Friday, May 29, 2020

One-on-One with Jerry West

Published in SBJ April 28, 2005


Jerry West turned 82 yesterday (May 28). It seems as good a reason as any to revisit my interview with him from 2005. 
When West retired from play with the Los Angeles Lakers in 1974, he had scored more than 25,000 points, only the third player at the time in NBA history to have done so. Known as Mr. Clutch for his consistent ability to make the pressure shot, West became the literal symbol of the league. (His silhouette is the NBA logo.)
A two-time All-America player at West Virginia and co-captain of the U.S. Olympic gold-medal team in 1960, West became an all-star in each of his 14 seasons in Los Angeles and a 10-time all-NBA first-team selection. Elected to the Basketball Hall of Fame in 1980 and named one of the NBA’s 50 Greatest Players, West coached the Lakers for three seasons before moving to their front office.
In 2002, he ended a 40-year association with the Lakers and joined the Memphis Grizzlies as president of basketball operations. Under West’s direction, the team has reversed its fortunes, improving from 28 victories in his first season to 50 in his second.
Update: West joined the front office of the Golden State Warriors in 2011. Four years later, the team won its first NBA championship since 1975. It earned another in 2017 (the eighth for West), after which West left to join the Los Angeles Clippers as a consultant.

Q. After so many successful years with the Lakers, you walked away from the game. Now you are closer to your West Virginia home. What led you to go to Memphis?
West: I retired. The stress and pressure are something I feel. I had just given about all I could give to [the Lakers] franchise. I needed to get away for a while. And within about a year and a half, I started to feel not as stressed and harried as you would feel when you’re working for these franchises. 

Q. How are things now?
West: When the season starts, there’s no in-between. You’re happy if you win; you’re miserable when you lose. [In L.A.], winning was always expected. You didn’t worry about winning games; you worried about winning championships. The Lakers have been such a dominant part of the Los Angeles sports scene. I believe that added even more pressure to all of us, but particularly for me. I was there so darn long, as a player, coach and executive, and it just got to the point where it didn’t feel good. Winning was not fun and losing was even worse. 

Q. Do you have a basic business philosophy?
West: I’ve always felt that players should not be underpaid. Nor do I think that they should be overpaid. I just think that in today’s world, with the agents playing such a prominent [role] and free agency being so important, all of us would tend to overpay if we want a free agent. And paying money to players does not make you win. It’s been pretty evident in all sports. Does it give you a better chance? You would think it would. But you look out around the league today and some of the teams with the biggest payrolls have not accomplished very much. I think it’s almost a testament to the agents: They can get people to buy into how great their players are when they might be average players, wanting these average players to make enormous salaries, which a lot of them do.  

Q. What’s the best business call you have made?  
West: It’s really hard to say. I live my life almost by my instincts in terms of players that we might try to acquire and players that are available to us. There might be some players on the free-agent market who want $10 million-plus that I don’t like at all as players, and there might be some that I think are really undervalued. Depending on the market you are in and the resources you have available to spend, I think you have to judge accordingly to what those players might be and what they may not be. 

Q. Roger Staubach said that running a business can be tougher than running an offense, and Joe Dumars said that running a team is far more satisfying than playing. What do you say?
West: It’s probably a combination of both. I think it’s so much easier to play, particularly if you have the ability to play in the league at a high level. For the people who are fortunate enough to be able to work for franchises, our work behind the scenes allows us—if we do a good job and the owners think we do a good job—to have some life expectancy other than just as a player. 

Q. What about the personal satisfaction of building a team?
West: There’s a tremendous amount of gratification in helping to build a team. It’s a challenge every day because the talent pool is not as high as people think. There are 30 people competing on, hopefully, a level playing field, trying to attract and draft the same kind of players. That, to me, is very interesting, and also the challenge of the different markets that are in the league. 

Q. For example?
West: The big markets certainly have an enormous advantage because of the revenues involved. We have to try to spend our money a little more wisely if we can, but, more importantly, to have the fiscal responsibility to put these teams in a position to have value other than just having a huge dollar loss every year. That’s a challenge here in Memphis as opposed to Los Angeles and something that we are really going to concentrate on this year: How do we get to the point where we can become a profitable franchise.

Q. Attendance through January at the Grizzlies’ home games was up nearly 13 percent. Has it been a tough sell in Memphis?
West: I work pretty much on the basketball side, but certainly I’m very aware of the business side here, and it is a tough sell. This is a very, very small market. Our revenues have increased greatly here. We have a new building. We had some success last year. We’re playing pretty well under the circumstances, with the most injuries I’ve ever been associated with on one team. We’re still hanging in. But for the most part, I have seen some growth here. 

