Building a successful baseball team

Building a baseball team is not easy. Many good and hard working people contribute to the process of building a successful team. A franchise needs a supportive owner, an insightful general manager, a team of good scouts and talent evaluators and an encouraging fan base. When teams are successful, there is enough credit to go around to make everybody happy. Egos must be left at the door. Everyone involved must be dedicated to a common cause.

An owner needs to empower the general manager to make baseball decisions. A good owner gives the franchise financial support. A good owner needs to hire the right general manager and empower that person to make baseball decisions.

A general manager needs to provide the vision for the franchise. He or she needs to create a blue print for improving the organization. Once the plan is created, the organization needs to implement it. Developing minor league players is probably the best way to rebuild a team. They are paid lower salaries than free agents. A team can have control of a minor league player for 6 years at a reasonable salary. After the rookie contract is over, a team needs to decide whether or not to re sign the player. Drafting the right players and developing them well is the best way to build a team. Once a core is in place, then a team can supplement the core with free agent signings.

Free agents can fill in the gaps that a team has. Free agent signings can shore up weaknesses. However, they are not a substitute for developing players from within. Many have observed that free agency is not an efficient way to build a team because free agents often demand long term lucrative contracts. Also, free agents are paid for past performance. They often do not play as well in the future. Teams try and sign players who are under the age of 30 because players over 30 are more susceptible to injuries.

During the 2008 offseason, the New York Yankees made three free agent signings and made one trade that illustrate how the right moves can supplement a team's core. They signed pitchers CC Sabathia and A.J Burnett and signed first baseman Mark Teixeira. Additionally, the team traded for outfielder Nick Swisher. All four players were still in their prime with presumably good years ahead of them. Sabathia was a true ace that season and Teixeira was an MVP candidate. Burnett also pitched well and helped them win the World Series. Swisher added more offense to a core that included Derek Jeter, Alex Rodriguez, Johnny Damon, Jorge Pasadena, Robinson Cano and the newly acquired Teixeira. Burnett, who did not pitch well for the Yankees after the 2009 season, helped them win the World Series by winning game two after the Yankees had lost game one. These additions helped solidify an already strong team. They show how free agent signings and trades can supplement a core and help a team win a championship.

David Kaplan wrote about how the Chicago Cubs were rebuilt the last few years. His book "The Plan" chronicles the path that the Cubs took to rebuild their team and eventually win a World Series. Kaplan points out that the Cubs hired an experienced and accomplished team president in Theo Epstein, who helped guide the Red Sox to two World Series championships. Additionally, the Cubs hired Jed Hoyer to be their general manager and Jason McLeod to be their Senior Vice President. Kaplan points out that the Cubs build a strong front office. This helped the organization sign the right free agents and draft good players.

In addition to having the right people in front office positions, the Cubs hired the right manager. Joe Madddon had guided the Tampa Bay Rays to their only World Series appearance in 2008. They lost to the Philadelphia Phillies. However, making the World Series was a landmark achievement for a small market team like the Rays. The role that Maddon played in helping the Rays become successful did not go unnoticed throughout baseball. Maddon was hired by the Cubs to help them make their first World Series since 2008

Epstein told Kaplan that the Cubs benefitted a lot of from Maddon's managerial style. Epstein told Kaplan that the payers respected and admired Maddon. He created a relaxed environment that worked for new players and veterans. The Cubs needed this approach at this time. Maddon was uniquely suited to this team at this time. His approach worked for the Cubs.

The Cubs also made key trades and free agent signings. They traded for pitcher Jake Arrieta in 2013, two years before they hired Maddon. Arrieta struggled with Baltimore but the Cubs believed that he would benefit from a change of scenery. The Cubs believed that he was a better pitcher than what he had shown in Baltimore. The insight shown by the professional scouts and the Cubs' front office paid off. They were right. Arrieta started in the minor leagues for the Cubs in order to work in a pressure free environment. Also, according to Kaplan, the Cubs' pitching coach Chris Bowie helped Arrieta alter his pre game routine.

Signing free agent Jon Lester was also important for the Cubs. Kaplan says "Lester believed in the Cubs brain trust and he was confident that in time the Cubs would be winners. His big question though, was just how soon they would be contending. He had won two World Series rings with the Red Sox and he wanted more." However, Lester believed that the Cubs' leadership would help them become a top notch team. According to Kaplan, Lester also believed that the Cubs were assembling players of good character who were good teammates.

Both Arrieta and Lester helped the Cubs win the World Series in 2016. Both are good examples of how trades and free agent signings can help a team to win. Both show the importance of an organization making sound and good decisions.

The Cubs' organization also drafted good players and developed them well. Anthony Rizzo, Kyle Schwarber, Kriss Bryant, Addison Russell and Javier Baez were all developed within the Cubs' minor league system. They all contributed to the Cubs' 2016 World Series championship. They added youth and enthusiasm to the lineup. They added energy and talent to a Cubs team that had veteran leadership with Lester, Arrieta, Dexter Fowler and Ben Zobrist. The Cubs were a good blend of veterans and young players. The roster reflected a combination of good trades, wise free agent signings and good player development.

Scouting is an inexact science. It is difficult to project how high school or college players will play at the professional level. It's hard to measure how dedicated each player is and whether their skills will translate to the next level. Amateur scouts travel to watch high school and college players. Then the scouts fill out reports to give people within the organization. There is no substitute for seeing a player in person or talking to the player. However, even after seeing a player and meeting them, it is difficult to project how they will do in minor league baseball. All scouts and organizations can do is make an educated assessment of the player's abilities.

Teams look for offensive players who can hit for power and average, run well, field their position well and throw well. These are commonly referred to as "5 tool players." Players that can do many things well are sought after. Players that are versatile and multi talented are appreciated by major league organizations. Mike Trout, of the Anaheim Angels, is the best example today of a "5 tool player." He can hit home runs, steal bases, get on base often and field his position well. Bryce Harper and Manny Machada are also multi talented players.

Likewise, it is difficult to project how well a minor league player will adjust to the major league level. A pitcher may be able to get minor league hitters out, but may struggle against the major league hitters. Or a hitter may hit minor league pitching, but struggle against major league pitching. A hitter at the major league level will face pitchers who throw better breaking balls. Also,
pitchers at the major league level may have a better assortment of pitches.

After a player makes it to the major league, a team has to decide how patient it will be with the player. If a hitter struggles, should the team demote him to the minor leagues? Or should the team be patient with him and help him work through his struggles? If a pitcher is giving up too many runs, should the team continue to have him pitch at the major league level? Or should the team demote him to the minor leagues and ask him to develop another pitch? Player development is an ongoing issue for any organization. A player's development never ends completely. No matter how much money a player makes, he can still develop his skills.

Deciding when to bring a player up from the minor leagues is also important. A team has 6 years to work with a player that the team has drafted. So, an organization has time to develop the player. Some wonder if bringing up a player too early would ruin a player's confidence. If a player struggles, will the player lose confidence in his abilities? If so, can a player regain his confidence?

However, sometimes a young player can inject enthusiasm into a big league team. A young and talented player may be able t help a team immediately and inspire the team's veteran core. These are some of the considerations that an organization has when dealing with minor league players. During the month of September, major legue teams expand their rosters to 40 players. So, this can often be a good time to bring up minor league players.

A team also needs an overall strategy. An organization tries to answer these questions: How are we going to win games? Will we win with an emphasis on power? Will we try and play for the 3 run homerun? Or will we try to advance the runner through bunting, sacrifice flies, hitting runners over and stealing bases? What basic offensive approach will we have? The approach on offensive is dictated by the talent on the team. If a team has a decent number of power hitters, then playing for the three run home run may work. However, if the team is build around speed, then another approach will probably be better.

Organizations have to decide how they will develop pitchers as well. Will they limit the number of innings a pitcher can pitch when he is developing? Will organizations put young pitchers on a pitch count in order to preserve their arms? Or will organizations encourage young pitchers to pitch many innings in order to strengthen their arms? Experts disagree on what works best. Some believe that a pitcher should gradually build up arm strength. While other experts believe that pitchers would be stronger if they threw more innings at the minor league level. Both approaches seek to avoid injury. However, no matter what approach is taken, injuries may be impossible to avoid because pitchers throw so fast today. The speed that pitchers throw at may cause injuries no matter how a pitcher is developed. Former pitching coach Rick Peterson and former pitcher Ron Darling are among those who believe that overthrowing and pitching so fast are what is leading to injuries of pitchers.

