Even though basketball is a disciplined sport, its beauty has always been displayed in creative spontaneity expressed skillfully and athletically. Recently, changes in and around the sport have distorted the appearance, but the game retains its luster in slightly different forms. We NBA players, who played in the 70’s, 80’s and before, often praise players with “old school games;” we admire the direct no-nonsense style of Paul Pierce, Dwayne Wade, Jerry Stackhouse, Tim Duncan and Chauncey Billups. Players who make gestures to bring attention to themselves after made baskets bewilder us. We wonder why energy and motion is wasted rather than channeled inward. We quietly watch the disappearing artistry of mid-range jump shooters like Richard Hamilton and Kevin Garnett.
Some of us conclude that the focus on the individual rather than the team has shifted the values of the game, and by doing so has altered the flow of our beloved sport. Sure, there are still pick-and-rolls and draws-and-kicks, but the relationships between the players seem watered down. We all recall that the greatest dynasty in NBA history, the Boston Celtics, built their fortress with players who had a willingness to sacrifice individual goals for the good of the team. The Celtics won 11 championships in the span of 13 seasons; they never changed their style and never focused on statistics. Could there be other factors, like the emphasis on the three point shot, strength and conditioning coaches pumping up bodies while skills atrophy, the sterile cookie cutter arenas that lack personality and disengage the hardcore fans, or possibly, the over coaching on the floor during games which curtails creative spirits, that have teamed together to change basketball for the worse? Talk to the Stinger.
Outstanding coaches of the 70s, 80s and 90s encouraged creativity, individual initiative, relationship building and team unity. Red Holtzman, K.C. Jones, Lenny Wilkens, Don Nelson, Phil Jackson, Doug Moe, Cotton Fitzsimmons, Jerry Sloan, and Pat Riley all wanted players to be students of the game. These coaches created a culture that nurtured and recognized the genius and improvisational skills of their gifted athletes. Red Holtzman would often say, “Don’t call a play; push the ball.” Don Nelson advised, “Call off my play if you don’t like it.” Lenny Wilkens would acknowledge, “Ultimately, you have to shut out everybody and make the play in your own way.” Doug Moe rarely called any play, and Pat Riley could profile on the sidelines during games while Magic produced “Showtime” in L.A. Jerry Sloan, despite the simplicity of his offense and his calling of all plays, created one of the NBA’s most unified teams. The Jazz seemed to always be on the same page while John Stockton and Karl Malone exhibited telepathic powers built upon their strength, understanding of each other, and their dedication to the team. All of these coaches allowed and promoted fast break basketball. Scores were high, fans were increasing, and players took their games to new dimensions. Despite this success, other teams and coaches utilized more controlled offenses with an emphasis on defense and physical play.
Chuck Daily, Mike Fratello, and the later version of Pat Riley slowed the pace of the game and coordinated their defense. Double teams, denying access to the middle, walking the ball up the floor while waiting for the coach to call the play, were scenes from the arenas of these coaches. They had good and effective teams that brought scoring averages down and pressurized each possession with playoff type intensity. Predictable half-court execution had its day in the sun as the science of the game shared the stage with the art of the game. It was playing “sheet music” as opposed to “playing by ear.” Players had assigned spaces on both ends of the floor. Sometimes, there were even assigned lanes for fast breaks. Questions like, “Where were you supposed to be?” and “How did I tell you to play that pick-and-roll?” were often asked. Coaches of this style played a more intricate role during games than their free style cohorts.
Just as the style of coaching was changing the league was getting an influx of young players, many were straight out of high school. Even though the history of high school players entering the league without going to college had been very positive, the popularity of the decision to draft these younger players led the league to alter its rules of admission. I never really understood the problem. As I see it, the kids have done a fantastic job. I consider them to be adults at the age of eighteen with full rights and responsibilities.
As I reflect, I am reminded of a two-time league MVP, Moses Malone, drafted in 1974 by the Utah Stars of the ABA. Malone became an immediate star of professional basketball; I saw no need for him to go to college, if he had no desire to do so. In 1975, the NBA got in on the act; they drafted two young players, Darryl Dawkins and Bill Willoughby, into their fold. Dawkins became a fan favorite as his thunderous dunks and charismatic personality elevated the Philadelphia 76ers. Bill Willoughby proved to be a solid NBA player with good years in the NBA. He felt that his career could have been better had he played for another coach. Willoughby charged that his Atlanta Hawks coach, Hubie Brown, was too abrasive and condescending for a man starting his career at such a young age. Despite the success of these players, the NBA neglected high school players for twenty years.