Q. What’s next?
West: We need to continue to build this team to make it better so that we attract more people. And if we attract more people, then the ancillary income from some of the local industries will be greater than it is today. We’re still really limited, compared to the major markets, in what we can try to go out and sell to: potential customers and, more importantly, potential businesses that want to get involved with the Grizzlies and be associated with the Grizzlies.

Q. The business of the game has changed since your playing days, hasn’t it?
West: Oh, it was like the stone age when I played. The Lakers are now wearing five different uniforms. It’s mind-boggling to me that somebody would even want to make that many uniforms, but it tells you the marketing of the league is obviously important. It brings great community pride to see people from the community that you’re in wear player shirts that identify them with the local product.

Q. Does the fact that you competed at such a high level give you an advantage in dealing with your players?
West: I would never say that. I would like to say that I’m very candid and straightforward with players. I have my own feelings, and just as we get criticized for what we do in the newspapers, we certainly want to protect our players. But I think internally you have a right to say [to the players], “You’re letting us down in this area here and we need to pick it up.” And I think most of our players would tell you that I’m very candid about stuff like that.

Q. Dumars said the most difficult thing for him in the transition from player to front-office executive is having to trade a player.
West: To me, the worst thing is when you have to say goodbye to a player that you don’t feel is good enough to play in the league. That is a cold feeling because these dreams have been there since they were kids. They get drafted and you have them on your squad and you decide that maybe somebody else is better. You feel like judge, jury, and executioner. 

Q. What about trading a player?
West: Trading players that you know is very difficult because there are always mixed emotions. Some players want to be traded and some players don’t want to be traded. Those emotions are very difficult to deal with. And more importantly, when you go home at night, I think we get the reputation of being cold and callous because that’s part of your job—just a horrible part of the job. 
But I think saying goodbye to a player that maybe has played a long time in the league and doesn’t have much left, or you feel he doesn’t have anything left, and you say, “Congratulations. You had a great career, but we’re going to move in another direction now.” When you tell another player, “We’re going to cut you or waive you,” that is a difficult thing. You are probably waiving or cutting a player at a very early age in his life. It affects a lot of people. That, to me, is the worst.

Q. You have had a good eye for talent evaluation, especially with the Lakers, who didn’t always have a high pick in the draft. Is there something in particular you look for in a player?
West: I think we all look for different things. The one thing to me that is very evident is obviously skill, and physical capabilities are vitally important. But I think the skill that is sometimes overlooked is the ability to work hard. To me, hard work is a skill. Some players just don’t have the same energy levels as other players; they don’t bounce back as quickly from playing so many games in so many days. And some players seem to play well for 60 games and 22 games they take off. 

Q. They take off?
West: I don’t mean take off from not being able to play. They just can’t get anything accomplished. They don’t seem to have the energy. But yet we pay them for 82 games. It really is a players’ league. They have an enormous advantage today because of all the rights and things that have been negotiated with the advent of the players association.

Q. Who or what has had the biggest influence in your professional life?
West: Oh, boy. You know, I’ve always been a person who tried to learn something every day. I have some friends who have been very successful away from the basketball arena. And I marvel at the differences in personalities and the incredible instincts that they seem to have for making financial deals and acquiring companies and stuff like that. I had a pretty good education working for Jerry Buss for the Lakers when the league was not as prosperous as it is today. 

Q. About the NBA, you said, “We expanded very fast and we’re getting younger and younger players in the game.” Is that a good thing? How do you assess the state of the league today?
West: We’re a league that has started to kind of reinvent itself. What has driven this league in the past has been our personalities and our stars. And we certainly have those. But they just don’t come along every day, and those types of players are few and far between. 
Now, all of a sudden, we have a wealth of young talent. We’re hopeful that they‘ll grow into the kind of citizens that represent the league the way that I think the people who care about the league would like to see it: to see it presented not only publicly but particularly in print and also when people get in front of news cameras. I think some of these kids have done a nice job in that. I think they’re getting better. In some ways, we are bringing along the next group of stars. The league does a great job in promoting those players. 

Q. Would you favor an age minimum for the NBA?
West: I think all of us feel that there’s a lot more work in having younger kids, but that’s not for me to say. I think that’s something that has to be discussed behind closed doors. We’ve had some wonderful young kids come in and play extremely well and be a viable part of the league. 