The strategy used for the bullpen is also important. During the 1980s pitchers became more specialized. Tony Larussa and other managers used relief pitchers in specialized roles. Some were closers, while others were set up men. Still others were long relievers. Then later on, some left handed pitchers would only pitch to left handed batters. They became known as "left handed specialists."Closers pitch one inning to end a game. They try to "save" the game. Set up men try and hold the lead. Long relievers pitch when the closer is out of the game early.

Some observers have even suggested that teams go to a 6 man rotation in order to give starting pitchers more rest. Some think this approach would preserve the arms of the starting pitchers. Some believe this would help prevent injuries or at least make injuries less likely. For the most part,teams go with a 5 man rotation. No team has tried to go with a 6 man rotation for the whole season. Since teams make extensive use of their bullpens, starting pitchers are not taxed too much. A 5 man rotation probably makes the most sense

When building a team, an organization has to consider it's home stadium as well. The Yankees have a short right field porch, s they look for left handed power hitters who can take advantage of the dimensions of Yankee stadium. Additionally, Yankee stadium yields many home runs, so it makes sense for the Yankees to acquire and develop pitchers who keep the ball low I order to induce ground ball outs. If a pitcher gives up a lot of fly balls, he would not be a good fit for Yankee stadium. This was the problem with Phil Hughes- a fly ball pitcher. Hughes gave up too many fly balls to be a successful pitcher in Yankee stadium. Conversely, Masihiro Tanaka is successful, in part, because he keeps his pitches low.

Building a successful baseball team is difficult. The Cubs went 108 years before they won another World Series in 2016. Their opponent, the Cleveland Indians, last won a World Series in 1948. Teams need to hire the right people and draft the right players. Additionally, signing the right free agents and making timely trades can help strengthen the team's core. Even with everything in place, it is difficult to win the World Series. Injuries can derail a team's chances, and other teams can have excellent seasons. When a team is in the World Series, a team needs to win because it may not get back for many years. Every other team in Major League Baseball is also trying to improve. The league will always be competitive.

Trying to improve a baseball team is a year long task. Organizations scout amateur players throughout the year. Additionally, organizations continually evaluate and develop their own players. They are looking at other teams for potential trades. Organizations are always trying to stockpile talent and improve their team.

Win or lose, organizations take pride in their team's accomplishments. They are proud of the players they develop. They are proud of their successful free agent signings and timely trades. It's especially rewarding when all of the hard work results in a World Series championship.

Thankfully, 38 Special continues to rock into the night

After 38 Special performed at Tioga Downs Casino on July 28th, lead singer Don Barnes held up his guitar and spoke to the audience. In the midst of applause, he said "You guys are awesome. Thank you for being a part of our lives all of these years." The audience felt similar gratitude towards the band. Thankfully, 38 Special continues to perform and tour.

Tioga Downs donated all of the proceeds to local veterans groups. Every year Tioga Downs donates the proceeds from one concert to local veterans groups. The concert was originally scheduled for July 1st, but it was rained out. It was good that 38 Special came back to play for the local area. They performed with enthusiasm and genuine respect for the crowd.

38 Special began the show with "Rockin' into the Night," which is usually how they begin their concerts. The concert also featured their hits "Second Chance", "What if I'd been the one", "Wild Eyed Southern Boys", "Like No Other Night", "Back Where You Belong", "You Keep Running Away", "Teacher, Teacher" and other songs. The concert concluded with "Hold on Loosely" and "Caught Up in You." The band sounded good and the venue had good acoustics.

Their repertoire is a strong combination of classic rock songs and commercially successful ballads. Some prefer the rock songs, while others like the ballads. Some people like both. They have created a unique and distinctive sound. The presence of Barnes has helped the band maintain continuity. Many fans associate the band's songs with his voice.

Barnes is the only original member still with the band. Founding members Jeff Carlisi, Donnie Van Zant, Ken Lyons, Jack Grondin and Steve Brooklins are no longer with the band. Originally, the band had two drummers- Grondin and Brooklins. Van Zant is the younger brother of Johnny Van Zant and Ronnie Van Zant- two of the founding members of Lynrd Skynyrd.

38 Special started recording albums in the late 1970's. Their first two albums were not commercially successful. The band tried too hard to be like Lynyrd Skynyrd and Allman Brothers - two southern rock bands that they respected. However, the band soon realized that no one could perform southern rock like those two bands. So, the band stopped trying to imitate those two bands.

Barnes told Melissa Parker of smashinginterviews.com that 38 Special purposely tried to change and expand their sound. Barnes said "In the 70's we started out as Southern rock with country tones. But it has been done by the best- Skynyrd, the Allman Brothers and Charlie Daniels." Barnes said that Ronnie Van Zant told the band to stop trying to be like other bands. Van Zant encouraged them to create their own sound. When 38 Special created their own niche, they became more successful.

Barnes left 38 Special in 1987 and returned in 1992. He left to pursue music that was less commercial. He favored a more traditional rock and roll sound. He told Greg Kretschmar that 38 Special had discovered "album oriented rock" and was moving in a more commercial direction. The band was recording more ballads, and Barnes favored a stronger rock and roll sound. As Barnes says, "I wanted to amp it up."

Barnes says that when he was growing up, he was influenced by Eric Clapton's music. He told Kretschmar "If you're going to pick someone, you picked a good one there." Barnes told Kretschmar "We came from the day of Hendrix, Clapton and Mountain, Leslie West, ZZ Top and Bad Company. That was more what I wanted to do. Great big guitars. Muscles and melody." Some of 38 Special's songs reflect Barnes' respect for strong guitar riffs and strong melodies. The guitar is a focal point of the band's sound as well as Barnes' solo efforts.

In 1989, Barnes recorded a solo album entitled "Riding the Storm." The band featured the Pocora brothers from the band "Toto". The band also featured other good studio musicians. Barnes recorded the album through A & M Records. However, during the recording and producing of the album, the record label was sold to Polygram records.

Unfortunately, the master copies of the recordings were destroyed. Only Barnes had a copy of the recordings. His son moved and kept the recordings. Eventually, Barnes found the copy at his son's house and was able to have the copy re mastered and sold this year. The band does 3 of the songs from the album on their set list.

The band has always taken pride in their live performances. In 2011, they recorded a cd entitled
"Live from Texas." The cd featured some of their best recordings from concerts in Texas. The cds were sold at live performances.

The current membership of 38 Special are very talented musicians. They include Barnes; guitarist Danny Chauncey; drummer Garry Moffatt; keyboardist Bobby Capps; and bassist Barry Dunaway.

Chauncey has been with 38 Special since 1987. Chauncey said that joining 38 Special was natural for him. He told Scott Greene that he got along with the other members of the band from the beginning. Chauncey had co-written the song "I Wanna Go Back", which had been a big hit for Eddie Money. So, he had a good reputation as a song writer. He told Greene "I was allowed to contribute (to the ) songwriting from the beginning as "I Wanna Go Back" was a hit on the charts for Eddie Money around the same time that I joined, so the guys knew I was a capable song writer." Chauncey has been with the band for 30 years.

Before he joined 38 Special, Moffatt was considered the best drummer in the state of Florida. Previously, Moffatt was in a band called Sons of Doctors in the Orlando, Florida area. Everyone in the band was the son of a doctor. Barnes told WNCX radio in Cleveland that when Moffatt joined the band he was very sarcastic, which was something the band had to get used to. Barnes said the other band members had less sarcastic personalities. However, after Moffatt joined, the other members learned to give the sarcasm right back to him. He has been with the band for 25 years.

Capps started working with 38 Special in 1988, and formally joined the band in 1991. Capps is from Nashville, Tennessee, where he is a co owner of a recording studio with Chris Henderson from 3 Doors Down. When he is not touring with 38 Special, he helps to produce and record albums by other artists.

Dunaway has played music with multiple artists throughout his career. He is the latest edition to the band. He joined in 2014.

38 Special give concerts in 100 cities each year. Their enthusiasm for their music has not wavered. They like what they do. They appreciate the opportunity to play rock music before appreciative and enthusiastic crowds. Thankfully, they continue to rock into the night.

The memorable name and game of World B. Free

In sports, certain names stand out. Certain players have unique names that  are memorable. A cool name can add character to a player's legacy. However, a cool name is not enough. A player must have talent in order to make his mark in athletic lore. Word B. Free was a talented player who has a memorable name.

