Culture
Kepner: With new uniforms, MLB makes another fashion flop
Twenty years ago, after blowing the lead in a critical playoff game for the Minnesota Twins, Juan Rincón described the feeling with an all-time baseball malaprop: “Nobody wants to be in my pants right now.”
These days, it seems, nobody wants to be in any pair of baseball pants. Major leaguers reported to spring training this week to find that they cannot customize their pants anymore, and that their new style of jerseys – designed by Nike, manufactured by Fanatics – is not up to big league standards.
As The Athletic’s Stephen J. Nesbitt wrote, players around the league “criticized the jerseys’ poor fit, cheap look, inconsistent quality and small lettering.”
Sigh. Major League Baseball just can’t help itself, and it keeps getting worse.
In 2019, for the cringy “Players Weekend,” they staged an all-white vs. all-black uniform series that evoked “Spy vs. Spy” from the old Mad Magazine. The next year, as part of a 10-year deal with Nike worth more than $1 billion, they let Nike slap its logo on the front of every jersey.
Then came “City Connect” uniforms, in case you ever wondered how your favorite player would look as a blueberry, a cloud or a license plate. The All-Star Game, always a cavalcade of colors with players wearing their regular uniforms, became a three-hour ad for generic Nike jerseys.
Now this.
Baseball’s relationship with Nike is like the “Seinfeld” episode when George tries to be friends with Elaine’s cool boyfriend. He wears his hat backwards and goes rock climbing, unable to hide his infatuation. He’s desperate to be a dude, but he’s still a Costanza.
That’s not to say baseball should be stuffy. Last season’s rule changes made the product more dynamic and appealing. Plenty of other initiatives – the annual Little League Classic, the DREAM Series, the “MLB The Show” video game, the comprehensive, user-friendly MLB app – also help grow the game.
But baseball doesn’t seem to understand its own visual appeal. Let the other leagues cheapen their jerseys with advertisements. Baseball should be above that, but the last collective bargaining agreement allows teams to sell ad space on uniforms. So now the Atlanta Braves wear a sleeve patch depicting a yellow bag of concrete mix, the Toronto Blue Jays come at you with a neon green square for a bank, and the Houston Astros sport a garish patch for Oxy – the energy producer, not the drug.
When Rob Manfred became commissioner in 2015, he said he had no interest in allowing ads on jerseys. That changed, of course, and Manfred was at least honest about the reversal in 2022: “It’s a revenue source that is significant enough that it’s really impossible for a sport to ignore over the long haul. I think that’s the truth.”
It’s a business, of course. But just because you can make money by selling something doesn’t mean you should. Several teams will not sell naming rights to their ballparks because there’s more value in continuity and tradition. It’s still Dodger Stadium, not Guggenheim Field. It’s still Yankee Stadium, not Starr Insurance Park.
Manfred’s approach to the All-Star uniforms reflected a belief that Nike can do no wrong.
“I never thought that a baseball team wearing different jerseys in a game was a particularly appealing look for us,” he said in 2022. “I understand that people can have different views on that topic, but it is part of a larger program designed to market the game in a non-traditional way.”
Fine, but why obscure the identity of your players? The All-Star Game should be a showcase, and a regular-season uniform gives an easy clue: “Oh, right, he’s that guy on the Marlins who’s been doing so well….” If everyone looks the same, you miss that connection.
Manfred reiterated his faith in Nike on Thursday at Grapefruit League media day.
“I think you know, in baseball, with any new initiative, there’s going to be some negative feedback. First and most important, these are Nike jerseys,” Manfred said. “We entered this partnership with Nike. Just who they are and the kind of products they produce, everything they’ve done for us so far has been absolutely 100 percent successful across the board.
“The jerseys are different. They’re designed to be performance wear as opposed to what has traditionally been worn. So they are going to be different. But they have been tested more extensively than any jersey in any sport. The feedback from the All-Star Game last year was uniformly positive from the players. I think after people wear them for a little bit, they’re going to be really popular.”
The 2024 uniforms have a markedly smaller typeface for the player’s name. This, quite obviously, will only make it harder to know who we’re watching. How is that a possibly good thing?