Q. Do the colleges serve as the minor leagues for the NBA?
West: At one time, very definitely yes. But now, because so many kids bypass the college system, it’s certainly not that way anymore. At one time, players used to be able to brand themselves with a college team. That meant that the league inherited a bunch of players that were kind of household names already throughout the country, particularly among basketball fans. It’s a little bit different job for the league now, I believe. 

Q. How is it different?
West: We have to help brand those kids ourselves. The system seems to work best when you have an attractive college team and you inherit those players who are proven and who established tremendous records and have identified themselves as being the best players in America. We don’t do that quite often anymore. If you look at the last four years, I believe the No. 1 player in the draft, three of them have been high school kids and the other one has been from China. 

Q. Players today slap hands with a teammate after he misses a foul shot. You once said you’d be embarrassed if anyone did that to you.
West: I also think it’s distracting. I don’t think anything needs to be said. But again, it’s just part of today’s game. If I were a coach, I wouldn’t want it to happen. I would discourage that. It has nothing to do with the game. I think every player feels bad enough about missing shots, but I don’t think you have to acknowledge a miss.

Q. You were not a demonstrative player, but in today’s game the culture is a little different. Players celebrate dunks, scores, blocks and so forth. Is showtime an inextricable part of the game now? 
West: I suppose it is. You see it all the time. You see some guy go do something and you watch his man kick his ass the whole game, and you start to say, “Hey, that guy after the game is probably laughing at you.” But we do have excitable and emotional players and, again, that’s part of the game today. We’re seeing the changing culture of the game a little bit. 

Q. Seeing yourself on SportsCenter.
West: If you watch ESPN, which is kind of the sports junkie quick review of a game—always showing you dunks or spectacular plays—they don’t show the nuts and bolts of the game, and I think that’s created the other side of the game, glorifying the spectacular but ignoring the substance of the game.

Q. You said, “I like substance over style, always, and I think that wins for you in this league.” 
West: I still say it wins. In many cases I think style darn sure gets publicized a lot more than substance. If you look at the teams at the end, they might have players that play the game with some style, but they also have a lot of substance, and at the end of the year the champion pretty much represents that.

Q. The game requires so much individual skill, and yet the team can’t succeed unless everyone plays as a unit. What is the key?
West: If you watch a well-drilled, well-schooled team, it looks like all the players are thinking alike, playing with one mind. If you watch teams where a bunch of individuals are out there, or inexperienced players or poor teams, you’ll never see that. The real good teams make the extra pass. Everyone helps each other defensively, everyone is running back defensively, everyone is playing smart basketball. The good teams do that; the poor teams don’t, and the young teams don’t. And I think that’s the essence of the game. It’s like one mind playing the game, and when you can get that, you’ve got something special. 

Q. It can’t be easy trying to predict how young players will turn out.
West: It’s getting more and more difficult. I don’t think there’s any question. We’re drafting on talent, and talent is sometimes not good enough. You see a kid who’s really gifted physically, and I think everyone gets enamored with dunking. Unfortunately, there are not many dunks made in a game. I think we’re all victims of that because we understand the fans want to be entertained. They want to see something spectacular, which often happens in the flow of a game.

Q. Any college seniors you particularly like?
West: You know, I would say no. The NCAA will probably whet the appetite of more NBA people, but I would say that probably the players who are the most attractive will be the underclassmen, as they have been for the last few years.

Q. Does the game need any changes?
West: I wouldn’t think so. The advent of the three-point shot has put the game out of doubt, but sometimes it’s a license to shoot shots that players shouldn’t be shooting. One big change I see in players today, in almost all players of all sizes, is that they can all handle the ball pretty well. But I think the biggest difference is the way the game is taught today. The positive part of it is that we seem to be getting back to where we’re scoring more points. We’re in the entertainment business. I would much rather see a game where there are some points scored as compared to the games where there are not many points scored.

Q. What happened to the violations that used to be called “traveling” and “palming?”
West: It’s in marketing the league. We have great players who walk every time they get [the ball], and they don’t call it. We have players who get every call. It’s just part of the league—and it’s not meant to be critical. But officials know that the extraordinary skill that some of these incredible players have is greatly responsible for their team’s success. There’s no question that those things exist to some extent. It’s not done deliberately; it’s not done with people sitting around thinking. But it’s just watching the amazing skills that these people have. And they do it so cleverly. It gives you a tremendous advantage if you’re a good offensive player. 

Q. I was surprised to see palming called in a recent college game. I can’t remember the last time that was enforced.  
West: In the NBA you could start calling palming from the time they go out to warm up. But I think the thing that’s interesting about it is now they allow everyone to carry the ball, not just one person. 