In an interview with sixers.com, Free was asked why he changed his name from Lloyd Bernard Free to World B. Free in 1981. Free said "The name was given to me from the streets of Brooklyn, in the Brownsville section, for being one of the talents from there they thought might have a chance to make it to the NBA." Perhaps, his friends thought he would be "all world" as a player. In any event, it was a name his friends gave him at a young age. Free has said that even in junior high, he could do a 360 dunk. As Free said "My nickname was "All-World" for doing 360 slam dunks."He was dunking and leaping high in junior high school and in high school. His athletic talent was evident while he was in school.

He was asked by sixers.com what kind of significance the name has. Free said "That was very important to me. I saw how things were going and I just wanted the world to be at peace and be free." Free believes the name has social significance.

Free said that he had to fill out the paper work to officially change his name. He also said that initially some announcers did not want to call him "World" and that some players continued to call him "Lloyd." When players did not acknowledge the name change, it inspired him to want to score more points against them.

Free had an extensive basketball repertoire. He was good shooter, passer and dribbler. He moved well on the basketball court. He moved with a purpose.

Free could make left handed layups in the midst of defenders around the basket. Free glided along the baseline and would finish with a reverse layup. Free could make jump shots from the corner while he was being defended.

While in midair, Free would pass to an open teammate. Free was so talented in midair, that he became known as the "Prince of midair." Free could spin around a defender and then make a shot. Free could use the backboard, dunk, make lay ups, move around defenders, hit open jump shots, make decisions in midair and do other things on the court. Free was a very talented basketball player.

Free played for the Philadelphia 76ers, Buffalo Braves, San Diego Clippers, Golden State Warriors, Cleveland Cavaliers and the Houston Rockets. He also played with the Miami Tropics of the American Basketball Association. Free averaged 20.3 points a game for his career in the NBA. He changed his name while he was a member of the Golden State Warriors.

Steve Tater writes that Free helped saved basketball in Cleveland in the mid 1980s. During the early to mid 1980's, the Cavaliers were a struggling team that played before few fans. Due to poor attendance, their owner considered moving the team to Toronto. He even had a name picked out. The team would be called the "Toronto Towers."

The Cavaliers' owner also considered renaming the team the "Ohio Cavaliers." According to Greg Popelka, under this scenario, the team would play home games in Cleveland, Cincinnatti, Toronto and Pittsburgh. Popelka also points out that the NBA considered merging the Cavaliers with the Indiana Pacers. Clearly both the NBA and Cavalier ownership were concerned about the team's poor play and lackluster attendance.

Tater writes "In the 1984-85 season, Free would carry the team on his back to the playoffs after a wretched 2-19 start. Tater writes "Helping the team make the playoffs for the first time in seven years was not his only contribution to Cleveland basketball. More importantly, it was the way he played the game that got people to actually become fans of the Cavs." Attendance increased during this season. Free brought enthusiasm and excitement back to the Cleveland Cavaliers. He gave hope to the team's fan base.

World B. Free is one of the more memorable basketball players from the 1970s and the 1980s. He played well on the court and he will always be remembered for his name. Currently, Free Is a community ambassador for the Philadelphia 76ers. He also helps the 76ers team in the area of player development.

Frank Deford's life as a sports writer

Frank Deford played sports when he was growing up. However, he soon realized that he was not good enough to play professionally. So he realized that he wanted to be a sports writer. He graduated from Princeton University in 1962. He eventually wrote for Sports Illustrated and started "The National" which was the first daily sports newspaper in the United States. After 18 months, the newspaper folded because it could not deliver copies to their customers. In any event, Deford had an interesting career as a sports writer. Deford died in 2017.

Deford and his wife Carol were married since 1965. Deford was survived by his wife, his son, Christian and his daughter, Scarlet Crawford. The Defords lost their first daughter, Alex, to cystic fibrosis. After the loss of Alex, Deford served as Chair of the Cystic Fibrosis Foundations board of trustees from 1982-1999. Deford also wrote a book in honor of his daughter entitled "Alex: The life of a child." Additionally, the Defords had two grandchildren.

His autobiography "Over Time: My life as a Sportswriter" was published in 2012. The autobiography chronicles his life as a sports writer and his perspective on writing.

When he graduated from Princeton, Deford applied for different jobs as a writer. He visited "Time.Inc." One of the references that he submitted said that Deford "was not very bright, but perhaps may have a passable way with words." Deford joked that the first thing the people at "Time.Inc" read about him was that he was "not very bright." This is not the first impression that every job applicant dreams of. However, Deford's writing ability was good enough to land him a job at "Time.Inc"

The person who wrote Deford's reference was blunt. Deford's basketball coach at Princeton, Cappy Cappon, was also blunt when he told Deford "You know Deford, you write basketball much better than you play it." Deford took such candor in stride, because he realized the assessment complimented his writing: Deford said "I wasn't hurt when Cappy Cappon told me I couldn't play basketball very well, because he didn't say just that; he also implied, in counterpoint, that there was something else I could do well: I was able to write." The exchange shows the importance of honesty. Deford was made aware of his limitations and his strengths through the blunt assessment of his coach.

Deford grew up in Baltimore - a city that he always respected. Deford said "As I grew older, I came to believe that my outlook had been affected simply because I came from Baltimore...There was, after all, a humility to Baltimore that was sweet and enriching; simply because Baltimore was, altogether, looked down on, we did not tolerate arrogance." As a teenager, Deford worked as a copyboy at the Baltimore Evening Sun. Deford recalled getting a tattoo as a youth. Deford said "I'm the soul of moderation, though, even when being extreme, and so the tattoo I got was rather small and in a discrete location, on the underside of my forearm."

Deford associated Johnny Unitas, former quarterback of the Baltimore Colts, with his upbringing in Baltimore. Deford said "No one is more associated with my youth than was Johnny Unitas. He meant so much to Baltimore."

Deford also enjoyed his time at Princeton. While he was there, Deford had two plays that were produced. As a student at Princeton, he covered sports and became the editor of a daily newspaper. One of his English professors asked the students to name the three writers that influenced them the most. Deford chose J.D. Salinger, Shakespeare and Red Smith. The professor was aghast that Deford would choose Smith, a sports writer. However, Deford always believed that the professor secretly admired Deford for his honest answer.

Deford wrote a lot while at Princeton. Deford said "In college, at Princeton, I continued apace with my writing. I had a couple of plays produced. On the newspaper, I wrote everything: stories, editorials, humor, columns, movie reviews. I covered the basketball coach, who told me I was no good, and the dean of students who threw me out once." Deford did not achieve the highest grades in college, because his study habits were inconsistent. However, he developed his writing skills while at Princeton. This helped him prepare for a career as a sports writer.

After Deford graduated from Princeton, Bill Bradley started there. Bradley was an excellent high school basketball player who had decided to go to Duke. However, he changed his mind and went to Princeton because it would help him to achieve his goal of becoming a Rhodes Scholar. Deford covered Bradley while he was at Princeton. Deford said "By the time Bill was a senior and became national player of the year, I had written even more about him. I liked him a lot. Yes, he was serious, an old soul, but he had a good sense of humor."

Deford said that Princeton seemed separated from other places. Deford said "Princeton was then a very contained place. You could not call it "isolated," for goodness sake, because it was only a hop, skip, and a jump from both New York and Philadelphia, but still it certainly had a sense of insulation." This may be true of many college campuses. Often campuses are designed to help students learn and study. A certain amount of insulation helps students to focus on their education. Nevertheless, this was a quality that Deford noticed about his alma mater.

Grandland Rice was a sports writer that Deford liked and learned from. Deford said that Rice "was the author of something like a thousand magazine articles, edited a magazine (American Golfer) put together a book collection of his works, had his own radio show, narrated movie shorts, provided endorsements, and picked the only certified official annual all- American college football team." Deford admired all of the writing that Rice did.

Deford also respected all of the events that Rice attended. Deford said "Rice beamed himself up everywhere - accumulating as many as sixteen thousand miles a year by train alone. It's amazing all the games he saw, never mind that he managed to actually have the time to write about them as well - and it seems, never, without taking off his grey fedora." Deford points out that during this time, without the internet and cable television, that a sports writer had to be at the events in order to write or comment about them. Rice attended so many events and wrote about so many events. It's amazing to think of the number of events Rice witnessed and wrote about.

Deford interviewed many athletes and ex athletes. Three ex athletes that he met and interviewed were Joe DiMaggio, Ted Williams and Bob Feller. Deford said that DiMaggio semed "uncomfortable around people. You never hear any endearing anecdotes about him." Deford was not critizing DiMaggio. He was simply pointing out a quality of his personality.

