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Quality control coach? Pitching strategist? In MLB, title inflation is the new norm

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Quality control coach? Pitching strategist? In MLB, title inflation is the new norm

One day last month, while killing time in the visiting dugout at Kauffman Stadium, Cleveland Guardians manager Stephen Vogt was asked what he actually did in his previous role as the Seattle Mariners’ bullpen and quality control coach.

The first half of that label seemed obvious enough — bullpen coaches have been around in the majors for as long as anyone can remember. The other half? Vogt, after some explaining, broke into an impression of a television character from a show famed for sending up things like convoluted job titles.

“Quabity. Quabity assuance,” Vogt said, mimicking Creed Bratton, the eccentric and oft-forgetful quality assurance manager in “The Office.” “Why are they asking me so many questions?”

“The Office” gained prominence for its satirization of corporate culture, with its opaque job descriptions and jargon-y buzzwords. But in baseball, life is now imitating art — or at least imitating corporate America — when it comes to coaching titles.

Across the big leagues, the six-person coaching staff (bench, hitting, pitching, first base, third base, bullpen) is practically extinct. Teams have amassed legions of instructors bearing LinkedIn-friendly titles like strategist of performance and data integration (Miami Marlins), game planning and run prevention coach (Boston Red Sox), and major league field coordinator/director of defense, baserunning and strategy (Guardians). You can find just about any title in the sport, outside of assistant to the regional manager.

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On Opening Day this year, the ranks of the curiously labeled included three associate managers, three offensive coordinators, five quality control or quality assurance coaches, nine directors or assistant directors of various departments, and more than a dozen coaches with a reference to strategy or game planning in their designations.

The sheer volume and variety of nontraditional titles might feel a bit excessive. Yet, those on the inside say there are legitimate reasons for this proliferation.

“Initially, I was like, ‘Really?’ But now, not as much. Now, I kind of like it,” said Padres manager Mike Shildt, another former quality control coach. “Once you step back, you go, ‘Different doesn’t mean worse.’ … Because of more people and more information, now we can easily and rightfully justify a couple different people absorbing those roles.”

This season, all 30 organizations list double-digit coaches on their team websites. Some bullpen catchers are also billed as strategists, staff assistants or catching instructors. Still, as coaches have increasingly taken up real estate in media guides, their responsibilities often remain mysterious to the public.

So, what exactly did Vogt do for the Mariners in 2023 before he landed one of the most coveted positions in baseball?

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“I don’t know what other quality control coaches do, but for me, it was a title that essentially meant I was more than a bullpen coach,” said Vogt, now in his second season managing the Guardians. “I was in hitters’ meetings. I helped the catchers. My fear was that the hitting coaches would be (upset) that the bullpen coach is talking to a hitter, and vice versa.”

Amid the highly competitive environment of the big leagues, Vogt’s concern was not unfounded. In the past decade, however, the world of non-player personnel has moved not only toward greater specialization but also increased collaboration. Analytics and technology have flooded the sport. The prevalence of data necessitates more employees to help translate and communicate information.

“There’s so much work to be done in each area, so the manpower, you need to have it to keep up,” Kansas City Royals manager Matt Quatraro said.

Added Chicago Cubs bench coach Ryan Flaherty, a former big-league utility player: “I think things used to be so siloed. The person with ‘hitting’ worked with hitting, ‘pitching’ worked with pitching, and ‘infield’ worked with infield. And I think now, people just work in a lot of areas.

“I think the hard thing is trying to figure out what to call them.”

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As a quality control coach for the San Diego Padres in 2022, Flaherty assisted infield coach Bobby Dickerson with infield instruction and helped oversee offensive game planning. A year later, he was promoted to offensive coordinator, a role in which he continued to prepare San Diego’s hitters for opposing pitchers. “It wasn’t as much technique of hitting as it was understanding pitchers’ tendencies,” Flaherty said.

The bump reflected a trend within a trend — and illustrated a driving force in the modern era of coaching titles. “I think it’s a combo,” Shildt said. “People are trying to prevent people from getting poached, and people are poaching people with a title.”