Q. Is there anything is basketball you would not miss if it were eliminated?
West: There are some things that I would certainly like to see different, but if I talk about it, I’ll get fined. I wouldn’t miss the three-point shot, even though I think it adds intrigue.

Q. Too bad the three-point shot was not around when you played.
West: I wish it were around, yes. It would have won a few more games for us, that’s for sure. Oh, and I can do without the dunk shot, too, by the way. One point for a dunk.

Q. Your old backcourt teammate Gail Goodrich said that what he enjoyed most in sports was the camaraderie. What do you think is the best thing about sports?
West: The harshest lessons learned in life are probably through sports. There is no gray area. You either win or you lose. And I think it tests the character of all players. It tests the character of the people working internally. And it can lead to hastily made decisions that sometimes damage a franchise more than they would ever help because people don’t want to lose.

Q. A daunting challenge.
West: I think management has a great responsibility to the ownership, almost to the point where I believe that you should lose your job if there’s something that the owner wants to do and it’s just not the right thing to do because it is an emotional thing. I do think that we’re all at risk sometimes because we’re opinionated and we think we know what’s best for the team, and we don’t own the team. I like to think I’d never work for money in my life. I do it because I love it. Obviously, it’s important to get paid if you’re in a business like this. But I think the most important thing is, if somebody hires you, they should trust your instincts enough to let you run the team and for them to not interfere with some things that maybe they’re not very familiar with.


PERSONAL:
Date & Place of Birth: May 28, 1938 in Chelyan, West Virginia
Education: University of West Virginia
  

FAVORITES

Movie: I had a brother killed in Korea, and not a week goes by that I don’t think of him in some way. I like to read, and I like to examine historical things. There have been two or three movies regarding wars that sometimes you scratch your head [and think,] “Why does this make sense? Why does that make sense?” Movies about conflicts have always probably emotionally tuned me in. I thought Apocalypse Now was a great movie. I thought Band of Brothers was a very good series on the horrible nature of war. Seabiscuit was tremendously inspirational to me. Finding Forrester, about a young kid getting involved with someone who had this great wealth of knowledge, was a touching move. 

Athlete you most enjoy watching: Tiger Woods. Golf is the most challenging sport for me. Not only are you playing against the course, but you are also trying to control yourself. And you watch Vijay Singh and the incredible work ethic he has. There are some players in the NBA I greatly admire: Magic Johnson and Michael Jordan from the past, Bill Russell and Larry Bird. Among the current players: I’m a great fan of Tim Duncan. He’s probably the player that has what I think is most important. He has style and he has a substance. He also plays the game with class and grace. And Kevin Garnett is very much the same. Shaquille O’Neal and Kobe Bryant. Lebron James—the sky is the limit for him. Those are just some of the ones I’ve most enjoyed, watching them compete and excel.

Vacation Spot:  The Greenbrier in West Virginia

Sporting Event: The Ryder Cup. We don’t have as much nationalism in this country. I think everyone wants to say we do, but we don’t. And I think that’s one thing where nationalism come to fore

Music: Growing up in West Virginia, everybody used to listen to country music. I like classical music. Now my tastes run to soft rock and some jazz. I like some of the old, traditional people. I like Elton John. I think he’s a tremendous entertainer. I listen to a lot of music from different areas.

Smartest player: Oscar Robertson
Greatest competitor: Bill Russell

Last book read: I read a lot. I just read a book on George Washington. I’m reading a book on Germany in the last part of the war. I’ve just about finished The Kite Runner, a very touching book. My reading tends to vary. I learn a lot through reading. 

Friday, May 15, 2020

One-on-One With Marv Albert

Published in SBJ November 15, 2007 

Marv Albert got broadcast training at a very early age as the self-employed play-by-play man and studio engineer of his own fanciful radio station in his boyhood bedroom in Sheepshead Bay in Brooklyn, New York. Further education and more formal experience came later in the office of the Brooklyn Dodgers, at Syracuse University and NYU, and from working with broadcast legend Marty Glickman. The radio voice for many years of the New York Knicks and New York Rangers, Albert served as the primary play-by-play voice for the NBA on NBC and announced college basketball, boxing, NFL, NHL All-Star games, baseball studio and pre-game shows. He was also the play-by-play voice for TNT’s NBA coverage, for CBS Radio/Westwood One’s Monday Night Football, and for the Nets on YES Network.

