Culture
Thanks to NIL, local car dealers are out of the shadows and landing star college athletes
On Jan. 19, two days after he became the most coveted football player in the NCAA’s transfer portal, and mere hours after he welcomed Ohio State coaches for a recruiting visit, Caleb Downs announced his change-of-address plans. The freshman safety who’d earned second-team All-America honors at Alabama committed to the Buckeyes. Not long after, Downs and his father began relocating to Columbus.
Getting there was simple enough. Getting around was another matter.
Some wheels needed to be put in motion.
“I get a call from someone on the coaching staff and they said, ‘Hey, I’m here with Caleb and his dad now. Are you looking to add somebody else to your team?’” says Rick Ricart, the CEO and owner of Ricart Automotive Group in Columbus. “Would you be willing to do a car deal for him?’”
For decades, these were shifty conversations. Local car dealerships had long been conduits for the whispered inducements coaches or boosters promised talented players. When discovered, scandal erupted. Repercussions were often stark. Then came the seismic summer of 2021, when changes to Name, Image and Likeness (NIL) rules allowed college athletes to earn money without fear of NCAA sanctions.
Car dealers nationwide quickly exchanged leases and keys for players boasting about their new ride on social media or even starring in commercials. The scheming, overzealous outsider morphed into the connective tissue for landing a star. A practice parked in the shadows was almost literally driven into the light. “All of a sudden, it was like, ‘What are the rules here?’” Ricart says now. “There are no rules anymore.”
Even before Ohio State coaches reached out to Ricart last winter, fans flocked to his direct messages, begging him to help woo Downs. The player ultimately received a Land Rover from a different dealership, orchestrated via The Foundation, Ohio State’s NIL collective, with Downs agreeing to be an ambassador for multiple charity partners. Ricart at least tangentially fulfilled everyone’s wishes, though: He’s on the collective’s 24-person board.
Besides, business was still good. After Ohio State landed prized five-star receiver Jeremiah Smith in late December, Ricart zeroed in on a prospect who could be the program’s next great wideout. Two days before Downs was pictured in front of his new Land Rover, Ricart and Smith stood in front of the Ohio State football complex. Behind them was Smith’s new ride: a black 2024 Dodge Durango 392 SUV.
A couple members of our NIL team got new rides this week! I’m thrilled to welcome back @jacksawyer33 for his 3rd year with us, cruising in style in a beautiful red Rabid Customs Ford F-150! 🛻
And very excited to bring in @Jermiah_Smith1 ! Looking forward to seeing your… pic.twitter.com/gyVtr3WVQ4
— Rick Ricart 🏍🏎💨 (@RickRicart) March 12, 2024
In 1895, William E. Metzger attended the world’s first automobile show in London. He was a bicycle enthusiast with a shop in Detroit that dealt with suppliers in England, but the revelation of motor vehicles left Metzger convinced about the shape of the future. He returned to the United States and within two years opened the first retail car dealership in the country. Metzger, who by all accounts didn’t attend college, had a great idea.
He also didn’t have the foggiest idea.
Less than 40 years later, the movie “College Coach” hit the big screen. The central character, James Gore, is beset by expectations and obsessed with winning. At one point, an offensive lineman visits Gore’s office and discusses the possibility of quitting and joining “Atlantic Eastern College.” The player – in what seems to be a tortured Eastern European accent – says he’s been offered, among other things, the use of a 1928 Chrysler with six cylinders.
“Well, I’ll top that offer right now,” Gore replies. “I’ll get you one with seven cylinders.”
This was 1933. It wasn’t a half-century into the existence of car dealerships. And a football coach already knew a guy.
So – for as long as anyone living can remember – the car dealer has been an explicit or implicit part of the college athletics process. Until recently, it’s an element that existed outside of the guardrails, at least relative to the NCAA guidebook. But when we put history on auto-focus, it’s easy to argue that those programs that swerved around the rules weren’t renegades. They’re mostly the unlucky few to hit a pothole.
In early 1976, Michigan State football received three years probation and bowl ban after an NCAA investigation resulted in 70 charges, including one player purchasing a car under a special payment deal arranged by boosters and another player’s car loan promissory note being signed by “an MSU representative” – which a booster was, by the NCAA’s definition.
