Coaches Playing Favorites Quotes

Running cured almost anything. It eased pain; it exhilarated; it served as penance and validation. It turned lone wolf into a compliment. Running was objective – the stop-watch never lied. Races judged competitors on how long and hard they could run fast, not on a coach’s decision to play favorites with the starting lineup. Running was pure.

Cultural Diplomacy—and an Accolade Among Piazzolla’s tasks during his first summer at the Chalet El Casco was the composition of “Le Grand Tango,” a ten-minute piece for cello and piano commissioned by Efraín Paesky, Director of the OAS Division of Arts, and dedicated to Mstislav Rostropovich, to whom Piazzolla sent the score. Rostropovich had not heard of Piazzolla at the time and did not look seriously at the music for several years.7 Written in ternary form, the work bears all Piazzolla’s hallmarks: tight construction, strong accents, harmonic tensions, rhythmic complexity and melodic inspiration, all apparent from the fierce cello scrapes at the beginning. Piazzolla uses intervals not frequently visited on the cello fingerboard. Its largely tender mood, notably on display in the cello’s snaking melodic line in the reflective middle section, becomes more profoundly complex in its emotional range toward the end. With its intricate juxtapositions of driving rhythms and heart-rending tags of tune, it is just about the most exciting music Piazzolla ever wrote, a masterpiece. Piazzolla was eager for Rostropovich to play it, but the chance did not come for eight years. Rostropovich, having looked at the music, and “astounded by the great talent of Astor,” decided he would include it in a concert. He made some changes in the cello part and wanted Piazzolla to hear them before he played the piece. Accordingly, in April 1990, he rehearsed it with Argentine pianist Susana Mendelievich in a room at the Teatro Colón, and Piazzolla gently coached the maestro in tango style—”Yes, tan-go, tan-go, tan-go.” The two men took an instant liking to one another.8 It was, says Mendelievich, “as if Rostropovich had played tangos all his life.” “Le Grand Tango” had its world premiere in New Orleans on April 24, 1990. Sarah Wolfensohn was the pianist. Three days later, they both played this piece again at the Gusman Cultural Center in Miami. [NOTE C] Rostropovich performed “Le Grand Tango” at the Teatro Colón, Buenos Aires, in July 1994; the pianist was Lambert Orkis. More recently, cellist Yo-Yo Ma has described “Le Grand Tango” as one of his “favorite pieces of music,” praising its “inextricable rhythmic sense...total freedom, passion, ecstasy.

Hello, ladies, I’m your uncle Devlin. Has Westhaven scared you witless with his fuming and fretting?” This fellow looked to be great fun, with a nice smile and kind green eyes. “Mama and Papa didn’t say anything about getting uncles for Christmas,” Amanda observed, but she was smiling back at the big uncle. The biggest uncle—they were all as tall as Papa. “Well, that’s because we’re a surprise,” the other dark-haired fellow said. “I’m your uncle Valentine, and we have an entire gaggle of aunties waiting out in the coach to spoil you rotten. Westhaven here is just out of sorts because Father Christmas gave him a headache for being naughty yesterday.” “I was not naughty.” The other two uncles thought this was quite funny, judging by their smiles. “There’s your problem,” said Uncle Devlin. “I’m thinking it’s a fine day for a pair of ladies to join their aunts for a ride in the traveling coach.” Uncle Gayle—it didn’t seem fair to call him by the same name as Fleur’s puppy—appeared to consider this. “For what purpose?” “To keep the peace. Emmie and I never haul out our big guns around the children,” said Uncle Devlin, which made no sense. “Do you like to play soldiers?” Fleur asked. Amanda appeared intrigued by the notion. She was forever galloping up hills and charging down banisters in pursuit of the French. Uncle Devlin’s brows knitted—he had wonderful dark eyebrows, much like Papa’s. “As a matter of fact, on occasion, if I’ve been an exceedingly good fellow, my daughter lets me join her in a game of soldiers.” “I’m not exactly unfamiliar with the business myself,” said Uncle Valentine. “I excel at the lightning charge and have been known to take even the occasional doll prisoner.” “Missus Wolverhampton would not like being a prisoner,” Fleur said, though Uncle Valentine was teasing—wasn’t he?” “Perhaps you gentlemen can arrange an assignation to play soldiers with our nieces on some other day,” Westhaven said. He sounded like his teeth hurt, which Fleur knew might be from the seasonal hazard of eating too much candy. “You can play too,” Fleur allowed, because it was Christmas, and one ought to be kind to uncles who strayed into one’s nursery. “We’ll let you be Wellington,” Amanda added, getting into the spirit of the day. “Which leaves me to be Blucher’s mercenaries,” Uncle Devlin said, “saving the day as usual.” “Oh, that’s brilliant.” Uncle Valentine wasn’t smiling now. “Leave your baby brother to be the infernal French again, will you? See if I write a waltz for your daughter’s come out, St. Just.” Uncle Gayle wasn’t frowning quite so mightily. In fact, he looked like he wanted to smile but was too grown-up to allow it. “Perhaps you ladies will gather up a few soldiers and fetch a doll or two. We’re going on a short journey to find your mama and papa, so we can all share Christmas with them.” Fleur noticed his slip, and clearly, Amanda had too—but it was the same slip Amanda had made earlier, and one Fleur was perfectly happy to let everybody make. Uncle Gayle had referred to their papa’s new wife not as their stepmama, but as their mama. What a fine thing that would be, if for Christmas they got a mama again for really and truly. Amanda fetched their dolls, Fleur grabbed their favorite storybook, and the uncles herded them from the nursery, all three grown men arguing about whose turn it was to be the blasted French. ***

I’ll also ask my quarterback at our Friday meeting to give me his fifteen favorite pass plays. Then I’ll get fifteen running plays from the coaches and I’ll script the first thirty plays.

I like to explain stability using an analogy from my favorite sport, auto racing. A few years ago I drove to a racetrack in Southern California to spend a couple of days training with my coach. To warm up, I took a few “sedan laps” in my street car at the time, a modified BMW M3 coupe with a powerful 460+ HP engine. After months of creeping along on clogged Southern California freeways, it was hugely fun to dive into the corners and fly down the straightaways. Then I switched to the track car we had rented, basically a stripped-down, race-worthy version of the popular BMW 325i. Although this vehicle’s engine produced only about one-third as much power (165 HP) as my street car, my lap times in it were several seconds faster, which is an eternity in auto racing. What made the difference? The track car’s 20 percent lighter weight played a part, but far more important were its tighter chassis and its stickier, race-grade tires. Together, these transmitted more of the engine’s force to the road, allowing this car to go much faster through the corners. Though my street car was quicker in the long straights, it was much slower overall because it could not corner as efficiently. The track car was faster because it had better stability. Without stability, my street car’s more powerful engine was not much use. If I attempted to drive it through the curves as fast as I drove the track car, I’d end up spinning into the dirt. In the context of the gym, my street car is the guy with huge muscles who loads the bar with plates but who always seems to be getting injured (and can’t do much else besides lift weights in the gym). The track car is the unassuming-looking dude who can deadlift twice his body weight, hit a fast serve in tennis, and then go run up a mountain the next day. He doesn’t necessarily look strong. But because he has trained for stability as well as strength, his muscles can transmit much more force across his entire body, from his shoulders to his feet, while protecting his vulnerable back and knee joints. He is like a track-ready race car: strong, fast, stable—and healthy, because his superior stability allows him to do all these things while rarely, if ever, getting injured.