That was the case in San Diego after the 2019 season. The Padres hired Dickerson away from the Philadelphia Phillies, technically elevating the veteran infield instructor to bench coach. Around the same time, they devised a new position with familiar duties. Skip Schumaker, who had long been viewed as a future manager, went from first base coach to associate manager.

“Nothing too scientific about it,” Padres president of baseball operations A.J. Preller said. “Ultimately, (Schumaker) was going to be somebody that was going to be really the 1A and the right-hand man to a manager, and somebody who could be developing to go on that track as well.”

Schumaker understood the maneuvering. “In order to get, in my opinion, one of the best infield coaches in baseball, I think they had to create another title for me,” said Schumaker, who went on to manage the Marlins from 2023 to 2024. “The responsibilities were the same as the bench coach. … I think it’s just a way to get guys on staff that you want.”

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Other teams have acted similarly. In late 2021, the Texas Rangers made Donnie Ecker their bench coach and the sport’s first offensive coordinator, luring him away from his hitting coach job with the San Francisco Giants. A year later, the Rangers hired then-Boston Red Sox bench coach Will Venable as associate manager. Before the 2024 season, and before he succeeded Schumaker as National League Manager of the Year, Pat Murphy appointed rookie coach Rickie Weeks Jr. as the Milwaukee Brewers’ associate manager.


Skip Schumaker went from first base coach to associate manager to, eventually, manager. (Brett Davis / USA Today)

Murphy’s staff still does not have a bench coach or, at least, anyone by that title.

When you’re fresh in the game and you want to manage someday, I think (naming Weeks associate manager) is an appropriate tack,” Murphy said.

Not all positions are crafted with future advancement or retention as a priority. The Arizona Diamondbacks might have opened a door to nontraditional labels before the 2017 season when they hired a decorated former big-league pitcher as the team’s pitching strategist. “I think we started it with Dan Haren, quite frankly,” Diamondbacks general manager Mike Hazen said.

How did Arizona come up with Haren’s professional moniker? “I don’t know,” Hazen said. “He works on our pitching strategy. I don’t know that we put a ton of thought into the title, honestly. We sort of built it backwards from job responsibilities.”

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At times, the title has come first. Shildt recalled that when he became one of baseball’s first quality control coaches in 2015, it was a position “that the (St. Louis Cardinals) created to get me to the big leagues. And even when I got it, there was still like, ‘Now what? What do we do with this?’”

Well before the arrival of the universal designated hitter, the Cardinals tasked Shildt with overseeing bunting instruction for the team’s pitchers. “Then it just started to materialize into more big-picture work, which now is more analytically driven,” Shildt said.

Trent Blank, the Seattle Mariners’ director of pitching strategy, can attest to that shift. A former minor leaguer with an interest in biomechanics, he joined the Mariners in 2018. “At that time, baseball was getting into technology, and we wanted to start a new frontier for the organization,” Blank said.

Now, Blank helps direct the Mariners’ application of technology and analytics, working with pitching coach Pete Woodworth before and during every big-league game. (Unlike Haren, Blank wears a uniform.) In the weeks leading up to each amateur draft, he aids the scouting department with data-based evaluations.

“I think I have one of the best jobs in baseball,” Blank said of his role as a strategist. “It seems like each team’s found their own way to kind of bend that title or those roles and responsibilities to fit what they need at the time.”

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Some clubs have taken the pursuit of organizational alignment to new heights. The Guardians, for instance, employ a hitting coach, two assistant hitting coaches, a major-league hitting analyst, a senior vice president of hitting, a vice president of hitting, an assistant director of hitting development, and a special assistant to player development/hitting. Last year, Jason Esposito had the title of run production coordinator. Now, he’s an assistant hitting coach. No one can explain the difference. Meanwhile, Kai Correa is the team’s major-league field coordinator and, in a newly created role, its director of defense, baserunning and game strategy.

