Oh No

Remember when Ryan Adams used to write great music? Those were the days...

Weezer Team Up With Ryan Adams

Likert Scale

The Austin City Limits with the Swell Season was on again this last weekend. During their set, they invited out celebrated Austinite Daniel Johnston to sing "Life In Vain" with them. I was taken back to when I saw Daniel Johnston perform for the first time, but this time I understood something new about him. One of the great things about his live performances is that there is an overwhelming sense of positive energy in the room. What this energy stems from is the collective support for him, the desire of everyone in the room for him to succeed. That is something we rarely experience. Even in the best concerts there seems to be a group of people who are upset, wishing they were else where, fault-finding, or looking to score. All of these produce some sort of negative vibe. The absence of that vibe is what made the Daniel Johnston show so unique and you could even feel that vibe on TV.

I wanted to try and work this into some post-NBA Finals angle where I talked about how unlikeable Kobe, Pau, Fisher and the rest of the Lakers are...but you already know that. Then I thought about mentioning the Jazz and how there are at least 3 stiff white guys that they like in the draft this year. Too easy. Maybe something about liking the Heat's chances to get Dwyane Wade a real teammate? I don't want to jinx it. Suffice it to say, there are a lot of things worth liking out there, but the Swell Season performance with Daniel Johnston has to be right at the top of that list.

Annual Report: 1989

And now for a year that I actually remember pretty well. One look at this list shows that things were shifting, broadening. There's mainstream rap, alt-rock, classic rock, top 40, industrial, the seeds of grunge, folk, metal, jamband. Even if some of the drum sounds are unforgivable, it was a good time to make music.

Full Moon Fever//Tom Petty

One thing we have to make clear here is Tom Petty's place at the table. For whatever reason, I don't feel like he gets his due for being a songwriter (and a hitmaker) on the level of the legends. And, friends, he is. This album is not my favorite TP album (might be 3rd?) and still is pure proof: listenable top-to-bottom with songs that jumped out at teeniebopper radio listeners ("Free Fallin'") and resonated with Johnny Cash ("I Won't Back Down"). The mix of hits and singalong anthems with songs that bring the sadness like "Face In The Crowd" and "Yer So Bad."Petty and Jeff Lynne were on fire between this record and...

Mystery Girl//Roy Orbison
Like A Prayer//Madonna
Rhythm Nation//Janet Jackson
Seeds Of Love//Tears For Fears

Doolittle//Pixies
Disintegration//The Cure
Paul’s Boutique//Beastie Boys
Bleach//Nirvana
Don't Tell A Soul//Replacements
Pretty Hate Machine//Nine Inch Nails

The birth of alt-rock? No, I know you want me to say it was Big Star or the 13th Floor Elevators or Velvet Underground. But this is when it broke through and even MTV had to pay attention. These (with the arguable exception of Bleach and Don't Tell A Soul) are seminal, career records for each band. The Beasties got serious(er). The Pixies put their flag in the ground. The Cure made the record that, 20 years later, they'd be asked to devote entire concerts to. And Trent Reznor brought industrial music to the masses.

New York//Lou Reed
Freedom//Neil Young

Two all-time legends dig in. I still remember listening to Lou Reed's "Dirty Boulevard" and knowing that it was something special and rawer than the rest of the produced stuff I was listening to in junior high. And as a Neil Young loyalist, I'm here to remind you that he destroyed in the 90s, starting with this album's bookending "Keep On Rockin' In The Free World." Oh how I love that man.

Spike//Elvis Costello
Flowers In The Dirt//Paul McCartney

My introduction to Elvis Costello, unlike many early adopters, was through his late-80s/early-90s work. And, to this day, it's my favorite era. My friend Matt and I wore out a taped-off-the-radio tape of "Veronica" while at basketball camp one summer. When I found out McCartney had co-written it, it seemed only natural, being a young Beatlephile as I was. Then, Matt's sister was dating a Macca fan, who turned us on to Flowers In The Dirt. A little uneven maybe, but it gave us "Figure of Eight" and most importantly the Costello co-written "My Brave Face." Such a great song.