“Look at the last names, bro,” Angels reliever Carlos Estévez said. “I’m 6-foot-6. This is going to look tiny on me.”
Last year vs this year’s replica jersey offerings from the fine folks at MLB, Nike & Fanatics. Last year’s being on the left and this year’s on the right.
I have a lot to say, so bear with me here.
Let’s just rip the bandaid off right away with this year’s new jersey offerings pic.twitter.com/3IShhlj0nL
— Bobby Mullins (@TheBobbyMullins) February 11, 2024
Hey, maybe the players – many with Nike sponsorship deals – will change their minds once they play a few games. Maybe, in time, the jerseys won’t look like the replica you buy when you’re trying to save money but still want to kinda look authentic.
But the underlying concept persists. Baseball, guided by Nike, is trying to force-feed all these stylistic changes instead of just letting them happen organically. Consider the last few decades of uniforms trends, and how they reflected the times:
In the 1970s, color TVs gave rise to bright, gaudy uniforms. By the late 1980s and early 1990s, things were more conservative – button-down jerseys, belts, whites at home, grays on the road, a nostalgic turn also reflected in the retro ballpark boom.
The Marlins won the 1997 World Series while wearing their sleeveless white jerseys. (AP Photo/Eric Draper)
Four expansion teams joined MLB in the 1990s, and two, the Florida Marlins and Arizona Diamondbacks, would soon win a World Series while wearing sleeveless jerseys in Game 7. All of the expansion teams wore black – with some combination of purple and/or teal – and black became the popular color, with the Mets, Blue Jays, Royals, A’s and others diving in.
In the 2010s, teams increasingly pivoted to alternate jerseys, which often became their de facto primary look. Four seasons in a row ended with the World Series winner wearing a colored jersey: the 2016 Cubs, 2017 Astros, 2018 Red Sox and 2019 Nationals.
The pants, thankfully, were still white or gray. Then City Connect came along, and now we’re seeing the White Sox, Pirates, Mariners, Reds, Rangers and Orioles in black pants. The Astros and Cubs have all-navy getups, and the Diamondbacks sometimes wear all-yellow. We’re reverting to the worst of the ’70s.
Some teams have made sharp updates to classic looks. In the last decade or so, the Orioles, Brewers, Blue Jays, Padres, Astros and Rangers have streamlined the vintage styles of their glory years, honoring their traditions in a fashion-forward way.
But when the league gets involved, it’s too much, too fast – an assault on the eyes for a sport that can, and should, be a visual delight.
(Top photo of Giants pitcher Juan Sanchez: AP Photo/Ross D. Franklin)
Now that we’ve memorized the first half of our poem, let’s learn a little more about the man who wrote it. (Haven’t memorized anything yet? Click here to start at the beginning.)
For most of his life, Wystan Hugh Auden (1907-73) was a star. He was widely read, quoted, argued over and gossiped about, achieving a level of fame that few writers now — and not many then — could contemplate. His New York Times obituary did not hesitate to call him “the foremost poet of his generation.”
Celebrity of that kind is ephemeral, but Auden’s words have continued to circulate in the half century since his death. Maybe you’ve heard some of them before. In the 1994 film “Four Weddings and a Funeral,” his poem “Funeral Blues” is recited by Matthew (John Hannah) over the casket of his lover, Gareth (Simon Callow).
In the Gen-X touchstone “Before Sunrise” (1995), Jesse (Ethan Hawke) regales Celine (Julie Delpy) with an impression of Dylan Thomas reading Auden’s “As I Walked Out One Evening.”
In both these scenes, the characters use Auden’s poetry to give voice to a longing for which they otherwise might not have words. Auden’s poetry is often useful in that way. It speaks to recognizable human occasions, and it isn’t always all about him.
“The More Loving One” might not be something you’d quote at a funeral or on a date, but it is almost effortlessly quotable — the perfect expression of a thought you never knew you had:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Ken Burns, filmmaker
The word “I” occurs five times in this stanza, but we don’t know much about the person speaking. His personality is camouflaged and revealed by craft.