“If you think about the old model, you’d have a major-league hitting coach that might not even ever talk to the minor-league coordinator, who might not be involved in what’s going on with the hitting coach there, so you can get very different messages,” Guardians president of baseball operations Chris Antonetti said. “We’ve worked to have organizational philosophies and programs that (reflect them).”

Like the Guardians, the Dodgers introduced a title to the coaching lexicon this season. Brandon McDaniel originally joined the organization as a minor-league strength and conditioning coach and eventually ascended to vice president of player performance. He made a more sudden leap in February when the Dodgers announced him as major-league development integration coach.

McDaniel, formerly a behind-the-scenes member of the franchise, is in uniform this season in the Dodgers’ dugout. (MLB regulations used to limit teams to a manager and eight coaches in the dugout during games, with an additional coach permitted when rosters expand in September. A league official said clubs now have more flexibility.) His presence there allows McDaniel to provide immediate input on workload management and facilitate communication between the front office and the coaching staff.

“I recognize that my path is probably extremely different than most people who are fortunate enough to put on a uniform,” said McDaniel, who described swapping ideas with manager Dave Roberts for multiple weeks before they settled on a title.

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“People could (say), like, ‘Oh, we made it up.’ But I think we really put some thought into what I was going to be doing every day. At the end of the day, it’s like supporting the coaches, to help develop the players.”

Said president of baseball operations Andrew Friedman: “It’s about making sure we’re covering our bases on every front.”

The current top dog in a copycat industry, the Dodgers, could soon inspire other teams to employ their own versions of McDaniel. With so many different titles and limited public advertisement of responsibilities, perhaps some clubs already have. McDaniel suggested that the coordination aspect of his new position is not dissimilar to that of Los Angeles Angels staff assistant and unofficial “director of fun” Tim Buss.

“I think major-league coaching is one of the big frontiers of the sport,” Hazen said. “The more that you can improve your good major-league players at the major-league level, it can be a separator.”

Still, balance remains important. Hazen said it can be difficult to keep manufacturing new titles “without overrating your staff.” Schumaker, now a senior advisor for the Rangers, warned against the potential complications of having a large number of coaches. “It’s a privilege to be in a major-league clubhouse,” Schumaker said, “and I feel like, throughout the last few years, that’s gotten away from certain clubs, trying to think too outside the box and having too many cooks in the kitchen.”

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Regarding the practice of assigning titles to poach coaches or protect against poaching, Murphy said: “There’s a lot of that. There’s no question. It probably needs to be looked at a little bit.”

This past offseason, after Murphy led the small-market Brewers to 92 wins and a playoff appearance, first base coach Quintin Berry left to become the Cubs’ third base coach. Run prevention coordinator Walker McKinven landed the Chicago White Sox’s bench coach job. Assistant pitching coach Jim Henderson interviewed to be the Diamondbacks’ pitching coach and “was close,” Murphy said.

“We encouraged all that and, truth be known, helped it happen,” Murphy said. “I believe in helping your guys, your staff, keep going. That’s what this game is about. If you’ve got an opportunity to move on, I think it’s awesome. If you’re keeping them from better opportunities, I don’t think that’s right.”

Henderson stayed in Milwaukee, where he was given an augmented position as the team’s assistant pitching and strategy coach. The strategy portion of the role includes pregame research of opposing lineups and in-game discussion with Murphy as different situations arise. The casual observer might assume it will make Henderson at least slightly more challenging to hire away.

That, according to Murphy, is not the goal. The Brewers did not replace McKinven, unless you count the expansion of Henderson’s duties.

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“We can replace everybody,” Murphy said. “We’re all replaceable. The game’s proven that.”

The Athletic’s Fabian Ardaya contributed to this story.