Oranges & Lemons//XTC
Heart Shaped World//Chris Isaak
Margin Walker + 13 Songs//Fugazi

13 Songs. Where to start? Somehow it crept past my Classic/Modern Rock filter and landed a giant punk (postpunk? anti-BS?) haymaker in my ears. This album pushed me around, challenged me, and demanded I rethink what great music was. The fact that this could co-exist in the same year as Full Moon Fever and Like A Prayer makes me very happy.

Crossroads//Tracy Chapman
Indigo Girls//self-titled (both of these are still listenable. I will hold them up to any contemporary folk record)
Steady On//Shawn Colvin
Nick of Time//Bonnie Raitt
Flying Cowboys//Rickie Lee Jones (89 predated Lilith Fair by quite a bit, but was responsible for planting its seeds)

Oh Mercy//Bob Dylan
Dylan & The Dead

"Most Of The Time" and "What Was It You Wanted" are classics. Read the chapters about the making of Oh Mercy in Chronicles and you'll at least reconsider its place in history. As for Dylan & The Dead? Well, it's Dylan and the Grateful Dead, so if you were expecting smooth edges, you were disappointed.

Dr. Feelgood//Motley Crue
Pump//Aerosmith
Shine//Mother Love Bone
Sonic Temple//The Cult
Louder Than Love//Soundgarden

Hard rock/heavy metal was in a time of transition, still on top of the heap, but about to be undercut by a little album by a band called Nirvana. These five records represent a stratification of hard rock in 1989. The Crue was pure L.A. hedonistic party metal. Aerosmith was the east coast version that had more songs your girlfriend liked. Mother Love Bone (not well known, I know) were a bridge between the grunge to come and metal as it was. If you listen to Andrew Wood on some songs, you might think it was Steven Tyler, except Wood's sexual metaphors were less lazy and pedestrian. Then there was The Cult, who never really fit into any of the cliques-- too new wave for hard rock in the mid-80s, too hard rock for alt-rock in the 90's. But the songs were good. And then Soundgarden, a metal band that went back to Sabbath School, loved odd time signatures, and twisted it all in their own way.

Mother’s Milk//Red Hot Chili Peppers
The Real Thing//Faith No More (and then two bands trying to fuse rock/funk/rap-- Fishbone's important Truth & Soul was a year earlier)

In Step- Stevie Ray Vaughan & Double Trouble
Yellow Moon- Neville Bros
The Stone Roses// self-titled

Automatic//The Jesus And Mary Chain
Key Lime Pie//Camper Van Beethoven
Suck On This//Primus
Cosmic Thing//The B-52s
Blind Man's Zoo//10,000 Maniacs
Devil's Night Out//Mighty Mighty Bosstones

The next tier (not in quality, but commercial success) of alt-rock. A nice variety, you gotta admit. A fan favorite by JAMC (controversial at the time for its synthesized drums and bass), namedropped by the Death Cabs and Jimmy Eats of the next wave; a proper farewell for CVB that gave us the immortal "Pictures of Matchstick Men", a live debut from Primus who would weird their way into the top of alt-rock through the 90s and spawned a horde of Claypool clones (but nobody had the storytelling chops, much less the bass ones); a solid showing from 10,000 Maniacs with the hit "Trouble Me"; and a hardcore ska showing from Boston's own MMB. Like I said in the intro, don't knock 89's variety.

Big Daddy- John Mellencamp
Avalon Sunset- Van Morrison
Journeyman- Eric Clapton

Workmanlike efforts by Hall of Famers. Journeyman is too slick but had hits and the gem "Running On Faith." Big Daddy is decent but forgettable in light of what else JCM had done. And Avalon Sunset was touted as a VM's return to the muse, but resulted in us having to hear Rod Stewart slaughter "Have I Told You Lately." Ugh.