Auden, born in the northern English cathedral city of York, began practicing that craft as a schoolboy, and honed it at Oxford. Not long after graduating in 1928, he was anointed by critics and readers as the great hope of modern English poetry. A charismatic, divisive figure, he gathered acolytes, imitators and haters.
He swam in the intellectual and ideological crosscurrents of the 1930s, drawing Marxism, psychoanalysis and mystical nationalism into his writing. Assimilating a daunting array of literary influences — Old English and Ancient Greek, French chansons and Icelandic sagas — he forged a poetic personality that was bold, confiding and seductive.
His love poems of that era were candid, discreet dispatches from a calendar of feverish entanglements, wrenching breakups and one-night stands, usually with other men. He also wrote about the feverish politics of the time — class conflict; the rise of fascism; the Spanish Civil War — in ringing rhetoric he later disavowed.
In 1939 Auden moved to America, acquiring U.S. citizenship after World War II. In New York he fell in love with Chester Kallman, a young American writer who became his life partner.
It was a complicated relationship, starting as a passionate affair and enduring through decades of domestic companionship and creative collaboration. Kallman’s refusal to be sexually exclusive wounded Auden, a dynamic that poignantly shades this poem’s most memorable couplet:
If equal affection cannot be,
Let the more loving one be me.
Yiyun Li, writer
In America, Auden distanced himself from the radical politics of his earlier career and embraced Anglican Christianity. His intellectual preoccupations shifted toward religion and existentialism — to the kinds of big questions we think about late at night, or when we look to the sky.
Making the leap from wunderkind to grand old man without seeming to stop in middle age, he became a mentor for several generations of younger poets. He was a prolific and punctual contributor of reviews and essays to various publications, including this one, for which he wrote a rave of J.R.R. Tolkien’s “The Fellowship of the Ring” in 1954.
Through it all, Auden devoted fanatical attention to the finer points of poetic technique. His notebooks are full of numbers, word lists and markings that show just how deep this commitment went. He counted every syllable, measured every stress.
He gathered rhymes and other words with a lexicographer’s zeal and a crossword puzzler’s precision.
The third stanza of “The More Loving One” is a miniature showcase of Auden’s skill. Of the four epigrams arrayed before us, it may be the most technically perfect.
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
W.H. Auden, poet
The rhythm is flawless, without an extra syllable or an accent out of place. The grammar is also fastidious. Here is a single sentence, springloaded with equivocation, beginning with one idea and sliding toward its opposite.
This quatrain is the poem’s ideal formal representation of itself, a kind of proof of concept: four lines of impeccable iambic tetrameter in an AABB rhyme scheme. The by-the-book regularity of this stanza should give you a leg up in memorizing it, and you can test yourself below!
But the rest of the poem is an argument against perfection, just as it is a celebration of uncertainty and humility — as we’ll see tomorrow.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Admirer as I think I am
Of stars that do not give a damn,
Tap a word above to fill in the highlighted blank.Your first task: Learn the first two lines!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
PERMANENCE, by Sophie Mackintosh
Sophie Mackintosh’s novels are always speculative in some way, with either the author or her characters forging a world governed by its own logic and rules. In their boldness and their ability to convey the violence of patriarchy, they recall the work of Jacqueline Harpman — not only the cherished “I Who Have Never Known Men,” but also “Orlanda,” her wild riff on Virginia Woolf’s “Orlando.”
Like Harpman, Mackintosh has a spare and confident hand. Her work is sometimes described as dreamlike; certainly, its contours are sketched with rapidity and confidence and relatively little detail. Her prose operates according to the same principle, at once lyrical and precise, like this from her second novel, “Blue Ticket”: “On the ground was a dead rabbit, disemboweled. Still fresh, the dark loops of its insides glistening like jam.”
When Mackintosh writes about masculine power, she does so in a way that articulates both its seductions and its terrors. Her newest novel, “Permanence,” is less explicitly concerned with the structure of patriarchy, but it has the same erotic charge as her earlier work, the same preoccupation with social prohibitions and the thrill that comes from breaking them.
Like “Blue Ticket,” “Permanence” turns on a highly pronounced binary. In “Blue Ticket,” adolescent girls are issued either a blue or white ticket on the day of their first period. A white ticket denotes a future of marriage and children, a blue ticket one of work — even, it seems, a career. The divide is stark and self-evidently faulty, its coarseness an expression of the brutalizing regime the characters are trapped in.