Q. I just read your book I’d Love To, but I Have a Game
Albert: Where did you find a copy? Funny, but about 10 minutes ago I had a message from Rick Reilly, who wrote the book. He has a new book out and is making some appearances in Manhattan. He’s pleading that I show up just to laugh at his jokes.

Q. Anyway, I’m glad we caught you at a rare moment in your schedule when you have no game.
Albert: Our last [NBA] series, Cleveland/Detroit, surprisingly—because our expectations for the compelling nature of it were not great—turned out to be a wonderful series. But now that it’s over, it’s nice to be off for a little while. I just finished up an NBA video game, and we’re heading on vacation. 

Q. You’ve covered sports for over 40 years and seem to enjoy it thoroughly. Has it been all games and fun?
Albert: I feel very fortunate that I’m doing what I wanted to do from the third grade on. I became very interested in the sports broadcasting aspect even at that early age. I’d turn down the sound on the TV and do games in my house—and probably get everybody looking for me to go into a room and lock the door so they didn’t have to hear it at the time. But, yeah, it’s something that I’ve always loved doing.

Q. Back then, you did it from what you called the second-floor broadcast-booth bedroom in your home in Brooklyn. 
Albert: I think most people who are on the air doing play-by-play probably started in some way in that fashion: by turning the sound down and either doing it for themselves or doing it on a tape recorder. It was really a great experience, because even when I started doing games in college at Syracuse, I had felt that there weren’t that many things that were going to surprise me because even though it wasn’t done professionally, I was experienced just from doing it on my own fictitious radio station. 

Q. You had access to pro games at an early age.
Albert: I was fortunate to be ball boy for the Knicks, which allowed me access to the press box for college games, and I was able to bring my recorder. I worked for the Brooklyn Dodgers as an office boy and gofer. Part of that, the perk was to be able to get a seat in one of those overhanging press boxes near home plate. It was all very good experience.

Q. Yet there were not nearly so many broadcasting outlets then as there are now, nor could it have seemed as attractive then as it probably is now. Was there a defining moment for you?
Albert: The defining moment was at age 9 when my dad and mom bought me one of these huge, reel-to-reel tape recorders. It was kind of unnerving to hear my voice at first in those early times because you never sound the way you think you do. And obviously I’m a kid with a high-pitched voice. So, you’re saying, where’s this going?

Q. Do you still have those tapes?
Albert: I have early tapes, but not that far back. I do have some from high school, where I would take my recorder to games—just for my own purposes. And I have early tapes from college. My kids got a kick out of them, particularly my rock ’n’ roll disk jockey days up in Syracuse. 

Q. You wrote that your mother finally became resigned to the fact that you were not going to become Leonard Bernstein. 
Albert: (laughing) Exactly.

Q. Was there ever any consideration given to using your voice to sing?
Albert: My mother and father were both extremely encouraging. At the time when I first showed this interest, I think they thought I was going through a phase. I played the piano for about 11 years. Had to practice for an hour or so a day, and actually performed in some concerts. But I always preferred being outside, playing stickball or roller hockey or basketball in the schoolyard. I realized eventually that it helped me in terms of memorizing because that’s basically what I did when I was playing the piano. And it was good for typing fast, for dexterity. 

Q. Marty Glickman had a profound influence on you, did he not?
Albert: Tremendous. Marty was wonderful in the way he dealt with young broadcasters. Even after he retired, he was always very encouraging. But with me, he really turned things around. I met him from my ball boy days, and I ended up working for Marty as a researcher and producer and then eventually—after I left Syracuse and transferred to NYU—at WCBS radio. At the time, he was the voice of the Giants and the Knicks—he was the voice of New York sports. And to have that kind of exposure to someone I admired.… He was my favorite broadcaster growing up, and I got to know him very well. We became very close friends.

Q. You have talked about the break you got when you filled in for him one night.
Albert: I ended up sitting in for him when I was still going to college. When he couldn’t do Knick games, I subbed for him. It was a great experience. And over the years, as I moved on and went to WHN radio to do the Knicks and the Rangers and even in later years, in my NBC and TNT days, he’d be one person who might point something out to me from time to time. And he’d be right on. 

Q. There was a mutual respect early on.
Albert: I think you always need somebody—another ear, someone you respect—if you’re a writer or broadcaster to say, “Hey, wait a second.” And what used to amaze me when I was a kid working for him—and it just showed where he was coming from—here was this great broadcaster and he would ask me what I thought of a broadcast. At first, I thought, “He’s taking me seriously. I’m 22 years old.” But I had a different view of things and he wanted a contemporary thought about what he was doing.