Junta//Phish
Brain Drain//Ramones (Dee Dee's last. Gave us "I Believe In Miracles", "Merry Christmas (I Don't Wanna Fight Tonight)" and "Pet Semetary.")
Let Love Rule//Lenny Kravitz

Annual Report: 1967

When asked about the best year in music, 1967 is among the most popular responses. And it's no wonder with powerhouse, pantheon, test-of-time releases like:

(Now, I wasn't there. So I'm warily trusting a mix of Wikipedia, iTunes, and random other googling.)

The Beatles//Sgt. Pepper's Lonely Hearts Club Band

For a long time, this record was considered the gamebreaker, the most important album, the best album, the measuring stick. Then, fickle tides turned and journalists learned they'd sell more magazines and get more click-thrus if they went with something more controversial (less obvious) or unexpected. I'm not saying it's my favorite album (a distinction Charlie T outlined expertly in the previous post), but it's gotta be up there with the best. Especially in the historical (an artist no less than Jimi Hendrix was covering Sgt Pepper mere days after its release), break down the walls (a concept record that stretched the studio-as-instrument concept) context. And especially because it has the song "A Day In The Life" on it. And then consider that "Penny Lane" and "Strawberry Fields Forever"– both released as singles– could technically be on this record? Goodness gracious. Oh, and they also released Magical Mystery Tour this year.

Jimi Hendrix//Are You Experienced and Axis: Bold As Love

Speaking of Jimi Hendrix and two-albums-in-one-year, this pair is ridiculous. And, no offense to Magical Mystery Tour, but it's no Axis: Bold As Love. Try "Little Wing" and "Castles Made of Sand" and "Spanish Castle Magic" and "Stone Free." That's insane. I don't think today's generation understands what we lost when we lost Hendrix. He showed more greatness in a few short years than the careers of most bands today combined. Pardon me while I go yell at the kids on the lawn.

Aretha Franklin//I Never Loved A Man The Way I Love You
Love//Forever Changes
Cream//Disraeli Gears
Big Brother & The Holding Company//s/t...janis...
The Velvet Underground & Nico
Miles Davis//Neferiti
Bob Dylan//John Wesley Harding

It gets lost in the shuffle of Insanely Great Dylan albums, but this is solid. And culturally relevant. Try these reviews on for size:
"For an album of this kind to be released amidst Sgt. Pepper, Their Satanic Majesties Request, After Bathing at Baxter's, somebody must have had a lot of confidence in what he was doing ... Dylan seems to feel no need to respond to the predominate [sic] trends in pop music at all. And he is the only major pop artist about whom this can be said." -Jon Landau//Crawdaddy

And it gave us "All Along The Watchtower" which was covered memorably (to the point of changing Dylan's view on the original) by- wait for it- Jimi Hendrix.

13th Floor Elevators//Easter Everywhere

"Roky Erickson and the 13th Floor Elevators, a band out of Texas. They were basically the first psychedelic-rock band. 1965. And if you listen to old 13th Floor Elevators stuff—Roky Erickson especially, his voice—and then go back and listen to early Led Zeppelin, you know that Robert Plant absolutely copped everything from Roky Erickson. And it's amazing. And Roky Erickson is sitting in Austin, Texas; he's just there. And Robert Plant had a huge hit. It always goes back to those guys, you know? I love those fucking guys." -Johnny Depp//2005//Esquire Magazine
With Roky Erickson's deserved resurgence over the last couple years and triumphant album with Okervill River this year, we see once again that Johnny Depp was ahead of the curve. Robert Plant, you're on the clock.

debuts by The Doors and Grateful Dead
solid showings from Pink Floyd, The Who, The Small Faces, the Stones (a kind of pathetic reaction to Sgt. Pepper, but with some ok songs), Buffalo Springfield...

and that's ignoring albums by seminal artists I'm less familiar with like Wes Montgomery, BB King, Roy Orbison, Howlin' Wolf, and Coltrane.

The sheer volume of great music coming out of 1967 may not compare to that of other years, but the longstanding greatness does. We will find years with more great music, but will we find years with greater music?

