third for the All-Star team when I won the  MVP.”
The criticism obviously stuck with Griffey, so he poked at the MLB one last time. When he received his Hall of Fame hat in 2016 during his acceptance speech, the first thing he did was turn it backward. One more reminder that he did it his way.
So what does this all mean for baseball as a whole? It’s about cultural irrelevance. Baseball’s reliance on homogenized traditions is its own Trojan horse, infiltrating the sport’s psyche and destroying it from the inside. Holding on to archaic practices that erase unique expressions uphold whiteness but close the sport off to audiences from diverse backgrounds. And for black fans, it’s demoralizing to see people who look like us, and express themselves like we do get constantly reprimanded for representing our cultural tics on a national stage. It’s a major reason black audiences are flocking to the NBA and the MLB has as few black players as ever.
Here’s a legendary story about Satchel Paige. During a semi-pro game, before his Negro League debut, Paige’s team was up 1-0 in the ninth inning. His outfielders made three straight errors to load the bases. Paige, fed up with his team and determined to show off his skill, walked around the bases and outfield, demanding that his teammates sit down in the infield. Then the legendary pitcher struck out the next three batters to end the game.
It’s a story that has become part of baseball lore for its brashness, showmanship and drama. And it’s the same type of story that would get someone like Paige punished for his bravado if it happened in 2018. However, that story is part of baseball tradition. It’s a part of black tradition. And baseball needs to embrace these traditions — alternative hat placements and all — or else become a cultural relic instead of regaining its place as America’s pastime.
The 2018 Masters Tournament has a new champion, and his name isn’t Tiger Woods.
But young black golfers, like the participants in Detroit’s Midnight Golf Program, are still excited about the game and their place in the sport.
The Midnight Golf Program, affectionately known as “MGP,” is a selective, golf-centered program that was founded by Reneé Fluker. The program is based in Detroit, and only high school seniors in the area are eligible for the prestigious program. Those granted a spot in MGP have an opportunity to gain mentorships and learn life skills, etiquette and more, all while learning the game of golf. They are supplied with a set of golf clubs and Midnight Golf paraphernalia, such as polo shirts, hats and golf gloves.
The group’s name is a bit misleading. They do not play golf at midnight.
“Playing golf at night is impossible unless someone shines a light. The program uses the game of golf to give young people a brighter vision of their future,” said Fluker, who also is president.
Established in 2001, the program started with 17 students. That number has blossomed into roughly 200 students each year. This year’s program has 263. Participants attend biweekly sessions for seven months. Each session is three hours long — students receive golf lessons and life lessons such as financial literacy, interview skills and speech writing — with dinner. The program doesn’t cost participants anything, thanks to funding from sponsorships and donations from businesses, community donors, mentors and program alumni. Nearly 60 mentors and PGA professionals contribute their time and expertise.
“Young people in Detroit are full of promise. What they need is direction because school is such a small aspect of what’s necessary for success. I hope that message spreads,” said David Gamlin, vice president and program director of the Midnight Golf Program.
MGP caters to underserved young men and women in Detroit and surrounding suburbs, and mentorship is one of the most essential parts of the program.
“Midnight Golf has impacted my life by helping me see that my future is important and that I can do anything I put my mind to,” said Asia Branham, 20, a sophomore at Harris-Stowe State University. “They helped me see that I don’t have to settle for less and that there is more out there in the world than just Detroit neighborhoods.”
MGP aims to provide mentoring and professional development in a familial atmosphere for its students and mentors. Students receive one-on-one mentoring with three to five students paired with an individual mentor. Mentors take students under their wing, staying in communication with them even after they go to college. The program’s motto is “College. Career. Beyond.” According to MGP, more than 98 percent of MGP students matriculate to institutions of higher education.
“I’ve seen young people with no intention of going to college or who didn’t believe they were ‘college material’ go on to be valedictorians and graduate summa cum laude,” said Winston Coffee, 34, who is in his seventh year of mentoring with the program.
The program relies heavily on its mentors, who must be able to volunteer twice a week and be at least 25 years old with no criminal background. They represent a diverse range of professions, from pilots to accountants to nurses and more.