Q. You said that “He hated clichés and hype, and I learned to hate clichés and hype.”
Albert: I feel very strongly about that. That’s always been a pet peeve for me. When I listen to athletes speak sometimes, or some broadcasters, you hear things like “On the money” or “Our backs are to the wall.” Stuff like that. I just think that’s unnecessary. I probably got that from Marty.

Q. It’s a good lesson for anybody in journalism.
Albert: Yeah. You get lazy. I always find it’s important to listen to tapes of the games that I’ve done. I would always get the DVD and check it out. You look for things like that. That’s one of the things that’s kind of a checklist in my head. Sometimes you end up repeating words. You get into bad habits. And the only way to avoid that is to listen and be aware of it. 

Q. What would you say has been your best career decision?
Albert: I’ve had some amazing opportunities, and then it’s a matter of being able to take advantage of them. I would say—and I always say this to people who are interested in broadcasting—probably it was in my younger days, taking jobs that may have seemed menial but ones that people would kill for. Like working for the Brooklyn Dodgers or doing go-fer work for Marty Glickman. I always feel it’s just so important just to get there, if you’re interested in broadcasting, whether you’re behind the camera or in front of the camera. You hear so many stories of people who have succeeded who started in the mailroom or started with these menial tasks. So, that probably would be it, that I was willing to do anything in terms of being on the scene at a broadcasting station.

Q. What does your game day involve? Any regular rituals?
Albert: For NBA, we usually have a production meeting in the morning. We’ll go over pre-game, halftime, stand-up (what we’ll say at the start of the telecast) and graphics. I’m basically inside the hotel all day and then get to the arena about two hours before the game. 

Q. How much individual preparation do you do?
Albert: During the day, I’m going over my notes, I’m reading all the clips and local papers, and sometimes talking to people around the NBA. I read so much. I probably overprepare, and then end up using 10 percent. But that’s O.K. If you use too much, you’re talking too much. I always feel I want to have information or anecdotes on every possible situation. The most annoying thing is after the game when I realize I had something really good and didn’t get it in. 

Q. What’s different about football game day?
Albert: With basketball, I see the teams so frequently because I’m doing the Nets’ games on YES and I’m doing a TNT game of the week. In football, you’re doing teams possibly only one time all year. I do the Monday night football on CBS Radio/Westwood One. I find it’s several days of preparation. To me, it’s very important to read the local clips from each market just to see what’s going on. I might talk to an assistant coach or the head coach. Boomer Esiason, who works with me, is so plugged in. He’s living football all week, and that makes it really very compatible, very easy for me. But it’s much more work for NFL. 

Q. The difference between doing TV and radio?
Albert: In radio there’s less opportunity to get things in. Basically, it’s the play, it’s what happens, and you might slide things in here and there.  

Q. You refer to the geography of the court. Your radio experience was invaluable to you in television.
Albert: It was. I think the best experience for young broadcasters is to do radio first. That doesn’t always happen, but that’s where the fundamentals are. I compare it to well-established actors who understand the importance of going back to Broadway or of doing summer theater. It’s a real exercise in terms of improving your craft, no matter how good you are. And I find that with radio. I think that you are the game, in terms of broadcasting sports, and there are so many fundamentals. 

Q. It’s a different approach from radio to television?
Albert: You have an understanding of not talking as much on television. To me, that’s the one thing that you should do on radio. You have to use the crowd. You have to be able to use the color commentator effectively. On TV, you can keep quiet. There are certain things that speak for themselves. It’s almost like you’re applying captions on TV than talking too much. But in some sports, you have to talk a little more. For example, hockey on TV, because people don’t really recognize the players and it’s so fast. 

Q. Some broadcasters today work so hard to promote themselves, to the point where they get in the way of the game. It seems to me you have always had respect for the games and the profession without making it solemn. Is that a difficult balance?
Albert: I try to do that. I think the balance is providing information and doing it in an entertaining way and not getting in the way. But there’s a degree of drama involved and not going over the top. It’s really a mix and also involving the person you’re working with. 

Q. Your sense of humor doesn’t intrude on the broadcast.
Albert: I look for light moments because sometimes with subtlety you can make a point if it’s from a journalistic point of view or just to keep things normal, light. It’s not life and death. But on the other hand, some games are very important, and you don’t want to do that at the wrong time. You have to pick your spots. You’re making judgments on the fly. So, I think it’s really a combination of that. 

Q. The man who made “Yes” synonymous with scoring now works for the YES Network. Is there a more perfect marriage? 
Albert: I’ve asked for financial remuneration. 