The Best Versus The Favorite

Walk around Los Angeles over the weekend and you would find an inordinate amount of Kobe Bryant jerseys. Its obvious many of the people are wearing them in support of the Lakers playing in the Finals but what isn't so obvious is why they chose to wear Bryant's jersey over many other more likable Laker's jerseys. Magic, Worthy, Divac, West, Baylor, Van Exel, AC Green, Karl Malone, Mark Madsen, Irwin M Fletcher or even Kurt Rambis. I'd even settle for someone slicking their hair back with Riley Grease of donning some of Jack's amber tinted sunglasses. So why does the majority chose a Kobe jersey over anyone else? Its because he is the best. The debate about whether or not he is the best player in the league is still open, but he is clearly the best player on the Lakers even though he is the least likable. Pau-bacca gives him a run for his money at times, but those are few and far between.

Come with me for a moment as we shift away from the hardwood and put on the headphones. The reason I'd like to explore the topic of best vs favorite isn't another ridiculous Kobe Bryant debate. It has to do with music. Specifically Josh Ritter.

The best song on the newest Josh Ritter album, So Runs The World Away, is undoubtedly The Curse. The lyrics show an acute attention to detail and are constantly folding back on themselves making the song deep and rich. The waltz piano places the story in a time where people who fell in love had a penchant for dancing. The story is unique, unforgettable and timeless. Everything about the song elevates it above the other songs on the album. Yet its not my favorite song, and maybe not even top 3 on that album. (Lantern, Change of Time and Folk Bloodbath are its fiercest competition) So why don't I like the best song on the album? Its nothing personal nor is it a personality trait where I have the undying need to always dislike the best. The Curse just doesn't connect with me like the other aforementioned songs. I can clearly see why it is the best song, but that isn't enough for me. Just like knowing who the best player is doesn't make me join his leagues of fans.

I'm not comparing The Curse to Kobe Bryant. I would never do that to anyone or anything since Kobe has no equal when it comes to loathsomeness. But its an easy, relatable example and I had to tie this back into the NBA Finals somehow. We are a music/sports blog after all and have failed to mention even once that the Lakers and Celtics are playing for all the marbles.

The thing about wearing the best player's jersey or even rooting for the best player, is that often it is the easiest. Its the easiest jersey to find, you know more about that player than any other, you are force fed their highlight reels. This is not always the case with the best songs, unless you stick to top 40 radio. This is also not the case with The Curse. Nobody is making it any easier or harder to like it. It comes down to my own personal choice and preference. It comes down to me choosing my favorites instead of making the best a part of them, and not confusing them.

Clearly this is an issue throughout sports and music. Just look at all the people on the Rajon Rondo bandwagon now. Not that he hasn't had some great moments in the playoffs but are we really forgetting about Deron Williams, Chris Paul, Derrick Rose, Russell Westbrook, Tony Parker, Steve Nash and Derek Fisher that quickly? (one of those is a joke...I'll let you decide) There is no way any of those guys no show in game 1 the way Rondo did. I do think Rondo was one of the funnest games in the NBA and i prefer watching him over a lot of those other guards, but in no way do I think he is the absolute best.

I'm going to start using the word favorite a little bit more and the word best a lot less, and I hope you do too.

2010: Bracing For The Pantheon?

Not to get all Bill Simmons on you, by which I mean "immediately and rashly overreact to an isolated incident, impregnating it with more meaning than it ever ought to have ("HOOPS ARE DEAD IN CLEVELAND AFTER LEBRON'S LAST LOSS"), spitting out superlatives ("THE CELTICS ARE AN EMBARRASSMENT" and "RONDO IS THE BEST PG IN THE LEAGUE!!" within weeks of each other) like they ought to be etched in stone ASAP*. But, here I go: is 2010's year of music angling to be a pantheon year? I know it's early and many of these albums still have to measure up to the ol' test of time, but I don't think the question is wrong. It feels like a supernaturally good year and it has to be asked:

Will 2010 go down as one of the great years in the history of music?