Midnight Golf students and mentors primarily work together in Detroit. Since 2005, they have also traveled to colleges, universities and golf courses around the country. This portion of the program is called the Road Trip For Success (RTFS).
“The first time I visited my college, Philander Smith, was on the RTFS. I saw it and fell in love. I applied and was accepted with scholarship,” said Tiffany Phillips-Peters, a 2017 graduate of Philander Smith College. “Beyond the road trip, Ms. Reneé and another mentor, Mr. Ambrose, saw to it that I made it to and through college successfully. Mr. Ambrose and another mentor even attended my graduation.”
This year, the trip includes six cities. Six charter buses have transported students to North Carolina A&T State University, North Carolina Central University, Duke University, Winston-Salem State University, Duke University Golf Club, Birkdale Golf Club and the NASCAR Hall of Fame in Charlotte, North Carolina.
Although they were unable to ride to Augusta, Georgia, for the 2018 Masters, that didn’t keep them from following the tournament — especially since Woods was playing.
“Tiger has been a strong inspiration for many new to the game, but golf needs no PR,” said Gamlin. “It is a sport that has no equal and will be viable for the individual throughout time. Can’t digitize it. Can’t shrink it. We can speed it up, but golf will always be a great asset for those who play.”
Although Woods was not a top finisher at the Masters and has been out of the sport for most of the past four years, that has not affected the students’ enthusiasm for the game. They credit MGP.
“Golf is not just a sport, but it teaches life principles and fundamentals for success,” said Tiffany Moore, 25, an alum of the program who is a current MBA student at Northwood University. “Many business transactions are held over the game of golf. I have been able to gain a business network from speaking on my experiences through the program and have encouraged a previous employer to invest in the program.”
Once students complete the 30-week program, they are eligible to receive awards, scholarships for college, a graduation cord and the title of MGP alum. Many also walk away with a desire to give back and help uplift others.
“The biggest lesson I took away from my experience as a Midnight Golf Program participant is that as you advance in your career and life overall, it is your duty to reach back and pull as many people up with you as possible,” said Jenise Williams, 21, a current senior at the University of Michigan, Ann Arbor. Gaining alumni status in MGP is something that students don’t take likely.
“MGP made it known that we are not who we are merely off our own hard work. For that, we should pay forward the love and devotion others have poured into us, no matter how big or small.”
It was about 9 in the morning on April 4, 1968. Bernard Lafayette Jr. had gotten the final details of his mission from Martin Luther King Jr.
Later on that fateful day in Memphis, Tennessee, Lafayette would pack his luggage at the Lorraine Motel and head to the airport for a flight to Washington, D.C., the site of his assignment.
Eight years earlier, Lafayette had been a classmate of civil rights pioneer John Lewis at the American Baptist Theological Seminary, a predominantly black institution in Nashville, Tennessee. In 1968, he was the national program administrator for the Southern Christian Leadership Conference (SCLC), the guiding light of the civil rights movement in the 1960s.
The charismatic and magnetic King was not only the president of the SCLC but also its spiritual force and moral conscience. King and Lafayette met alone in Room 306 that morning to discuss media relations for the Poor People’s Campaign, a monumental undertaking designed to bring national attention to U.S. poverty as the SCLC pivoted toward economic rights. That’s why King and the SCLC were in Memphis in the first place: to help the city’s sanitation workers, mostly black men, address their concerns regarding low pay and dangerous working conditions.
Lafayette, the national coordinator for the Poor People’s Campaign, was to conduct a news conference on April 5 at campaign headquarters in Washington. And the media-savvy King wanted the message to be clear.
“He wanted to make sure I mentioned the inclusiveness of the Poor People’s Campaign,” Lafayette told The Undefeated. “He wanted everyone to know that this was about more than black people. It also was about helping poor whites, Native Americans and Mexican-Americans.”
At the end of the conversation, King told Lafayette, “We are going to institutionalize and internationalize nonviolence.”
By sunset, those words proved eerily ironic.
When Lafayette arrived in Washington, Walter Fauntroy, the D.C. city councilman and Washington point person for the SCLC, wasn’t there to pick him up at the airport. That’s when Lafayette had an inkling that something was awry.