(Illustration: Dan Goldfarb / The Athletic; Photo: Kenta Harada / Getty Images)

Culture

Book Review: ‘Selling Opportunity,’ by Mary Lisa Gavenas

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Book Review: ‘Selling Opportunity,’ by Mary Lisa Gavenas

SELLING OPPORTUNITY: The Story of Mary Kay, by Mary Lisa Gavenas


Mary Kay, the cosmetics company whose multilevel marketing included sales parties and whose biggest earners were awarded pink Cadillacs, was really in the business of selling second chances. Or, at least, that’s what Mary Lisa Gavenas argues in “Selling Opportunity,” a dual biography of the brand and the woman behind it.

Mary Kathlyn Wagner, who would become Mary Kay Ash, “the most famous saleswoman in the world” and “maybe the most famous ever,” in Gavenas’s extravagant words, was born in 1918 to a poor family and raised mostly in Houston. Although a good student, she eloped at 16 with a slightly older boy. The young couple had two babies in quick succession.

Mary Kay’s creation was a combination of timing and good luck. Door-to-door sales was a thriving industry — but, traditionally, a man’s world: Lugging heavy samples was not considered feminine, and entering the homes of strangers, unsafe. But things began to change during the Great Depression, Gavenas suggests, thanks to a convergence of factors — financial pressures and the rise of the aspirational prosperity gospel espoused by Dale Carnegie’s self-help manuals.

At the same time, female-run beauty lines like Annie Turnbo Malone’s Poro and Madam C.J. Walker’s were finding great success in Black communities. And, coincidentally or otherwise, the California Perfume Company changed its name to Avon Products in 1939.

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Ash began by selling books door to door, moving on to Stanley Home Products in the 1940s. She was talented, but direct sales was a rough gig. Every party to show off wares was supposed to beget two more bookings; these led to sales that resulted in new recruits. But there was no real security or stability: no salary, no medical benefits, no vacations. “Stop selling and you would end up right back where you started. Or worse,” the author writes.

Gavenas, a onetime beauty editor who wrote “Color Stories,” takes her time unspooling Mary Kay’s tale, with a great deal of evident research. We learn about direct sales, women’s rights and Texas history.

But, be warned: Readers must really enjoy both this woman and this world to take pleasure in “Selling Opportunity.” Mary Kay the person keeps marrying, getting divorced or widowed and working her way through various sales jobs (it’s hard to keep track of the myriad companies and last names). Gavenas seems to leave no detail out. Thus, the 1963 founding of the eponymous beauty company doesn’t come until almost 200 pages in.

Beauty by Mary Kay included a Cleansing Cream, a Magic Masque and a Nite Cream (which containined ammoniated mercury, later banned by the F.D.A.). The full line of products — which was how Mary Kay strongly encouraged customers to buy them — ran to a steep $175 in today’s money. (To fail to acquire the whole set, Ash said, was “like giving you my recipe for chocolate cake but leaving out an important ingredient.”)

Potential clients attended gatherings at acquaintances’ homes — no undignified doorbell-ringing here — where they received a mini facial, then an application of cosmetics like foundation, lip color and cream rouge — and a wig. The company made $198,514 in sales its first year.

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Although Ash may have seemed a pioneer, in many ways Mary Kay was a traditionalist company, whose philosophy was “God first, family second, career third.” Saleswomen, official literature dictated, were working to provide themselves with treats rather than necessities so as not to threaten their breadwinner husbands.

And yet, they were also encouraged to sell sell sell. Golden Goblet pendants were awarded for major orders. After the company started using custom pink Peterbilt trucks for shipping, it began commissioning those Cadillacs for top consultants. (Mary Kay preferred gifts to cash bonuses, lest women save the money to spend on practical things rather than the licensed frivolities.) The Cadillacs, always driven on company leases, would become industry legend and part of American pop culture lore. “Never to be run-down, repainted or resold, the cars would double as shining pink advertisements for her selling opportunity,” Gavenas writes.

The woman herself was iconic, too. While Ash was a product of the Depression, she was also undeniably over-the-top. She wore white suits with leopard trim, lived in a custom Frank L. Meier house and brought her poodle to the office.