The National//High Violet

I know it's early, but it's about time TBC got a chance to counter all the Animal Collective and Beach House premature hype over the past year with something we think is actually deserving. I can't remember the last time I heard an album all the way through and wanted to hear it over again. And again.

The Hold Steady//Heaven Is Whenever
Josh Ritter//So Runs The World Away

Two TBC perennial favorites with what I suppose you could call transitional albums. On our initial listens, we agreed that Heaven Is Whenever gave us a great new chapter in the Hold Steady canon. We disagreed on the highpoints of So The World Runs Away, so that jury is still out

Broken Social Scene//Forgiveness Rock Record
Mose Allison//The Way Of The World
The Black Keys//Brothers
Dr. Dog//Shame
Anais Mitchell//Hadestown

There were 2 weeks where this albums sang the words "ALBUM OF THE YEAR" to me every day. Somehow the musical-hater in me could swallow a folkie musical based in mythology with guest spots by Justin Vernon, Ani Difranco, Greg Brown, and the dude from the Low Anthem. I am a sucker for ambitious high concept that's well executed (Janelle Monae, we'll get to you). And adorable voices like Anais Mitchell's.

Retribution Gospel Choir//2
Damien Jurado//Saint Bartlett
Frightened Rabbit//The Winter of Mixed Drinks
Jason Collett//Rat a tat tat

Four albums from some TBC usual suspects. Will they fare as well as Stay Positive? Or will they go the (still respectable but kind of disappointing) route of Yonder Is The Clock, following up a great record with a good one? I have my guesses, one of which is pretty obvious by the fact that I haven't dared buy the Jason Collett record yet.

Jakob Dylan//Women & Country
Patty Griffin//Downtown Church
Neon Trees//Habits (come on. Animal is catchy as catch.)
Peter Gabriel//Scratch My Back
Broken Bells//And I just got too lazy to look up album names. Bad journalism? It's a BLOG!
Jonsi's solo album
Horse Feathers
Sharon Jones and the Dap Kings
Bettye Lavette
Sarah Sample
Sayde Price
Spoon
Mumford & Sons
Tallest Man On Earth
Beach House
Drive By Truckers
New Pornographers

And still (potentially) to come:
The Arcade Fire
Tift Merritt
Blitzen Trapper
Sun Kil Moon
Nada Surf
The Roots
The Weepies
Tom Petty & The Heartbreakers
Stars
Wolf Parade
Crowded House
Los Lobos
Fleet Foxes
Eels
Beastie Boys
Robert Plant//Band of Joy (his follow-up to Raising Sand)
the actual release of Sparklehorse + Danger Mouse

And stuff I should check out:
Roky Erickson + Okkervil River
Avi Buffalo
Caribou
Carolina Chocolate Drops

Maybe the most interesting to me. NPR will do that with their special, literate, elitist Kool-Aid

Janelle Monae
Flying Lotus
Titus Andronicus
LCD Soundsystem
Merle Haggard
Laura Marling
Morning Benders
Sleigh Bells
Angus & Julia Stone
White Hinterland
Crystal Castles
The Besnard Lakes

Now, on a mass scale, I don't know that anything ever (especially in the post-mp3 world) will ever compete culturally and on a massive scale like a year that includes the Beatles and Stones and Dylan and Cash and...yeah. But as far as great and meaningful music that matters? This year has to at least sit at the kids' table while we wait for the results of the test of time.

Last year had a solid top 15 albums, but both Spike and I found a lackluster overall year to be saved by a few stellar albums. This year doesn't look like it'll have that problem.

I've often asked friends if they could only pick one YEAR of music, what year would it be?

In this new series, Annual Reports, we'll list albums from particular years and maybe even try to rate the years against each other. Some of it will hopefully help us see how 2010 fits in context and some of it will help those of us who maybe weren't there (or alive) to see/hear music in a new contextual lens, and the rest will just be an excuse to talk about music.

As the year goes on, we'll return to this post, revisit the names, see how they're shaking out. Next stop, though, is the nearly universally heralded 1967.