He called the headquarters of the Poor People’s Campaign, at 14th and U streets in Northwest Washington. That’s when Lafayette found out King had been shot on the motel balcony in Memphis.
Later, Lafayette called The Associated Press and United Press International wire services. Two pay telephones at once — with the AP in his left ear and the UPI in his right.
“Then, the UPI reporter started crying on the phone,” Lafayette said.
That’s when he first learned King had died. Moments later, Lafayette hopped in a cab to 14th and U.
There, he called the Lorraine Motel. Andrew Young, the executive vice president of the SCLC, told Lafayette not to return to Memphis. Fly to the SCLC headquarters in Atlanta instead, he said.
Lafayette then canceled the D.C. news conference scheduled for the next day.
a funeral for which to prepare
In 1968, Lafayette, at 28 years old, was a veteran of the civil rights movement. In 1960, he had participated in the sit-ins to desegregate lunch counters in Nashville, along with Lewis, Diane Nash and James Bevel. In 1961, Lafayette was one of the original Freedom Riders, along with Lewis, Jim Zwerg and William Barbee, as they tried to desegregate public interstate travel in the South amid physical attacks from angry white mobs.
Lafayette also was one of The Children, a book written by Pulitzer Prize-winning author David Halberstam 20 years ago that focused on eight college students, all of whom attended historically black colleges or universities (HBCUs), in Nashville who vaulted to the forefront of the civil rights movement.
Lafayette’s alma mater of barely 100 students, the American Baptist Theological Seminary, is now called American Baptist College and was granted an HBCU designation in 2013.
In 2018, Lafayette, now a 78-year-old minister, makes the 22-mile drive from his home in Tuskegee, Alabama, to Auburn University on Monday afternoons to teach the principles of global leadership for nonviolence, employing the teachings of King and Gandhi. Lafayette’s Alternatives to Violence Project, started in 1975, engages prison populations in conflict reconciliation and is used in 60 nations.
In the 1960s, Lafayette even wrote songs and sang with the Freedom Singers and Nashville Quartet. They sang freedom songs at such venues as New York’s Carnegie Hall, including the “Dog Song,” which was about the irony of dogs from black and white families playing together in rural Southern areas while the children of those same families couldn’t mingle because of segregation. That history has been preserved in more than one Smithsonian museum.
Another singer exhibited his reverence for King and the movement. King’s funeral was scheduled for April 9, 1968; the Academy Awards were set for April 8. Entertainer Sammy Davis Jr. and other stars threatened to boycott if the ceremony wasn’t rescheduled, according to the book Inside Oscar.
Davis, during an appearance on The Tonight Show Starring Johnny Carson on April 5, declared, “I certainly think any black man should not appear. I find it morally incongruous to sing ‘Talk To The Animals’ [from the Oscar-nominated movie Doctor Dolittle] while the man who could make a better world for my children is lying in state.”
Yes, Hollywood stopped for King; the Academy Awards were rescheduled for April 10.
“Sammy and several other movie stars came to the funeral,” Lafayette said. “They viewed Dr. King as a star, just like themselves. That’s why they came.”
Some SCLC members bandied about the idea of treating King’s funeral like the royals of Buckingham Palace in England, as in the splendor of men wearing top hats and coats with tails.
“Some of them wanted to treat him like royalty,” Lafayette recalled.
But they ultimately thought better of it, instead opting for the images of King’s legacy.
As King had said, in part, in his previous “Drum Major” address from Feb. 4, 1968, “I won’t have any money to leave behind. I won’t have the fine and luxurious things of life to leave behind. I just want to leave a committed life behind …”
Keep it simple, the SCLC decided. Hence regular men’s attire. And a mule-drawn, wooden farmer’s wagon to carry King’s casket, symbolic signs of poverty.
The “Drum Major” sermon served as King’s eulogy, per widow Coretta Scott King’s request.
The next two months were both utterly miserable and marginally productive for the SCLC. King’s successor, the solid but less magnetic Rev. Ralph David Abernathy, was determined to launch the Poor People’s Campaign, undoubtedly one of King’s most ambitious projects, which originally was scheduled for April 22.