Feller and Williams were different than DiMaggio. Deford said "Feller and Williams had been the grandest of rivals. Feller told me how they would both just sit alone and contemplate, with utter delight, the joy of facing each other two or three days hence - the greatest hitter versus the greatest pitcher of their time." Additionally, Deford spoke of Feller's barnstorming days and Williams's outspokenness.

Deford was known as the editor of the "National Sports Daily." He thought it would be cool for the country to have a national sports paper. He received financial backing from a wealthy sponsor and they gave the paper a try. The paper had good writers and a good format. However, it was difficult to circulate the newspaper. Deford said "Unfortunately, we couldn't deliver the "National" at a reasonable cost. Readers in other countries buy their sports papers at kiosks, next to where they take public transportation. Americans want their papers on their doorstep at six-thirty, before they have breakfast and get into their car." Deford said that he knew the "National" would struggle when he ordered a subscription and it was never delivered to his house! The inability to deliver the newspaper to customers proved to be the undoing of the "National."

Deford did different things after the "National" folded. Deford said "After the 'National' folded, I worked on novels. I bounced around as a contact writer, for "Newsweek" and "Vanity Fair" However, Deford always seemed to return to sports writing.

Deford also wrote about the NBA. He covered games, events and different teams. Deford said "My first assignment in the NBA was with the Lakers. Young Leggert was going to write a story about the Laker-Celtic rivalry, and since he was going to travel with Boston, I was designated to go along with Los Angeles, embedded as Young's reporter. This must have made a strong impact upon Deford. It must have been a plum assignment to cover the rivalry between the Lakers and the Celtics. There were so many good players and coaches on both sides. It must have been a dream come true for a sports writer.

Deford remembered the initial impact of the experience. Deford said "Anyway, I was supposed to officially meet the Lakers in the hotel lobby the next morning, where we would jam into cabs, our long legs all entangled, and go to the airport...This was, if you will, my debut as a travelling sports writer." One could only imagine what Deford was thinking. What a great assignment for a beginning sports writer.

In addition to covering the NBA, Deford played some basketball for the New York Nationals in an exhibition game against the Harlem Globetrotters in Italy. Deford said "I played against the Globies in Bologna. This violated my promise to myself that I would never, on a story, try to do with any of my subjects what they do for a living." Deford scored 8 points for the Nationals in a loss against the Globetrotters. After this game, Deford would jokingly tell people that he played some profressional basketball in Italy. In addition to being a talented writer, Deford always had a good sense of humor.

In 1992, Deford convinced "Newsweek" to put the Olympic men's basketball team on the cover of the magazine. He asked them to do this before they had actually won the Gold medal. After the United States defeated Brazil, the team appeared on the cover of "Newsweek" the next day. The magazine took a chance because if the United States' team lost the championship game, "Newsweek" would have looked foolish for putting them on the cover the next day. However, since the United States won, the editors at the magazine looked wise.

Deford was asked once in a while who he thought the best athlete of all time was. People often expected him to cite Michael Jordan as the greatest athlete of all time. However, Deford thought that Jackie Robinson was the best athlete of all time. Deford pointed out that Robinson was a hall of fame baseball player who also excelled in football, basketball and track while in college.

Deford had a very successful career as a sports writer. He offered good perspectives about many topics and events. On July 10th, 2013, former President Barrack Obama presented Deford with the 2012 National Humanities Medal. The medal citation said the following: "Frank Deford for transforming how we think about sports. A dedicated writer and storyteller, Mr.Deford has offered a consistent, compelling voice in print and on radio, reaching beyond scores and statistics to reveal the humanity woven into the games we love." The citation aptly described Deford's career.

What's going on in Cleveland?

The Cleveland Cavaliers are having a difficult off season. General Manager David Griffin's contract was not renewed; Lebron James has not lobbied hard for players to join the Cavs; and Kyrie Irving has asked to be traded. What's going on here?


Griffin helped guide the Cavaliers to three straight trips to the NBA finals including an NBA championship. James was supposedly surprised by the decision to not renew Griffin's contract. The Cavs expressed interest in Chauncey Billups becoming the new general manager. However, Billups has no front office experience. Talks did not lead to a contract.


One wonders why owner Dan Gilbert decided not to renew Griffin's contract. Some speculate that Gilbert is anticipating the end of James' time in Cleveland. Maybe he wants to begin a rebuilding effort with another GM. Still, it's hard to understand why the Cavs would not renew the contract of a GM who has presided over three straight Eastern Conference titles.


James, who is signed for next season, usually lobbies for top free agents to join the team he is on. He did this when he was  with Miami, and he has done this as a member of the Cavaliers. However, he has not done the same for this offseason. Could James be looking to leave after next year? Some believe that James wants to join the Lakers after next season. James has acting aspirations and may like to finish his career in Hollywood.


Irving has expressed the desire to be the focal point of his own team. Supposedly, he is tired of playing along side James. However, for the three years that Irving played without James, the Cavs were one of the worst teams in the Eastern Conference. So far, Irving has not proven that he can carry a team or even be the focal point of a team. In any event, Irving would like to take his talents elsewhere and be the major superstar of another team.


Many question the timing of Irving's request. Why not wait until after next year when James may  bolt for tinsel town? Irving is only 24 years of age, so he has many years to be the go to superstar of a team. Why not finish this current run in Cleveland? Only the Golden State Warriors are better than the Cavs. So, why not try one more year to win a title in Cleveland?


According to Chris Chavez of Sports Illustrated, "Irving was growing unpleased with Lebron James controlling the ball more than him. He was also upset that James had a friend that would travel with the team." However, in the years that they have played together Irving has had the basketball almost as much as James. ESPN points out that Irving led the team in shots per game and that it was the first time in James' career that he did not lead the team in shots per game. Also, Irving averaged over 24 points per game. So, Irving figured prominently in the team's offense. Additionally, Irving is not a top flight defender. He is a good offensive player, but an average to below average defender. James is a better all around player.


Irving has said he would like to be traded to the Miami Heat, the Minnesotta Timberwolves or the New York Knicks. It's hard for a team to get equal value for a top notch player like Irving. The T-Wolves will not part with Karl Anthony Towns who had a break out season last year. Perhaps, the T- Wolves would be willing to trade Andrew Wiggins. It would make no sense for Minnesotta to trade Jimmy Butler, whom they just acquired from Chicago.

Dave McMenamin thinks the T-Wolves will land Irving. McMenamin says "A trade package centered on Andrew Wiggins would be a poetic twist on the CAVS roller coaster ride since 2014. Jimmy Butler and Karl Anthony Towns, sources tell me, have been lobbying both Irving and the Wolves' decision makers to make a trade happen." Irving, Butler and Towns would be an interesting trio for Minnesota to build around.

Ramona Shelburne thinks Irving will be traded to the Heat. Shelburne says "Pat Riley and Andy Ellsburg are both creative and bold enough to find a way to get this done." Maybe the Heat can put together a package of draft picks and players that Cleveland finds acceptable.

According to reports, Irving's preference is the Knicks. Dan Feldman,of NBC sports, understands why Irving wants to join the Knicks. Feldman says "I can see why he'd want to go to New York- a big market in his home area, a team he could take over. Even as Porzingis grows in stature, he's not a ball dominant player who'd step on Irving's toes." If Irving would like to be the focal point of a large market team, then New York fits the bill. However, whether or not Irving could lead the Knicks deep into the playoffs remains an open question.

It's very difficult for a team to obtain equal value for a top notch player in a trade. Irving, despite his poor defensive skills, is a top notch offensive player. If the Cavaliers trade him, they will have to get high draft picks or a few good players in return. It will be difficult for the Cavaliers to find an acceptable offer. Now that Irving's trade request is public, the Cavaliers have less leverage in trade talks.

The Cavaliers decided to sign Derek Rose to a one year deal for the veteran minimum contract. Maybe they want him to be the starting point guard if they trade Irving. If they keep Irving, maybe Rose will be the back up point guard. They also could consider moving Irving to the shooting guard position, which may be a better position for him anyway. If they cannot trade Irving, then Irving and James will have to coexist. If Irving is back next season, he will have to meet with James to resolve whatever differences they have.

While Irving made news with his trade request, James remains the centerpiece of the organization. It makes sense for the Cavaliers to make one more title run with James. A player of his caliber does not come around very often. James is, arguably, the best player in the NBA. He is the most versatile player in the game today. He can score, rebound, dribble the basketball, facilitate opportunities for teammates, drive into the lane, hit outside shots and play stellar defense. The Cavaliers could never replace James. If James leaves after next season, then the Cavaliers will probably have to rebuild completely. However, for at least one more season, they are the team to beat in the Eastern Conference. Boston, Washington and Toronto are almost as good as Cleveland, but all three teams remain a step behind the Cavaliers.