Concept Career

Separation Sunday is constantly in a battle with Boys and Girls in America for the right to be my favorite Hold Steady album (a very coveted distinction). What sets Separation Sunday apart is its dedication to telling a single story across the entire album. The concept album theme faded with Boys and Girls in America, though the characters in the album were mostly consistent. Then the cast of characters started to disappear. What I didn't realize, is that the stories continued...they are just more veiled than before.

My research into Craig Finn's lyric sheets hasn't been very in-depth just yet, but I have managed to put one story together. We all know the story of the girl who bet on horses and then used the money to buy drugs. The horse was named Chips Ahoy. Well, that girl hasn't been lost and forgotten. Someone is trying to hook-up with here again and have a Weekender with her. Allow me to expound. The song, The Weekenders, starts out, There was that whole weird thing with the horses. At first this could be a reference to anything really because weird things happen when you mix drugs, alcohol and animals. But later on in the verse he sheds a little more light on the situation, You've still got a bit of clairvoyance. If twice is a coincidence, then four times has to be undeniable. The two other instances come later in the song. First, You could say our paths had crossed before, and then later, I remember the O.T.B. O.T.B., for all those unseasoned horse racing gamblers out there, is Off Track Betting. That line pretty much seals the deal. Horses, Clairvoyance, Betting, Crossing Paths Before. It all adds up.

The greatest revelation, however, isn't that he has made contact with the Clairvoyant Horse Gambler once again, but its that there is a strong possibility that the Hold Steady didn't just make one concept album, but they are possibly working on a concept career. I feel like an archeologist who just uncovered some weird bones in the middle of Wyoming. And it turns out those bones might be related to some incident involving a Cheyenne Sunrise.

"Its More Engaging When You Don't Know"

The National's Matt Berninger tried to describe the lyrics to "Bloodbuzz Ohio" in a veiled string of words and then ended it with, "Its more engaging when you don't know." That really sums up my draw to The National and more specifically, his lyrics. The same can be said about most of my favorite things, I like not knowing exactly what the intent is. I like having the space to fill in the blanks.

Nothing kills a movie for me like seeing 5 different trailers, each one getting increasingly more revelatory about the plot and showing "all the good parts". You could get me to see just about anything, or at least be excited about seeing it, by not showing me much more than the name of the film and some shots of each actor in the movie. Beyond that, you're giving me too much information and my interest wanes. Again, its more interesting to watch it unfold.

The same goes for sports. If I have a game on the DVR and I mistakenly catch the score before I've seen the whole game, I won't even bother. Its not that I don't want to watch the game, but it takes away my main motivation for watching; answering the question of who is going to win. The NBA Playoffs this year have been surprisingly entertaining. Sure there have been plenty of no-shows and series sweeps, but that is going to happen and even some of those series were entertaining (Phoenix/San Antonio).

I've enjoyed the suspense of the games, but I haven't enjoyed the hyperbole surrounding the cast of characters involved. THis goes back to the need to not know. Every announcer, writer, analyst and goofy-dressed reporter has used up their lifetime allotment of exaggeration in this playoffs alone. Rajon Rondo is the best point guard in the game. Rondo made the greatest play in Celtics' history. No he isn't and no he didn't. But does he have at least 3 exciting plays a game? Yes. Can't we just leave his place in history undefined until he strings together a couple seasons, yes I said SEASONS, full of the play we've seen from him recently? LeBron James is the greatest athlete in the history of the game. Wherever LeBron goes will turn that franchise around. You have to say something nice about Early Exit LeBron but both those comments are way off base. Great Athlete? Yes. Franchise Player? Yes. Beyond that? Lets leave it open for debate. Don't just sling hyperbole for the sake of needing to say something. The list goes on and on. Pau Gasol, best bigman in the game. Derrick Rose and Joakim Noah, best young tandem to team up with. Knicks, best opportunity to become a legend.

Say anything like this, and I'm immediately disengaged. I'd rather wonder how good someone can become and how good they are than see them ranked "all-time". I'd rather hear the questions than the answers, and don't think I'm alone.