King’s master plan: put issues such as jobs, unemployment insurance, a reasonable minimum wage and education for the poor on the national front burner.
The day after Coretta King led a women’s march on Mother’s Day on May 12, a collection of plywood tents and shacks were constructed on Washington’s National Mall. It was called Resurrection City, with a population of about 3,000. Rev. Jesse Jackson was named its mayor.
Then came the rain. “It seemed like for 40 days and 40 nights,” Lafayette remembered. “And, man, it was muddy.”
His post-campaign analysis: “It was very challenging and difficult. It was Dr. King’s idea, but he wasn’t with us. So we had to glean from him what we thought was his interpretation of the campaign.”
Lafayette spoke of a bizarre backstory to the campaign: For many of the nation’s poor, especially in the rural South, their only mode of travel was by mule. Therefore, some of the campaign participants wound their way to the nation’s capital by mule-drawn wagons. The federal government authorized some staff members, Lafayette said, to make sure the mules were equipped with special shoes for travel on pavement and soil as well as the correct food.
What about special precautions for the impoverished human beings making the journey? “No, the people had to care for themselves,” Lafayette answered.
The campaign did result in a few lesser victories, such as the federal government allocating free surplus food for distribution in hundreds of U.S. counties in need and agreements with government agencies to hire the poor to lead programs for the poor.
Abernathy, of course, desired more impactful actions, but he had to settle for the pocket-sized ones.
A half-century after the assassination of King, the implementation of the Poor People’s Campaign and the prophetic “Drum Major” speech, a part of King’s legacy was displayed on March 24 in Washington.
His granddaughter, 9-year-old Yolanda Renee King, spoke in Washington at the March for Our Lives rally against gun violence. She told an international audience: “My grandfather had a dream that his four little children will not be judged by the color of their skin, but the content of their character. I have a dream that enough is enough. And that this should be a gun-free world, period.”
She was part of a remarkable scene mixing the past and the present before our very eyes. And it was a gun that killed her grandfather, a horrific murder by a white man that triggered race riots and street violence in at least 100 cities nationwide.
Said Lafayette: “That’s why I have great hope for the future. These young people are making sense, and they seem very determined. You call it passing the torch.”
For Lafayette, Yolanda Renee brought back memories of his last conversation with her grandfather at the Lorraine Motel in Memphis.
On that fateful day, 50 years ago.
When Atlanta Hawks guard and Baltimore native Malcolm Delaney learned that former NFL linebacker Aaron Maybin was seeking donations of coats, gloves, hats, thermals and socks for students in his hometown, he swiftly answered the call.
“Aaron is the guy who sets the bar, and hopefully all of the other athletes — or don’t even have to be athletes — can match, or just to open their eyes about the city,” Delaney said.
As students brave rough winter weather, wearing coats in classrooms no warmer than 40 degrees, Delaney has decided to donate more than 400 coats. The Burlington department store chain was moved by Delaney’s gesture and offered to donate an additional 200 coats to two other local schools.
“I grew up in Baltimore City Public Schools, and I knew exactly what he [Maybin] was talking about,” Delaney said. “It just sparked something, and I was just going to do something. Growing up in the city, I had friends who didn’t have coats and I have been in situations where I had to wear my coat to class because of the cold. Fortunately, Burlington heard my idea and they felt that they wanted to match my donation, and instead of one school we got three schools. They came through, and the principals to all these schools were open to take something out of the coats.”
Delaney wanted to make sure to make a direct impact. To put his plan into action, he contacted his agency and his best friend, Desman Thomas. For Delaney, having a team and being in a position to help children is probably one of the most important things after family.
“I heard that the kids needed so many different things, and then the reports came out about space heaters and then some schools said they couldn’t even use the space heaters, so Desman is that guy who let us know exactly what they needed.”
The recipients of Delaney’s donations include Gardenville Elementary (Delaney’s alma mater), Afya Charter Middle School and Harford Heights Elementary.
Delaney said having the opportunity to give back to children in his hometown is “very gratifying.”