The musical talent and generosity of Whitney Houston (updated)

Everyone has something that they do well. Everyone stands out in some way. Everyone has an outstanding skill in one area or another. This skill may be natural, or it may require practice and instruction. Often the skill is a combination of those things.

Whitney Houston had a gifted singing voice. When she sang at New Hope Baptist Church in Newark, New Jersey, the parishioners realized that she had a remarkable voice.

Houston's mother, Cissy Houston, realized that her daughter had a special voice. Cissy Houston trained Whitney and took her to recording sessions that she was involved in. Cissy Houston was a part of a background group known as "Sweet Inspirations." The group sang back up for multiple recording artists. Whitney Houston attended these sessions and learned about the record business. By the time Whitney Houston was 17, she was offered recording contracts, which her mother turned down because Whitney was too young. Finally, when Whitney Houston was 20, she was signed to a national recording contract.

Due to mistakes she made in her lifestyle, Whitney Houston's voice declined in her 30's. She was never able to regain the strength and range of her voice. While working with voice coach Gary Catona, Houston was able to regain about 80% of her voice. While she never regained her full singing range, her desire to be a good singer remained strong.

When discussing Houston's vocal style, Guthrie P. Ramsey says "Houston possessed the perfect vibrato. This effect was facilitated by her deceivingly effortless diaphragmic support." Her vibrato allowed her to vary her pitch. She would routinely vary the pitch of a note.


Ramsey continues by saying "Houston was famous for having a very wide range. Some of her songs spanned quite a bit of vocal territory, from alto to the highest soprano." Her vocal range made her voice easy to listen to. Her vocal dexterity added a different layer to her music. Her ability to reach many different notes and pitches helped make her music soulful. Her style was a combination of her natural talent, hard work and her mother's tutelage and support. In any event, her voice was one of the most memorable in the history of popular music.


Ramsey points out that "Houston seemingly  had no natural break between the high and low registers of her instrument.: Houston was able to move between registers without experiencing a snapping or cracking sound in her voice. She seemed to transition from high to low notes seamlessly. This helped make her voice smooth and clear.

Lauren Everett points out that Whitney Houston had the skill of "melisma." Everett says "An early 'I' in Whitney Houston's "I Will Always Love You" takes nearly six seconds to sing. In those seconds the former gospel singer turned pop star packs a series of different notes into the single syllable. This technique is repeated throughout the song, most pronouncing on every 'I' and 'You.' The vocal technique is called "melisma", and it has inspired a host of imitators.' Everett states that other singers practiced this technique before Houston, but her use of it made it more popular with other singers.

Everett observes that "In order to achieve Houston's vocal acrobatics it takes a combination of arduous training and natural talent." Houston was blessed with a special singing voice that she developed through hard work and training. Of course, much of the training came from her mother.

While Houston had this skill, she did not overuse it. Everitt says "In a climate of reality shows ripe with 'over singing', it's easy to appreciate Houston's singing ability to save "melisma" for just the right moment." In addition to singing talent, Houston showed good musical judgement. She understood how to utilize her voice.

Carrie Grant says "She never overhang, and people, therefore, were touched and moved by the emotion and the story of that song. She's the singer that would give you goosebumps." Houston had a powerful impact upon millions of listeners because of her talent, emotion and sound musical judgement. She was simply meant to be a singer.

In 1983, Whitney Houston gave one of her first interviews on the "Merve Griffin Show." After the interview, Houston and her mother sang a medley of Aretha Franklin songs. The talents of both women were highlighted during the performance. Both voices were clear and dynamic. They harmonized their voices well, and gave an outstanding performance. At times, Cissy Houston sang background vocals as Whitney Houston sang lead. At other times, they harmonized their voices and sang the same parts. Their performance was strong and entertaining. It was easy to notice her mother's influence on Whitney's singing.


In 1984, Whitney Houston gave a national interview on "Entertainment Tonight." She recounted how she grew up around music and had been recording in the studio since she was 12. She recounted in the interview that her mother and her aunt Dione Warwick had a strong musical influence on her. Houston said "I am honored to be associated with those two ladies. They give me so much and everything I have today, I got from those two ladies." She told her mother at a young age that she wanted to be a singer. However, she said that she felt no pressure because of her musical family.  With confidence and sincerity, she said "I give myself and that's it. That's all I have to give."


She performed the "Star Spangled Banner" before Super Bowl XXV in 1991. The song occurred during the war in the Persian Gulf. The stadium was full of flag waving people who eargerly anticipated the game and the national anthem. F-16 jets flew over the stadium after the song was completed. The Florida Orchestra played the music during the anthem. Houston's version of the anthem was re released after 9/11. Her performance was enduring and memorable. Her voice rang out strongly in the midst of a packed and appreciative stadium. It's hard to imagine anyone giving a better performance. Houston showed no traces of nervousness or trepidation. Instead, the performance was strong, confident and perfectly delivered.


Regarding Whitney Houston's rendition of "The Star Spangled Banner," Cinque Henderson says the following: "It was this knowledge of how a song should be shaped and her bodily understanding of where her voice should fall that Houston brought to her famous performance of 'The Star Spangled Banner' in 1991, at the outset of the first Iraq War...In its way, the performance remains as influential a moment in television history as Elvis on 'The Ed Sullivan Show.' Houston's rendition of the anthem is studded with vocal gems and remains a master class in vocal prowess. Its hold on us, however, can be attributed, ultimately, to a single powerful effect: the startlingly beautiful sound Houston makes when she sings the word 'free'. This was a sound for the ages." Truly, Houston's rendition has an emotional impact upon the listener. The rendition is moving and emotive. Houston's powerful performance has inspired vocalists and music fans for decades. The memorable performance will continue to inspire listeners for a long time.

Houston's rendition of Dolly Payton's song "I Will Always Love You" is one of her most famous songs. Alex Macpherson says the following regarding the song: "For me, it was the first time in my life that music left me awestruck. I sat open-mouthed in front of the t.v., rendered speechless by it's sheer force. Too young to understand the emotions involved, the scale of the song convinced me of it's importance." The song had a similar effect upon many people.

Joe Levy of the "Hollywood Reporter" says "I will Always Love You" is Whitney's greatest moment and one of the greatest moments in American pop... it was monumental, undeniable and, as many of her recordings were, a triumph of vocal ability that presents itself as human indomitability. The caesura just before the drum beat, and she takes off for that impossible note? It's a moonshot, and we get to be strapped into the rocket and take the ride with her. And that she laces everything up to that point with a tangle of invulnerability and joy makes it even more amazing, like she's painting 5 or 6 different pictures before deciding .... lets just go technicolor! 3D!! We'll need a bigger theater!!!"
As Levy says, there is a lot going on in the song. The song builds and grows with each chorus and verse.

Helen Brown of "The Telegraph" also made many positive comments about Houston's rendition of "I will Always Love You." Brown says "She nails us from the start with a raw and vulnerable a capella opening (for which Kevin Costner and Houston had to fight studio and record label bosses) "If I should stay, I would only be in your way"... Her soft, regretful vocal stays unaccompanied for a bold 46 seconds, and it achieves in under a minute what a film fails to manage in nearly two hours- it strips away layers of fakery to reveal the vulnerable woman beneath." Certainly, Houston's a capella beginning is memorable and strong. It sets the mood for the song and highlights her special singing voice. The introduction shows Houston's control over her voice and the notes of a song.

After the beginning,as Brown says, "the song just builds and builds." Each verse and chorus adds another layer to the song. The first chorus, accompanied by an acoustic guitar, guides the listener more deeply into the song; while the second chorus expresses, with even deeper conviction, the emotion and meaning of the song. As the song continues, the listener becomes more invested in the music and the emotion of Houston's rendition.

David Foster, the producer for the soundtrack for "The Bodyguard" was amazed when Houston recorded the song in 1992. Foster and Houston's mother knew right away that this recording would be one of Houston's greatest accomplishments. Foster added that whenever he asked Houston to sing something in the studio "99 percent of the time, it would be something better than what I asked for... that was the genius, of Whitney Houston." Foster's compliment grants insight into Houston's talent. She had an ability to sing and record above expectations.


When listening to "I Will Always Love You", Randall Roberts says one can "wonder at Houston's pure tone, one that at it's peak could not only hit a note and gracefully sustain it but also inject it with just enough flair and nuance to reinforce her control without pressing the point." This speaks to Houston's balance as a singer. Houston's memorable singing style had many attributes: Gracefullness, clarity,sustainability and pin point vocal control all helped her to produce her striking tones and melodies.