Q. Ha! That's the droll Marv Albert wit we know.
Albert: I got a kick out of when the YES network first came into fruition. It really struck me, and of course I got a lot of calls on that, even from people at YES. But we haven’t gone over the top with that, which his good. But, yeah, it is kind of ironic. 

Q. Over the years, has there been a most memorable team for you?
Albert: I would say the Bulls of the Michael Jordan era, which actually had two parts to it, before and after Michael left to go to baseball. I found that thrilling to be able to do those games. And the 1969-70 and 1972-73 Knicks. That was just a compelling and very smart group of guys who all went on to remarkable careers even after basketball. They were the closest thing for me to the Boys of Summer—the Brooklyn Dodgers—where it was such a beloved group of guys. The style of basketball that those Knicks played was perfect for New York and it was wonderful for the NBA. 

Q. Ira Berkow said that those Knicks spoiled everyone who covered them for the rest of their professional lives because they all acted like adults, had perspective, and went on to distinguish themselves after their playing days.
Albert: I couldn’t say it any better than that. That’s exactly right. What an experience to be around that group. 

Q. It was a different time.
Albert: At that time, it was different, and with the writers, too. We all traveled together, and they were just a remarkable group to be around. They said interesting things and it wasn’t kept at a distance. And Red Holzman was the type of coach who wanted his players to speak. He actually was kind of self-effacing. Very shy. He was not looking to be in the forefront, and he was bailed out because all his guys were very good talkers. That was just such a good experience. Similar to what the Dodgers were in their days with Jackie Robinson and Duke Snider and Pee Wee Reese. That whole unusual group—in a positive way.

Q. You called Bill Bradley “one of the most ethical persons I have ever known.” 
Albert: From what I could see. I can’t say I knew Bill extremely well, but it seemed like that. When he ran for office, I hosted some of his political events. And I always thought, boy, if there’s anybody who would have made a great president—and I know a lot of people feel that way—he would have been the guy. 

Q. He did not do endorsements.
Albert: I think all along he knew what he was going to do. I know that’s what he believed. He didn’t want to take money for endorsing a product, to be paid to say something or to be involved in terms of a blatant sponsorship situation. He might have been looking ahead—not that that would have been held against him. 

Q. At the other extreme, who is the most colorful trash talker?
Albert: You know, we see mouths moving but don’t hear much because we have the headsets on. But I’m told it’s Michael Jordan… You didn’t see it because he would do it under his breath, but he would say things to guys and would usually be able to follow up very effectively. Sam Cassell is very animated and kind of funny, but he’s talking all the time, and nobody takes him that seriously because he’s funny. It could be the heat of the game and everybody’s laughing because of what he said. 

Q. The greatest competitor?
Albert: Jordan—one of the great competitors in any sport. Sometimes he needed things to get him motivated. It could be a fan at courtside in a road city who’s been on him. And he’ll make it a point to go over and say something. I’m sure it’s clean. And then he’ll go on a tear and he’ll direct everything at this fan. He’d look for anything to get him going. That stopped early on if another player said something in print about him that might not have been that bad, but he would turn it around to make it seem like they were challenging him. 

Q. You have said that baseball players are among the most sensitive athletes you can deal with.
Albert: I found that from doing the baseball pre-game show at NBC. The forum that I had for controversial issues was the short interview, so we’d get right to the basic questions. I think that contributed to it. But I always found that there was a sensitivity, and probably is today. There are guys who will talk, but it’s not the same as other sports in terms of how the players view the media in saying things. Not that they have to lash out, but I think there’s a reluctance about having an opinion. I find the NBA, NFL, NHL guys are great. And boxers love to talk. I just find it’s a different culture.  

Q. You have also said that boxers provide the best theater.
Albert: To them, television is everything. Part of their goal is to get on television so that their fights can be seen. They realize they could have a short run, so they’re usually very willing to talk.

Q. Did you work with Al McGuire?
Albert: I did. He was great to be around. One of the most interesting people that I’ve ever been exposed to. We really had a lot of fun.

Q. McGuire said, “Inside, I think, all thoroughbred athletes have uncertainty, the fear of being unsuccessful.” 
Albert: I think that’s true. I think that’s what motivates them. Guys might not admit that because basically what you see is great confidence. But I would say with successful people, even in business, in broadcasting, or whatever field you select, I think for the most part the fear of failure, or something not working out well, is a great motivating factor.