“Permanence” features a similar opposition, neatly delineated. Clara and Francis are conducting an illicit affair. One morning, they wake up in an alternate reality where they are openly living together. The novel shuttles between these two worlds, one ordinary and familiar, the other a curdled paradise for adulterers.
The thinness of this “city of impermanence” — “fluid, cohesive and yet disparate” — emerges at once. The sky is “uncannily blue,” the newspaper bears no date, the edge of the city is marked by “a slick ring of water, as far as the eye could see.”
Still, a boundary cannot keep the other world from seeping in. Initially, elegantly, this is a problem in the structure of desire. Having been provided the life they dreamed of, in which their longing for each other is fully met, Clara and Francis begin to experience, to their uneasy surprise, boredom and discontent.
Without absence, the intensity of their desire for each other wanes. They even begin, or at least Francis does, to long for the relief of their ordinary life: “Another day ahead of them of petting, giggling, lying around. It seemed insubstantial suddenly, though only the day before he had felt he could do it forever.”
Soon enough, it becomes clear that the problem between Francis and Clara doesn’t lie in the outside impediments of the world they live in, but in their relationship itself. Francis remains troublingly himself — a married father of a small child, reluctant to leave his family, however much he is in love with Clara: “He did love her, and he did want to be with her. … But he already had reality elsewhere, reality which he sometimes felt trapped by, he would admit, but which he could not truly imagine cutting loose.”
“Permanence” might seem like an outlier in the current array of articles and books about open marriages and polyamory, and at first glance the line of distinction between the two worlds, much like the division between blue and white tickets, seems almost old-fashioned. But as Mackintosh persuasively illustrates, the familiar emotions of jealousy, infatuation and eventually indifference — these persist and can flourish in any relationship, however free of prohibition.
“You want this,” Clara tells herself, and then, “You no longer want this,” as it occurs to her that “maybe it was in absence that they loved each other best, and most honestly.”
In her work, Mackintosh devises scenarios that are bold and almost aggressively simplified. But her terrain is complexity and contradiction, and in her hands these oppositions twist and turn in on themselves.
It’s hardly a surprise when the central character in “Blue Ticket” decides to eschew her designation and have a child, declaring, “True and false were no longer opposing binaries. My body was speaking to me in a language I had not heard before.” Nor is it especially startling when discontent chases Clara and Francis from one world to the other, unraveling their relationship.
What is more disquieting is the surreptitious ease with which Mackintosh’s speculative worlds start to align with our own, allowing the reader to see how so many of the old prohibitions and conventions — around choice, around marriage — remain, somehow, firmly in place.
That moment of recognition, in a landscape that is startlingly alien, is the source of Mackintosh’s power as a writer.
PERMANENCE | By Sophie Mackintosh | Avid Reader Press | 240 pp. | $28
Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).
This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Ada Limón, poet
Nonetheless, the poem soon makes clear that love is very much on its mind.
How should we like it were stars to burn
With a passion for us we could not return?
David Sedaris, writer
The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.
If equal affection cannot be,
Let the more loving one be me.
Reginald Dwayne Betts, poet
Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
Auden’s poem, like Marlowe’s, is written in four-beat lines:
How should we like it were stars to burn
With a passion for us we could not return?
Josh Radnor, actor
And it features strong end rhymes:
If equal affection cannot be,
Let the more loving one be me.
Samantha Harvey, writer
These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:
I do not like thee, Doctor Fell
The reason why I cannot tell.
But this I know and know full well
I do not like thee, Doctor Fell.
There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.
This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.
But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.
What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.
This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:
As lines, so loves oblique may well
Themselves in every angle greet;
But ours so truly parallel,
Though infinite, can never meet.
The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”
The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:
How should we like it were stars to burn
With a passion for us we could not return?
Mary Roach, writer
The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:
If equal affection cannot be,
Let the more loving one be me.
Tim Egan, writer
Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
How should we like it were stars to burn
With a passion for us we could not return?
Tap a word above to fill in the highlighted blank.
Your task today: Learn the second stanza!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
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