Randall also emphasized Houston's impact upon future singers. Roberts says "She knew she had a voice and that it mattered. And with this knowledge and confidence in her gift, she inspired generations of belting singers who followed. She created not only a movement, but a template, one that powered female led R&B into the center of the pop music marketplace,when it exists Within not only the music of Beyoncé and Rihanna but also in how contestants On singing shows such as "The Voice" and "American Idol" try to impress the judges." So, her musical legacy endures not only in her songs, but also in her influence upon other singers. Her voice inspired others to maximize their potential as singers.

"One moment in time" is another song that Houston is known for. It was recorded and performed for the 1988 Olympics in Seoul, Sputh Korea. Narada Michael Walden, the song's producer, says "Whitney's interpretation makes it live forever...Yes she has power (in that voice), but she has rhythmic sensibility...Whitney had that understanding of how to make a song live forever." Walden points out that the song inspired the athletes to do their best and compete to the highest level possible.

Lisa Belkin, a columnist for the 'Huffington Post', says "One moment in time" is her favorite song by Whitney Houston. Belkin says "The first time I heard it I was newly wed, in a new job, living in a new place and all I knew was that this song captured the simultaneous dread and exhilaration that comes with everything new. Whitney's best known songs are love songs, but this one is an exclamation point about life, work, creativity and craft. You have to work for it, she says, but when you do, you deserve it...And oh, that voice." Houston does a good job of expressing the meaning of the song. Her strong interpretation of the song conveys the courage and bravery of Olympic competition.

Adena Andrews addressed how inspirational Houston was to athletes. Andrews said "Houston's music was the soundtrack to the groundbreaking careers of Serena and Venus Williams, Dominique Moceanu, Sheryl Swoopes and everyone in between. They came of age as Houston reigned with her girl power anthems." Female athletes, in particular, seemed inspired by Houston's singing. Serena Williams once tweeted "One Moment in Time" has propelled me to many of my grand slam victories.

Rita Williams, former UCONN basketball player, declared "Being a fan of Whitney Houston since 1987, I remember writing her a letter and sending her a picture of me to her fan club when I was a kid. When "The Preacher's Wife" soundtrack came out, I had it on constant rotation on our road trips. On the plane, bus and everywhere else, I was listening to Whitney." Inspirational music can strengthen and motivate a committed athlete. Houston's music has done that for many athletes.

Young singers were particularly inspired by Whitney Houston. Jennifer Hudson said "Whitney Houston was probably the ultimate artist that influenced me the most...I always loved everything she sang. But Whitney, that voice you know, and that music- I always liked the music and the substance and something behind it and her music was just like that." Hudson's respect for Houston's voice is something that many can relate to.

Beyoncé Knowles, one of the mot popular singers today, had respect for Houston as a person and as a singer. Knowles referred to Houston's sincerity and kindness and how well she treated others. Knowles said "She took the time to make everyone feel like they were very important to her. I, like every singer, always wanted to be just like her...Her voice was perfect. Strong but soothing. Soulful and classic. Her vibrato, her cadence, her control. So many of my life's memories are attached to a Whitney Houston song. She opened doors and provided a blueprint for all of us." Certainly, Houston's voice had many good qualities and she provided a musical example to many singers. Many were inspired to reach great vocal success because of Houston's example.

Alicia Keys, a successful R&B singer, thought of Houston as a sister. Keys also respected Houston's voice. Keys said "She was chosen to have a voice that would speak to people...So, that's what she means to me...She means like this woman who has been with me since I was a little girl and has shown me what it's like to dream." Keys believed that Houston's voice connected with people in a special way. Houston's music has been a part of Keys' life for a long time. This is true for many people. Houston's music and voice have been a part of our lives for a long time.

Celine Dion, Brandy, Ashanti and Lady Gags are a also among the singers who have cited Houston as an influence upon their music. Houston 'S music and singing will continue to influence singers in the future.

Whitney Houston was also a very generous person. She gave a lot to charity and did much for other people. Her mother Cissy Houston, who often referred to her daughter as 'Nippy' said the following: "Nippy kept on performing, and has her fame grew she started to try to do some good with it. In the summer of 1988, she sang at a benefit concert at Madison Square Garden and raised a lot of money for the United Negro College Fund. And that June, she performed in London at a big tribute concert for Nelson Mandela's seventieth birthday." According to Cissy Houston, Whitney Houston wanted to honor Mandela because she respected her courage. Throughout her life, Whitney Houston respected the integrity and the sacrificial nature of Nelson Mandela. Whitney Houston had a strong sense of social justice.

Whitney Houston gave to various charitable organizations. According to Cissy Houston, "Most of her charitable work and gifts weren't publicized- that's the way she wanted it. But she gave of her time and money to organizations like the NAACP, the Barbara Davis Center for Childhood Diabetes, the United Negro College Fund, the Red Cross, and many more local charities than I could possibly name." Whitney Houston's generosity helped a of people and organizations.

Whitney Houston gave a great deal to St. Jude's Children Research Hospital. She donated so much that she was honored at a banquet put on by the hospital in 1994. Houston donated all of her proceeds from her rendition of the "Star Spangled Banner" to gulf war troops and their families.

In 1992, she donated the proceeds from the premiere of  "The Bodyguard" to the Whitney Houston Foundation for Children and the Magic Johnson Foundation for pediatric AIDS research. In 1996, her proceeds from the movie premiere of "The Preacher's Wife" went to the Whitney Houston Foundation for Children, the Boys and Girls Club of America and a third charity picked by Penny Marshall.


She raised money for other charities as well. For instance, she raised more than 1 million dollars for the New York firefighters and police. The Boston area of the National Birth Defense Center named it's Hearing and Learning Center after her because of her generous donations. The Hale house, a charity based in Harlem, NY, was able to build a Learning and Recreational Center because of her charitable donations. She also sang at a Carnegie Hall benefit that brought in $250,000 for the Wyclef Jean Foundation. She gave of her time and her money to many other organizations and causes. In addition to good music, Whitney Houston left behind a legacy of charitable giving.


When she was at her peak, Whitney Houston was one of the best female pop vocalists many of us have ever heard. Her voice stood out for it's range, strength and clarity. She was smooth and emotional at the same time. Her voice could be uplifting and inspirational. Her hard work and natural talent combined with her mother's tutelage helped make Whitney Houston one of the most memorable singers in pop music history.

John Oates' memoir "Change of Seasons" chronicles his interesting life and musical career

John Oates once jokingly referred to himself as "the most underrated and overpaid background singer in the history of pop music." He was referring to the perception that Daryl Hall's career has overshadowed his own. However, nothing could be further from the truth. Daryl Hall and John Oates are distinctly talented singers, song writers and performers. Both have equally contributed to the duo's musical success. Additionally, both have had successful solo careers.


John Oates' memoirs "Change of Seasons" chronicles his interesting life and successful musical career. The memoir takes the reader from Oates' youth to the present day. Oates presents information and stories from his formative years all the way through his career. It is an interesting read for people who are interested in pop music and the music business. The memoir features stories about the duo's career, but it also contains much information about Oates that is distinct from his musical career with Daryl Hall.


John Oates was born on April 7th, 1948. The day after he was born, Oates began coughing up blood. The doctors thought they were going to have to perform a risky procedure. Obviously, his parents were concerned. However, one of the doctors at the hospital figured out a less risky operation to perform, which allayed the concerns of the parents and saved the newborn's life. Oates says the following of Dr. Thoie: "I don't even know his first name, but I owe him everything." The incident highlights the fragility of life and the difference one person can make. This doctor saved Oates' life right after his birth. All of Oates accomplishments and experiences would not have been possible without the saving action of this one man.


Oates was born in New York city to an Italian mother and a father who was part English and Spanish. Soon the family would move to Philadelphia.  Music was a part of Oates' life from the beginning. Oates says "My mother wasn't shy about encouraging my young gifts, so in no time I was glued to the little AM radio in our little East side tenement apartment, learning the hits of the day - in English and in some cases Italian."

As a young person, Oates would sing pop songs for his family on Sunday afternoons. Oates says "My big finish would invariably be a Jerry Vale or Perry Como number, usually in Italian, while my grandmother clapped along." These Sunday afternoon concerts helped Oates to realize how much he liked performing.