Mary Kay went public in 1968, making her the first woman to chair a company on the New York Stock Exchange. By the 1990s, the Mary Kay headquarters near Dallas was almost 600,000 square feet. They commissioned a hagiographic company biopic; there was a Mary Kay consultant Barbie; they were making $1 billion in wholesale. When she died, in 2001, Ash was worth $98 million.

And yet, Gavenas cites that at the company’s height, in 1992, sales reps made on average just $2,400 per year.

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Instead of so much time in the pink fantasia of Mary Kay, it would have been nice for a few detours showing how infrequently the opportunities the company sold were truly realized.

SELLING OPPORTUNITY: The Story of Mary Kay | By Mary Lisa Gavenas | Viking | 435 pp. | $35

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Historical Fiction Books That Illustrate the Bonds Between Mother and Child

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Historical Fiction Books That Illustrate the Bonds Between Mother and Child

We often think of the past as if it were another world — and in some ways, it is. The politics, religion and social customs of other eras can be vastly different from our own. But one thing historians and historical fiction writers alike often notice is the constancy of human emotion. The righteous anger of a customer complaining about a Mesopotamian copper merchant in 1750 B.C. feels familiar. Tributes to beloved household pets from ancient Romans and Egyptians make us smile. And we are captivated by stories of love, betrayal and sacrifice from Homer to Shakespeare and beyond.

In literature, letters, tablets and even on coins, we find overwhelming evidence that people in the past felt the same emotions we do. Love, hate, fear, grief, joy: These feelings were as much a part of their lives as they are of our own. And they resonate especially acutely in the bond between mother and child. Here are eight historical novels that explore the meaning of motherhood across the centuries.

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How ‘The Sheep Detectives’ Brought its Ovine Sleuths to Life

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How ‘The Sheep Detectives’ Brought its Ovine Sleuths to Life

Sometime in the 2000s, the producer Lindsay Doran asked her doctor for a book recommendation. “I’m reading that book everybody’s reading,” the doctor replied. “You know, the one about the shepherd who’s murdered and the sheep solve the crime.”

Doran had not heard of the book, “Three Bags Full,” a best-selling novel by a German graduate student (“No one’s reading it,” she recalls responding, inaccurately), but she was struck by what sounded like an irresistible elevator pitch. “Everything came together for me in that one sentence,” she said. “The fact that it was sheep rather than some other animal felt so resonant.”

Doran spent years trying to extricate the book from a complicated rights situation, and years more turning it into a movie. The result, opening Friday, is “The Sheep Detectives,” which features Nicholas Braun and Emma Thompson as humans, and Julia Louis-Dreyfus, Patrick Stewart and others giving voice to C.G.I. sheep stirred from their customary ruminations by the death of their shepherd, George (Hugh Jackman).

The film, rated PG, is an Agatha Christie-lite mystery with eccentric suspects, a comically bumbling cop (Braun) and a passel of ovine investigators. It’s also a coming-of-age story about growing up and losing your innocence that might have a “Bambi”-like resonance for children. The movie’s sheep have a way of erasing unpleasant things from their minds — they believe, for instance, that instead of dying, they just turn into clouds — but learn that death is an inextricable part of life.

“In some ways, the most important character is Mopple, the sheep played by Chris O’Dowd,” the screenwriter, Craig Mazin, said in a video interview. “He has a defect — he does not know how to forget — and he’s been carrying his memories all alone.”

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“Three Bags Full” is an adult novel that includes grown-up themes like drugs and suicide. In adapting it for a younger audience, Mazin toned down its darker elements, changed its ending, and — for help in writing about death — consulted a book by Fred Rogers, TV’s Mister Rogers, about how to talk to children about difficult subjects.

The journey from book to film has been long and circuitous. “Three Bags Full” was written by Leonie Swann, then a 20-something German doctoral student studying English literature. Distracting herself from her unwritten dissertation, on the topic of “the animal point of view in fiction,” she began a short story “playing around with the idea of sheep detectives,” she said. “And I realized it was more like a novel, and it wasn’t the worst novel I’d ever seen.”