“I always did stuff, and I always thought that if I made it I would always give back because there weren’t a lot of guys before me who I could say actually helped me or my friends out in the process of trying to achieve our goals. So me making it and having the ability to do it, I try my best to do it, and just having people around me that are on the same page with me and they’re just as passionate about it as me is easy to do, ’cause Baltimore city is very tough with picking the right team.”
Delaney is also passionate about the school system as a whole.
“I think just the attention needs to be paid more to the structure of these schools,” he said. “We’ve got a lot of schools that aren’t in good condition, so I think that’s something that needs to be addressed. And the heating system and the air conditioning, that needs to be priority. I also think the kids should be comfortable going to school, and it’s already enough to have to deal with an inner city of Baltimore, period, but once you add into consideration that some of these kids don’t even have coats to go to school, and once they get to school that there’s no heat, that just makes the learning environment a lot tougher. So I think just addressing this problem is a start, and then after that I think, you know, we still got to beat up the Baltimore city school system and try to get some more things done, because we might have one.”
Delaney played professionally overseas after college for teams including Élan Chalon, Budivelnyk Kyiv, Bayern Munich and Lokomotiv Kuban. In 2016, he earned an All-EuroLeague first-team selection.
Delaney signed with the Atlanta Hawks on July 15, 2016, and made his NBA debut in the team’s season opener in October that year.
As an African-American explorer in the late 1800s and early 1900s, Matthew Henson donned warm coats with fur collars while braving frigid temperatures during his journeys through the Arctic to the North Pole.
Many students in Baltimore’s Matthew Henson Elementary School are donning similar cold weather gear while attending class in 2018.
We know about the dilemma of those students thanks to former NFL linebacker Aaron Maybin, who teaches at the school through his work with Leaders of Tomorrow Youth Center. Maybin’s video of the frigid conditions experienced by students went viral after he posted it Wednesday. One of the students told Maybin that “yesterday I had frostbite” while sitting in a classroom with no heat, leaving the students wearing winter coats while attempting to learn in near-freezing temperatures.
— Aaron Maybin (@AaronMMaybin) January 3, 2018
That led Maybin to endorse a GoFundMe campaign that began with a goal of raising $20,000 to purchase 600 space heaters and outerwear for students. As of early Friday, that campaign, led by Coppin State University senior Samierra Jones, had raised more than $41,000 from more than 1,100 donors. Another group is raising money to provide Mylar blankets to students.
While outsiders make efforts to help the students, Baltimore officials and school administrators are pointing fingers about who is to blame for the burst pipes and broken boilers that have plagued the school system since students returned from break this week. Students got some relief on Thursday: Schools were closed because of the dusting of snow that hit the city.
“I’m angry at a lot of people,” Maybin wrote on his Twitter page on Thursday. “But one cannot simply blame the mayor and do nothing to help. While we sit back and blame others OUR kids are freezing NOW. Someone has to fight for them.”
Yes, 2017 was a rough one. But it was also a year of black women fully stepping into their power. From athletes to activists to writers to filmmakers to curators, these black women are truly Undefeated.
What a year it was for Serena Williams, arguably the greatest athlete ever. She won the Australian Open, her 23rd Grand Slam singles title, while eight weeks pregnant. She gave birth to her daughter, Alexis Olympia Ohanian Jr., in September and married longtime beau and Reddit founder Alexis Ohanian in a dream wedding in November — and Nike just named a building after her. She’s already making plans to defend her Australian Open title in 2018.
Dee Rees, who made the critically acclaimed Pariah and the Emmy Award-winning Bessie, has directed a new American classic with Mudbound, a sprawling post-World War II epic that follows the lives of a sharecropping family and the family that owns the land. Although the Academy of Motion Picture Arts and Sciences has been resistant to movies distributed by Netflix, if there’s any kind of justice in the world, Rees, a product of historically black Florida A&M university, will be nominated for an Academy Award for best director.
the nigerian women’s bobsled team
You’ll do well to remember the names: Akuoma Omeoga, Seun Adigun and Ngozi Onwumere. They have made history as the first African team to qualify for the Winter Olympics in the bobsled category. And this will be the first time Nigeria has been represented in the Winter Olympics. All three women are sprinters, and Adigun, who founded the bobsled team in 2016, competed in the 2012 Summer Olympics. The team will head to Pyeongchang, South Korea, in February to compete for a medal.