Oates was surrounded by music at a young age. He says "There was always music in our apartment. My parents loved to dance the jitterbug and Lindy Hop to the big band music of their teenage days, and that became the soundtrack of my first couple of years." The music of his youth helped nurture his desire to be a musician and performer.

The first concert Oates ever attended featured "Bill Haley and His Comets." Oates says "Even at that young age, I was deeply affected by the performance." Seeing rock bands and pop musicians perform live may have shown him what was possible for him as well.

At age 5, Oates started accordian lessons at the urging of his parents.  However, Oates did not like the instrument, so he stopped playing after 3 weeks. Soon after this, Oates began taking guitar and vocal lessons. He progressed in his vocal lessons so well that his teacher set up an audition for him. Oates and other students his age went to Atlantic City to audition for a program called "Tony Grant's Stars of Tomorrow." While Oates did not progress beyond the audition, he considered it a memorable experience. It taught him that there were many talented musicians his age.

Oates continued to perform in local shows. Oates says "My mom, being a bit of a stage mother, pushed me to perform at every opportunity in our area." The encouragement of his parents probably helped Oates to feel comfortable on stage. From a very young age, Oates seemed destined for a career in music.

Near the end of ninth grade, Oates joined a band called the "Avalons."  At around this time, the Beatles came to America. While Oates appreciated the "British invasion," he preferred artists like Muddy Waters, Chuck Berry and Little Richard. In addition to performing with the "Avalons", Oates was "playing solo acoustic shows at local coffeehouses, doing a mixed bag of Delta blues and primitive Appalachian folk songs." Even today, Oates plays acoustic concerts.

At that time, many bands wore matching uniforms. Oates relates a story of a trip the band took from Reading to Philadelphia to buy uniforms. Oates says that they went down a street that was "a shabby collection of dive bars, pawn shops, boarded up storefronts, and a few clothing stores offering up the height of South Philly fashion."  Finally, they arrived at a shop called "Big Hearted Jim's." The band members felt pressured by the owner to buy the uniforms. Oates says "we took the bait and let the guy strong arm us into seven, cheap black and white houndstooth suits."


Oates graduated high school in 1966. By then, Oates says  he "was focused on making a record with the band, and we had been saving money from our shows." Oates and his band "The Masters" recorded two songs at Virtue Studios. The songs were entitled "I Need Your Love" and "Not My Baby." However, Frank Virtue encouraged the band to see Bobby Martin, a local record producer, for help in arranging the music a little better. Oates says "I had my acoustic guitar with me and he asked me to play him the songs...I played both songs. He didn't say much, but he didn't kick me out either."
The encouragement that Martin offered Oates and his band went a long way. The band paid $150 for the recording of their two songs. The band had a hard time coming up with the money, but they paid the fee and were happy to record their songs.


Oates says "The plan was to play and record the songs live, all together, in one room....The arrangement felt tight, and after a couple o f takes it was done. This was cloud nine time. We had finally, actually made a record." As young and hopeful musicians, the Masters were just trying to record and promote their music. This was a good first step and it made the members of the band feel positive about themselves.


Oates said he knew that he had made it big when he heard the song and his voice on the radio for the first time when he was out with his girlfriend.  Oates said "I had a record out. I was on the radio. My life would never be the same again." Hearing one's song on the radio for the first time must be a rewarding feeling for an artist or musician. At this point, Oates and his band must have felt that the hard work of writing and recording was worth it.


At this time in Philadelphia, while Oates was at Temple University, the Uptown Theatre was the "epicenter of soul music in Philly." Oates says "I'd always pause on the sidewalk to check out the upcoming shows advertised on the box office window." If he was interested in an act, which he often was, Oates would attend the concert.


While he was living in Philadelphia, Oates had his band's single "I Need Your Love" converted into a 45 rpm single by people at a store called "The Record Museum." The records were sold there and the song was played at the local radio stations. A representative from the museum took the band to the different radio stations in the Philadelphia area.


In the winter of 1966, "The Masters" played at a battle of the bands concert in Philadelphia. Daryl Hall's group "The Temptones" also played at the show. A fight between two rival gangs broke out. In order to escape the melee, Oates and Hall entered the same elevator. They discovered that they had a lot in common musically. Later, they saw eachother at Temple University and continued their conversation. The rythym section of "The Temptones" had left the band, so Hall asked Oates if he would play rythym guitar in the band. So, Oates began playing with "The Temptones".


 
Skiing and car racing are two other interests that Oates has. In the winter of 1968, Oates indulged his interest in skiing by going to Colorado. His skiing experience was adventurous. Oates says "I spent the day alternating, falling down, snowplowing and basically trying just to survive the sleep slopes and thickly wooded glades on this challenging mountain." Oates and his friends spent a week skiing. Oates said "The entire week for me was powerful and indelible....The high altitude world was unspoiled and awe inspiring....I returned to Philadelphia a different person."


In September of 1969, Oates began teaching guitar. He taught at a music school owned by a woman named Esther Halpern. Oates spent most of his time teaching beginning students. Halpern introduced Oates to Jerry Ricks, a guitarist who taught at the school. Ricks and Oates both liked roots music, so they became good friends and played music together. Oates said "I quickly realized that I could learn a lot from him."


Ricks introduced Oates to Doc Watson and his son Merle. Doc and his son played bluegrass, folk and gospel music. One night after hearing them play, Oates walked home and was almost robbed by three people in an alley. A mysterious figure intervened and the three people ran away. Oates did not get a good look at the person who intervened, but obviously felt enormous gratitude.


After the attempted robbery, he made it home to the apartment that he was sharing with Daryl Hall and his wife. He relayed the story to Hall, and Hall began writing a song called "Fall in Philadelphia" which chronicled the perils of living in the city of brotherly love. The song was also inspired by Hall's experiences in the city. A week before, Hall's bicycle had been stolen, and the neighborhood that they lived in had much crime. The song would appear on the "Abandoned Lunchenette" album.


After Oates graduated from Temple, he decided to travel to Europe. Oates says that he decided to "travel light, with only a backpack, my guitar and a couple of blank journals to help discover the journey and satisfy my new passion for writing." After arriving in London, he went to Paris, France. A family took him in, and Oates showed his gratitude by playing music for them while he stayed there. He was impressed with their hospitality and  kindness. Oates saw many sights in France: He says "I set about speed sight seeing, squeezing in the Louve, Notre Dame, the Champs Elysees, and the Left Bank in two days." Oates, an avid car racing fan, also made time to see the French Grand Prix.


Oates traveled from France to Spain. Oates says "When I arrived in Barcelona, I immediately fell in love with the city. It was Old World and mysterious, with structures from the Romanesque, Gothic and Renaissance Periods." While in Spain, Oates attended a bullfight, which he described as "unsettling."


In 1976, the duo began recording another album. Oates wondered if this year would yield their first number one hit. Oates says "We were still playing small venues and opening up for other people. A big radio hit could change all that." The song "Sara Smile," a song about Daryl Hall's girlfriend Sara Logan, became a top hit. "Sara Smile" became so popular that the duo decided to rerelease "She's Gone" as a single. Oates says that the success of "She's Gone" was pushing the 'Abandoned Lunchenette album towards gold." Their newfound success made people more interested in their earlier work. That year Daryl Hall and John Oates won an award for "Best New Group" at the "Rock Music Awards" despite the fact that the duo had 5 albums.


In 1977 "Rich Girl" became their first number one song. In 1977, the duo played at the Tangerine Bowl with "The Eagles" and Jimmy Buffett before the biggest crowd of their career.


Around this time, Oates started studying music theory with Helen Hobbs Jordan who had previously tutored Bette Midler, Paul Simon and Melissa Manchester. Oates improved his vocal ability and his understanding of music theory through these lessons. Oates says "Thank you, Helen, for being a stern taskmaster and a demanding teacher."


In 1978, Daryl Hall and John Oates released "Along the Red Ledge." Oates says this album was different "because it was the first time we recorded with our own band as opposed to session players." The record company did not like the album much because it produced no hits. However, the album represents another musical expression by the duo.


Daryl Hall and John Oates released "X- Static" in 1979. At this time, the duo was playing clubs instead of big arenas because they had went two years without a hit song. Daryl Hall and John Oates decided to produce this album by themselves. It was their first album without an outside producer. Oates says " If there was a formula, it was simple: No need to preconceive...just write good songs, let the musicians make the music, and have skilled technical people capture it." They did their best to follow this formula.