Write or Be Written

Long has the adage floated around that those who win the war write the history books. I wonder if that saying exists in Great Britain. Or in Japan. Or anywhere that has very publicly lost a war. My guess is there isn't a phrase for that in German and that it only works in American English where we have a sparkling record in battle...or at least completely unwilling to admit defeat. Therein lies the point. No matter what happens, we write the history. We decide what we will remember.

The NBA is no different than American History. Players decide how their legacy will be written. At no other time during the NBA season are there more words being poured into the history books. Just ask First Round Tracy how important the playoffs are to NBA History. This year has been no exception to the rule. There are players who are actively writing and re-writing their legacy on the court. On the other side of the coin, there are players who are passively letting their history be edited like a bunch of college freshman who just realized anyone can edit a wikipedia page. Its not win or go home, its write or be written.

The Writers
This is not a comprehensive list, but rather a small selection of players who have done more for reshaping our memory of them than anyone else.

Steve Nash
We already knew he was tough and that he made his teammates better. But we weren't sure he could carry his team. We didn't know if he was wired with a "get on my back and I'll make sure we walk away with a win" chip. Turns out he is. I thought he was crazy wen he re-signed with Phoenix for four more years. I thought Amare would be an idiot to hitch his wagon to a 36 year old white guy who will have to guard the quickest players in the league. I was certain there were a number of better opportunities for Nash where he could push hard for two years for a title and have a better supporting cast. Turns out I was wrong. No matter how the Lakers series turns out, I will never again say that Nash didn't deserve those two MVPs.

Grant Hill
Take note all you twilight-of-your-career-stars who still think they need 20 shots a game and enough touches to get into a rhythm even though they no longer have the physical ability to require even a single team, let alone a double team. Grant Hill has effectively gone from aged, former star to defensive stopper and effective role player on a winning team. Just ask Jerryd Bayless how efective he has been.



Deron Williams
He has played in the the second round or later in nearly everyone of his NBA seasons, yet judging by the kind things being said about him, you would think this was his first trip to the playoffs. The only thing he has done differently this year is break Chris Paul's knee. Its working.

The Being Written
This is not a comprehensive list, but rather a small selection of players who have done very little to help themselves.

Shaq
Remember Oliver Miller? I do, but only because Shaq is a glaring, constant reminder. He obviously didn't take any notes from Grant Hill during his 18 months in Phoenix.

LeBron James
He is doing exactly what everybody knows he is capable of, except he has to do it every moment of every game. How does this not help our view of him and shouldn't it be more about his teammates? Yes they are to blame for their disappearing act but consider this: if a home-schooled child never learns to read, is it his fault or his parents? LeBron is the parent in this case and his teammates are the illiterate children. Any sign of trouble and LeBron immediately takes over. He can't sit back idly while his teammates struggle through words like "rebound", "defense" or "make an open shot". Of course we enjoy watching him dominate and I can only image Mo Williams does too. He has just become to accustomed to it happening. Same for Side-Show Bob, Grand Theft West, Sheldon Williams's brother-in-law and ABC's in-studio analyst for the 2010-2011 season Mike Brown.

Andrei Kirilenko
A couple years ago, AK "threatened" to walk away from the NBA. Then someone must have told him how many Rubles equals one million Dollars. He had a mini-renaissance for about 3/4 of the season before returning to Siberia.

Joe Johnson
He must really be looking forward to that max contract with the Nets. He will then really see what its like when fans don't show up. He wil have to drop the "e" from Joe in order to fit in, but thats a small price to pay for the max contract badge of honor.

Five Bests from the Playoffs (thus far)

5. Portland Fans chanting "Lets Go Blazers" last night with 30 seconds to go and the Suns leading by 9 points.

4. Bango's Backflip. Who says a mascot doesn't have any effect on a game?


3. @LeBronsElbow

2. Tie: Durant blocking Kobe to add insult to injury in game 4 and the Irony behind the "Carmelo's People of Utah" ad campaign.

1. Dwyane Wade's 46 point outburst and subsequent yelling at his hand.