The temptation of Kevin Garnett started the trend again in 1995. Garnett, the number five pick in the draft, rose to the level of league MVP and made the four teams that passed on him question themselves. As if that were not enough to cause a league to think, Kobe Bryant and Jermaine O’Neal were products of the 1996 draft; they ,too, were straight from high school. With examples like these all-star players, no one wanted to be left out of the high school sweepstakes. NBA scouts were showing up in high school gyms across the country in search of the next diamond in the rough.
Players today mature much faster than the players of the 70s and 80s. They play many more games, get national exposure and learn from the plethora of televised games. Most of the outstanding stars have seen NBA games in person and have played against NBA players. Former NBA All-Star, John Drew, said the first NBA game that he saw was the first one that he played for the Atlanta Hawks. In the 60s and early 70s, rookies were brought along slowly. They often sat on the bench for a year to learn the game. They were used to give fouls and play after the outcome of the game had been determined. Rookies also had to earn respect from coaches and teammates; they were simply called, “Rookie” until they had a full year of NBA experience under their belt.
Today’s star players like Dwight Howard and LeBron James entered the NBA with more physical and emotional maturity than most players with four years of college experience from the 60s and 70s. James and Howard are stars who pack arenas and win games for their respective clubs. Sure, they both have many more lessons to learn, but they will learn them quicker in the NBA than they would in college. Of course, I am aware that many players will not have the same skill and maturity level as the players that I mentioned. In these cases, it is the responsibility of the parents, high school coaches, players themselves, and their advisors to guide them to make a proper decision.
The use of the three point shot has reduced the emphasis on dominant big men. When NBA sharpshooter, Lou Hudson, joined Kareem Abdul-Jabbar and the Los Angeles Lakers, he advised Abdul-Jabbar that his jump shot from the perimeter counted for the same number of points as the sky hook from the lane. In today’s game, Hudson would probably throw the ball inside even less than he did in 1978 because his perimeter shot would count for more points than Abdul-Jabbar’s interior shots.
During the early 80s three point shots were taken toward the end of quarters or the end of games; rarely were these low percentage shots taken in the regular flow of the game. Marksmen were reluctant to lower their shooting percentage with shots out of their normal range. Then things begin to change. In 1986, Craig Hodges shot three pointers as easily and as quickly as he shot two pointers. His coach, Don Nelson, started drawing up plays in the game for Hodges’ three point shot. Other teams began their search for long range bombers. Coaches accepted the shot as attempts became common. Traditional jump shooters sacrificed their rhythm, picturesque form and respectable percentages for the possibility of getting three points per shot. This change in emphasis made the inclusion of international specialists a welcome act. Even seven footers were backing behind the line to shoot the trey. All-Star Weekend gave inspiration by adding a three point contest to their festivities. It did not take long for players to start their offensive possessions lined up behind the three point line rather than outside of the lane. NBA great Walt Frazier pointed out the fact that one of the basic principles of the game has been threatened; players no longer “always take the easiest shot possible.” Despite this flight to the perimeter, few championships have been won without a credible big man in the middle.
NBA Basketball today is presented as multidimensional entertainment to entice fans of the game and others to the arenas. NBA marketers have taken a page from Barnum and Bailey’s Circus; it is now fun under the big top with thrills for all. NBA arenas no longer have the intimacy and uniqueness for their home team. The Fleet Center in Boston is not much different than Philips Arena in Atlanta. A similar argument could be made for NBA cities. Surrounding shops and malls have the same stores in Anywhere, USA. Corporate suites are a major part of all arenas and their culture seems to have influenced the atmosphere.
But all is not lost. Yes, there are still home court advantages, and fans in the traditional basketball strongholds have the higher basketball IQs; the coordinated fans are still the best sixth man in regards to helping their team win the close games. Basketball today is as much about entertainment as it is about sports competition. The compromise to the market has furnished dance teams, dog shows, miniature car races, video screens that show “Kiss the Girl” attractions and dance competitions, mascots and flying balloons that drop souvenir T-shirts from above the crowd. P.T. Barnum could not have done much better himself.
This hybrid system has escorted basketball to a permanent place in the hearts and minds of mainstream America. There have been compromises, casualties, and sacrifices along the way, but the game has more fans now than ever before. If you ask me has basketball changed, I would say that it absolutely has changed. Haven’t we all changed? My advice is to endure the changes, adjust to new environments and enjoy the games. Basketball is fine!!!!