Why sheep? “I wasn’t someone who was thinking about sheep all the time,” Swann, who lives in the English countryside and has a dog named Ezra Hound, said in a video interview. Yet they have always hovered on the periphery of her life.

There was a friendly sheep that she used to see on her way to school. There was an irate ram that once chased her through the streets of a Bavarian village. And there were thousands and thousands of sheep in the fields of Ireland, where she lived for a time. “There were so many of them, and you could tell there was a lot of personality behind them,” she said.

A book in which sheep are stirred to action had to be a mystery, she said, to motivate the main characters. “In a lot of other stories, you would have trouble making a sheep realize there’s a story there,” she said. “They would just keep grazing. But murder is an existential problem that speaks to sheep as well as humans.”

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Swann (the name is a pseudonym; she has never publicly disclosed her real name) found a literary agent, Astrid Poppenhusen, who brought her manuscript to market. Published in 2005, the book was translated into 30 languages and ended up spending three and a half years on German best-seller lists. (The German title is “Glennkill,” after the village in which it takes place.) Other novels followed, including a sheep-centric sequel, “Big Bad Wool,” but Swann never finished her dissertation.

Doran, the producer, read the book — now published in the United States by Soho Press, along with four other Swann novels — soon after hearing about it. She was determined to make it into a movie. Whenever she told anyone about the idea, she said, she had them at “sheep.”

The director, Kyle Balda (whose credits include “Minions”), was so excited when he first read the script, in 2022, that “I immediately drove out to a sheep farm” near his house in Oregon, he said in a video interview. “Very instantly I could see the behavior of the sheep, their different personalities. I learned very quickly that there are more varieties of sheep than dogs.”

How to make the sheep look realistic, and how to strike the proper balance between their inherent sheep-iness and their human-esque emotions were important questions the filmmakers grappled with.

It was essential that “the sheep in this world are sheep” rather than humans in sheep’s clothing, Balda said. “It’s not the kind of story where they are partnered with humans and talking to each other.”

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That means that like real sheep, the movie sheep have short attention spans. They’re afraid to cross the road. “They don’t drive cars; they don’t wear pants; they’re not joke characters saying things like, ‘This grass would taste better with a little ranch dressing,’” Doran said.

And whenever they speak, their words register to humans as bleating, the way the adult speech in “Peanuts” cartoons sounds like trombone-y gibberish to Charlie Brown and his friends.

Lily, the leader of the flock, is played by Julia Louis-Dreyfus. It is not her first time voicing an animal in a movie: She has played, among other creatures, an ant in “A Bug’s Life” and a horse in “Animal Farm.” “When I read the script, I thought, ‘Wow, this is so weird,’” she said in a video interview. “It’s not derivative of anything else.”

Lily is unquestionably not a person; among other things, like a real sheep, she has a relatively immobile face set off by lively ears. “But her journey is a human journey where she realizes certain things about life she didn’t understand,” Louis-Dreyfus said. “There’s also the question of being a leader, and how to do that when you’re questioning your own point of view.”

Nicholas Braun took easily to the role of Officer Tim, the inept constable charged with solving the shepherd’s murder.

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“The part was a little Greg-adjacent in the beginning, and I don’t really want to play too many Gregs,” Braun said via video, referring to Cousin Greg, his hapless punching bag of a character in the TV drama “Succession.”

“I’m post-Greg,” he said.

It takes Officer Tim some time to notice that the neighborhood sheep might be actively helping him tackle the case. But Braun said that unlike Greg, who is stuck in perpetual ineptitude, Tim gets to grow into a braver and more assertive person, a take-charge romantic hero — much the way the sheep are forced into action from their default position of “just forgetting about it and moving on and going back to eating grass,” he said.

Braun mused for a bit about other potential animal detectives — horses, say, or cows — but concluded that the sheep in the film were just right for the job. He predicted that the movie would change people’s perception of sheep, much the way “Toy Story” made them “look at their toys, or their kids’ toys, differently.”

“I don’t think people are going to be eating as much lamb after this,” he said.,

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