Q. During a broadcast, we get multiple camera angles, replays, graphics and statistics, promotions, and interactive and commercial elements. With all of the distractions, is there a danger of the sideshows overshadowing the main event? Of the game being overwhelmed by the technology of the game?
Albert: I think there is. Sometimes there are too many replays. I think there are too many graphics on the screen. And at times graphics cover graphics. There’s one in the lower right-hand corner, and there’s something else that goes right over it that blocks the score or blocks some other circumstance with the game. I think that’s the stage we’ve reached with all the new technology. And I think web sites contribute to this because there’s so much on the screen. You see it not only in sports but also on news channels. The feeling is that the younger generation can take all this in at the same time, but, yeah, I do think it’s a little too much. I think it should be scaled back.

Q. What in sports would you not miss if it were eliminated?
Albert: Some of the long pre-game shows where the same stuff is being discussed over and over. People are making predictions. I always feel, what do predictions mean? I realize they’re filling time, and it’s a very inexpensive way to fill time because you don’t have to spend money on production pieces. But there are so many people, particularly during the football season, making predictions. I don’t think it has any significance at all. It’s a guess. You may have all the information in the world, but it’s a time-filler. I wouldn’t miss that.

Q. Where’s the imagination in sports today?
Albert: I think in sports television, there really is imagination, despite what we just talked about with sometimes too much graphically and too many attempted innovations. But on the other hand, when you look back…I find in watching some of the games that have been done in the past be it on YES or ESPN Classic or NBA TV or NFL TV, you see the difference. It’s unbelievable, even from a few years ago, of how far they’ve come in graphics and the look, what the camera angles are. Just when you think not much more can be done, when you go back five years ago, the strides that they have made are monumental. 
   

Q. In doing the research for this interview, I discovered some little-known facts about you. Can you confirm the following:

1. You are an honorary member of the Stoop Ball Society?
Albert: Right. That was a big game. Huge in Manhattan Beach in Brooklyn. It was full of stoops. They sent me a certificate. I get their mailings on a regular basis, so I am up on all the stoopball activities around the country.

2. Years later, you had a stoop built onto your suburban home?
Albert: I did. Very popular item. But there’s a skill to that because you have to work on it. You have to hit [the ball on the point] just right. It takes hours of preparation. And it’s worthwhile.

Q. It’s part of the house, right, not a freestanding stoop?
Albert: Yes, part of the house.

3. First on-air job was at a classical music station?
Albert: Yes. WONO-FM in Syracuse. Part of my philosophy of taking anything just to get on the air. 

4. Fired on the first day for giving the listening audience more baseball box-score information than they bargained for?
Albert: I was a little overly animated when it came to sports. It was not exactly what they had in mind. It was a little too much, yeah. I don’t think it adhered to what their listeners wanted. That was not the demographic group we were hitting.

5. You later worked for a rock station under the name Lance Scott?
Albert: They didn’t like Marv Albert as a name. What a thrill that was to get on the air. It was a regular station. That was a great thing about going to Syracuse, the fact that it had a very good broadcast journalism curriculum. You had opportunities in the city. Few of us were able to get on the air, either doing news or rock-type stuff. I started as Lance Scott and then I went on to one of the bigger stations. That was a great experience being able to do that, in terms of being able to ad lib and kid around and experiment on the air.

6. Tom Brokaw wanted to trade jobs with you at certain times of the year?
Albert: Tom is an enormous sports fan. As great as he is at what he does, maybe he’s a frustrated sportscaster, I don’t know. But Tom would be at games all the time and would always come by and chat. I get a kick out of that. When you do games in New York or L.A., people I have admired will come by at halftime and just talk basketball, from Jack Nicholson to Steven Spielberg to David Kelley. 

Personal

Date and Place of Birth: 6-12-45 in Brooklyn, N.Y.
Education: B.A., Liberal Arts at Syracuse (3 years) and NYU

Favorites

Musicians: James Blunt, Damian Rice, Sarah McLachlan. I passed through the do-wop stage from my disk jockey days. 
Vacation spot: Capri
Author: David Halberstam
Book: The Great Gatsby
Last book read: Marley and Me
Quote: John Wooden’s “It’s what you learn after you know it all that counts.”
Movies: The Shawshank Redemption and Million Dollar Baby
Best sports movie: Field of Dreams
Worst sports movie: One on One

Marv Albert’s All-Interview Team
Charles Barkley
Michael Jordan
Tommy Lasorda
Warren Sapp
Phil Jackson

Q. Wait...no place for your former broadcast partner Steve Kerr? At one time, he made the NBA’s all-interview second team.
Albert: Steve would have been there somewhere. Wouldn’t be first team, though. He should know that. Might have been third team.