Tiffany Haddish was the breakout star of the most successful comedy of the year, Girls Trip. She became the first black woman stand-up comic to host Saturday Night Live. In addition to a Showtime comedy special, she appeared in Jay-Z’s video for “Moonlight,” which satirized Friends; published a book; starred in The New York Times‘ annual “Greatest Performers” portfolio; and next year, she’ll be producing and starring in a satirical thriller with John Cho. The question for the last black unicorn isn’t “What will she do next?” but “What can’t she do?”
Munroe Bergdorf is a British social activist, DJ and model who in August 2017 became the first transgender model to appear in a L’Oréal campaign. She was fired after the Daily Mail surfaced Facebook posts where she spoke out against racism and white supremacy and called for better understanding of systemic injustice. The 30-year-old hasn’t let any of that stop her, though. She signed a new contract with the U.K. beauty brand Illamasqua, is working with The Huffington Post on a new docuseries and continues to speak out against racial and social injustice.
Sloane Stephens made history in September when she won the US Open vs. Madison Keys. She also became only the fourth black woman to win a Grand Slam singles title, after Althea Gibson, Venus Williams and Serena Williams. What makes Stephens’ success all the more remarkable is the foot injury and subsequent low ranking she overcame to get back to the top. Another victory Stephens completed this year? Graduating from Indiana University East with a degree in communication studies.
Author Jesmyn Ward hit the “nerd lottery” this year when she was awarded a MacArthur “genius” grant. She was one of 24 people honored by the John D. and Catherine T. MacArthur Foundation with a $625,000 prize. Ward, who wrote the award-winning novels Salvage the Bones and Sing, Unburied, Sing as well as the James Baldwin-inspired essay collection The Fire This Time, teaches at Tulane University in New Orleans and lives in her home state of Mississippi.
Curator Rujeko Hockley has been shaking up the art world with her focus on exhibiting works by black women artists. Hockley, who was the assistant curator of contemporary art at the Brooklyn Museum before heading to the Whitney Museum of American Art, organized the traveling exhibit We Wanted a Revolution: Black Radical Women, 1965-85, which is now on display at the California African American Museum. She was also recently tapped to co-curate the 2019 Whitney Biennial, an exhibit of contemporary American art, typically by young and lesser-known artists.
While NFL players have been garnering attention this year for kneeling to protest police brutality, WNBA players have been consistent in their social activism, and it started before 2017. In addition to kneeling, players from multiple teams have been catching fines for wearing T-shirts in support of #BlackLivesMatter and have held news conferences to speak out against police brutality.
Lena Waithe, who penned the instant classic “Thanksgiving” episode of the second season of Master of None, made history this year as the first black woman to win an Emmy for comedy writing. Waithe also wrote and produced The Chi, a TV series for Showtime based on her experience growing up on Chicago’s South Side. It premieres in January, and if she isn’t nominated for multiple awards, we will eat our hats.
It’s Ava DuVernay’s world, and we’re just living in it. In this year alone, DuVernay earned a Peabody, a BAFTA and four Emmys for 13th, her documentary about mass incarceration in the United States. She also produced season two of the critically acclaimed OWN drama Queen Sugar and hired all-women directing teams for each episode. DuVernay also landed on the cover of Time as part of their “First” series and will be releasing her adaptation of the classic fantasy novel A Wrinkle in Time in March 2018.
Maame Biney, a 17-year-old from Washington, D.C., who was born in Ghana, just qualified for the Winter Olympics in speedskating, making her the first black girl to do so.
This tweet really says it all:
We can run on ice now?!!! It's over for ALLLLLL of you. The Winter Olympics is now available in Black, Matte Black, and Off-White. We'll be hosting the next one in Wakanda. https://t.co/z6j6MryC5W
— Plantainbae☻ (@justcallmeBABA) December 17, 2017