By now the duo had enough experiences working with other producers. They understood the recording process well. Oates says "As much as casual fans would identify us as an 80's band, based on the ubiquity of our big Top 40 hits and the persuasive repetition of MTV videos, we had both been working in recording studios since 1967, and had observed and worked side by side with many talented producers. Looking back, Arif Mardin, in particular, set the standard." Daryl Hall and John Oates tried to make music that was authentic and good. They recorded the music and then got the record company involved. They wanted to separate their creative efforts from the music business as much as possible. The record company got more involved after the music was written and recorded.

In 1980, Daryl Hall and John Oates recorded the album "Voices." The song "Kiss On My List" was released as a single from the album. The song was number one on the billboard charts for 3 weeks. It was the second most successful song that the duo had recorded, with "Maneater" being their most successful.

Jana Allen, Sara's sister, wrote the lyrics for "Kiss On My List," while Hall wrote the music. Hall recorded a quick demo of the song, which was recorded at "15 ips (inches per second)." Oates says "Normally, we would record at 30 ips, but again because it was just a quick demo and to save tape we used the slower speed." According to Oates, recording the song at a slower speed gave the song a distinctive quality.

The "Voices" album also featured "You Make My Dreams," which was a top 5 hit. After they recorded most of the album, the duo felt that something was missing from the album. When they were sitting in a pizza restaurant, they heard the song "You've lost that loving feelin'" by the Righteous Brothers. Both thought that their own version of the song would fit in well with the album. They recorded their own version for the "Voices" album, and the song made it to number 12 on the billboard chart.

In 1981, Daryl Hall and John Oates were looking for a new bass player. Two players auditioned for the job: Tommy Wolk and another bass player who is unnamed in Oates' memoir. Both played well during the audition. However, the unnamed bass player wanted to sing "Kiss on my List" when the band played live. This was a deal breaker for Hall and Oates. So, Wolk, known as "T-Bone" got the job. Wolk had good chemistry with the duo and the rest of the band. He remained with the band until his destiny in 2010. Wolk's death left a void in the band. Wolk was a good person and a consumate musician.

Around this time, Daryl Hall and John Oates had reached the zenith of their popularity. However, being popular was not always easy. Popularity changed their lives and could be challenging at times. Oates says "For over 10 years my career had gone up and down, but the scale of the 80's was off the charts. What many people don't realize is that popularity and success, while appearing on the outside as glamorous and exciting take their toll with time." Daryl Hall and John Oates were still writing and performing music, but they were adjusting to their newfound popularity.

The 1980'srd were unlike any other decade for the duo. They were busy recording and performing their music. They were also busy promoting their music through MTV and the radio. Oates says "Those hyper-kinetic years had a well - worn pattern that defined my life. Rhythmically unrelenting... write, record and tour. Repeat. Again. Nonstop, that routine only broken by the additional demands of doing d press and making music videos to accompany and promote whichever anointed track, ordained by radio and record label, would become our next hit single."

Oates says "I Can't Go For That (No Can Do)" stands out from the other songs of that period. Oates says the song originated with Hall working with a Roland ComuRythym beat box. Oates says "It was the same machine that he has used for "Kiss On My List." The little white button that was labelled Rock 1 was depressed, and that stiff, simple drum groove was cycling its hypnotic two bar pattern. With his left hand Daryl repeated a cool, vibey bass line that worked like magic against the machine's beat. Then from the fingers of his right hand splashes of apeggiated chords danced over and around the hypnotic bass-line groove." Oates added to the song with his guitar playing. Finally, Hall began singing a melody over the music. Eventually, Hall added the lyrics.

"Maneater", Daryl Hall and John Oates must successfull song, was written in the early 1980's as well. Oates describes how he wrote the music for that song: "Likely inspired by a recent trip to Jamaica, I begun to strum a classic regale guitar groove, put a tentative melody to the hook, and let the chorus evolve." The lyrics for the song were inspired by an experience he had at a bar in New York City called "Marylous" in New York City. He heard a woman "spew forth the most foul, crude and expletive laden soliloquooy I'd ever heard." He was effected by the speech of the woman and says that the phrase "She would chew you up and spit you out his mind. Later on, he though of the phrase "Oh-oh here she comes, she's a maneater". Oates said that the song became a statement about the face placed life in New York City in the 1980's. The city, like the woman he saw at the bar, was metaphorically a maneater.

In 1984, the duo also had a hit song entitled "Out of Touch." At this time, Oates was using me modern musical equipment to write and record songs. He would often write in his Greenwich apartment in New York City. One night at 3:00 AM, he was experimenting with the new equipment. Oates says "I started playing around with the new equipment. The synth had a button marked ARPEGGIO. I didn't know what it did, so I just pressed it. Out came a preprogrammed sound that is best described as a tonal percussive woodblock. By holding down one of the keys, I could make it repeat, and I could adjust the tempo by turning a knob. It was interesting and sounded cool even though it was just a randomly selected factory setting." Oates spent a few hours experimenting with this basic sound and wrote a basic theme for the song. He recorded it and programmed a drumbeat to accompany the basic theme. Then he added a chord progression. Oates wrote the chorus "You're out of touch, I'm out of my head when you're not around..." The song was about his wife at the time. She was traveling frequently for her job. So, the chorus reflected her absense while she was traveling. They would remain married until the early 1990's.

Daryl Hall and John Oates also made music videos in the 1980's. Oates says "we had jumped on board the MTV train when it was arely out of the station, becoming the first guest VJs, and our simplistic early videos swelled in scope and style along with the network's success." MTV did much to make Daryl Hall and John Oates more popular. MTV promoted their music and the music of other artists. Although, MTV makes their music more familiar, Daryl Hall and John Oates he done music videos for years. Oates says "But even though Daryl and I always put the music first, we had been producing MTV style videos before the network popularized the genre...we had been experimenting with video techniques from the beginning of our career. The music videos represented another musical accomplishment for the band. It added to their style and added to the entertainment value of their careers. Daryl Hall and John Oates had always been at the forefront of musical trends in the 1970's and 1980's. Now, they were st the forefront of the music video scene.

On July 13, 1985, Daryl Hall and John Oates closed out a concert called "Live Aid." The concert raised money to help hungry and malnourished children in Africa. 90,000 people saw the concert, which was held in JFK stadium in Philadelphia. Close to 2 billion people saw the concert through television and satellite. According to Oates, it was "the biggest entertainment broadcast in history."

Daryl Hall and John Oates also performed on the "We are the World" record. Each artist had a spot to stand in the studio. In addition to Daryl Hall and John Oates many other artists performed. Bob Dyuan, Ray Charles, Willie Nelson, Diana Ross, Stevie Wonder, Smokey Robinson and Lionel Richie and many other famous artists performed on the record. Oates described the experience: "Within minutes the bus singalong chorus was in the can, and the soloists were organized into small groups around the microphones to record their individual lines." The record was for a good cause.

In 1985, Daryl Hall and John Oates also helped to reopen the much respected Apollo Theater in Harlem. Daryl Hall and John Oates invited David Ruffin and Eddie Hendricks of "The Temptations" to perform with them. Previously, Daryl Hall and John Oates had met them in 1967. Hall and Oates both looked up to the Temptations when they were growing up. So, they naturally wanted to invite them to perform at the Apollo. Oates says "Amid all the chaos of getting everyone together one thing stands out in my mind: When it finally came time for us to start the music, David and Eddie struck their classic Temptation pose...ramrod straight, legs spread shoulder width apart, hands clasped behind their backs. No one asked them to do it, but the professional training and discipline drilled into them at Motown for all those years just kicked back in and they were set." Daryl Hall and John Oates would release an album and tape cassette of the night's concert. The album was entitled "Live at the Apollo."

In the early 1990's Oates moved from New York City to an area just outside of Aspen Colorado. He needed a change. He wanted to get away from the fast paced life of the city. Additionally, Daryl Hall and John Oates recorded two albums. One album was entitled "Ooh. yeah" and the other was entitled "Change of Season." Oates refers to the second album as "perfect theme for my life." His move to Aspen , Coloarado helped to replenish him. Oates says "I was being called by the pure and pristine place I had fist encountered on that long ago college trip, when my buddy and I booked us a couple of student fare airline tickets, three caution to the wind, and embraced one of my life's first great adventures."

At this time, Oates met his wife Aimee. After a good courtship, Aimee and John would marry and have a son. Oates had truly experienced a "change of season."

John Oates has had an interesting life. His life has been filled with music and popularity. His life has been filled with family and friends. He has travelled; he has lived in New York City, Philadelphia, and Aspen, Colorado. He has been a part of the music business and he has learned much about the music business. Oates has went through different "change of seasons", but music, family and friends have remained consistent parts of Oates' life.