In 1989, an Oklahoma State football scandal included a recruit being offered a Nissan 300ZX upon enrollment; a player receiving a car “provided at no cost by representatives of the university’s athletics interests;” a coach arranging for a prospect to be employed at a booster’s car dealership before graduation; and a booster guaranteeing a $7,000-plus loan for a player to “in order for the young man to purchase an automobile from the representative’s car dealership.”
Eric Dickerson’s gold Trans Am, which became an emblem of the excess that earned SMU football the so-called “death penalty” from the NCAA in 1987, was arranged with a dealership by a Texas A&M booster – a livestock feed store owner trying to woo Dickerson to College Station, according to the autobiography “Watch My Smoke: The Eric Dickerson Story.”
“I had my pick of a Corvette and three Trans Ams: black, silver, and gold,” Dickerson wrote. “I liked the gold one.”
In 2006, Oklahoma dismissed football players Rhett Bomar and J.D. Quinn after it was revealed they accepted payment for more work than they completed as employees at Big Red Sports and Imports, a local dealership. Jack Maxton Chevrolet and Auto Direct in Columbus, Ohio, was at the center of an investigation into Ohio State players and families purchasing cars at below-market rates, sparked in part by then-quarterback Terrelle Pryor driving a car from the dealership during three traffic stops in three years. (The Ohio Bureau of Motor Vehicles cleared the dealership of any illicit deals in 2011.)
Lest anyone assume the shenanigans are all football-related, the NCAA banned Kansas from its men’s basketball tournament in 1961 and 1962 because it discovered boosters had financed a car for a Jayhawks player. The star driving the 1956 Oldsmobile convertible in question? Wilt Chamberlain.
Unsurprisingly, the archetype became pop culture fodder decades on from Depression-era cinema.
A booster for fictional Western University gifts basketball prospect Neon Boudeaux – played by Shaquille O’Neal – a car in the 1994 film “Blue Chips.” The most ubiquitous and sympathetic specimen may be Buddy Garrity, the former star quarterback-turned-car dealership owner and rabid president of the Dillon High booster club in the “Friday Night Lights” television series. Over the arc of 73 episode appearances, actor Brad Leland plays Garrity less as a one-dimensional schemer and more like a local who’s a little too devoted, often to his (and others’) detriment.
“This was a guy that really cared about the community and really cared about his family and just has weaknesses just like all of us do,” Leland told D Magazine in a 2011 interview.
What viewers thought of Buddy Garrity varied. But there was one constant: So many people had their own Buddy Garrity experience. “One thing that we’ve learned about our show is that Canadians will come up to me and say, ‘Oh, I knew a Buddy Garrity in Canada,’ except it was hockey,’” Leland said. “And in the Midwest it was basketball, and in England it was soccer, and we’ve had people from Australia who watch our show and talk about rugby.”
Now those relationships, and the people who make them, have shifted into the very public domain. The freedoms of NIL have unshackled theoretical restraints from the men and women who roam car lots but also often double as highly invested college football fans. The math is simple: a car lease for 12 months in exchange for marketing to the hundreds of thousands — and sometimes millions — of followers athletes have on their various social media platforms. About all the player is responsible for is the car insurance.
Three weeks after NIL first took flight in July 2021, Parker Jones, the general manager at the Jones Auto Centers in the Phoenix area, received a text from his wife. It was a photo of former LSU quarterback Myles Brennan standing in front of a white Ford F-250 truck in the first known NIL car deal of its kind.
LSU quarterback Myles Brennan inked the first known NIL deal of its kind with a dealership in 2021, as the floodgates opened for college athletes. (Chris Graythen / Getty Images)
An Arizona State alum, Jones floored it in his attempt to replicate the deal on a local level. He found an email in the Instagram bio of then-Sun Devils quarterback Jayden Daniels and fired off an inquiry. Less than a month after Brennan’s landmark deal was announced, Jones and Daniels stood in the parking lot outside of Sun Devil Stadium, next to a black 2020 Ford Mustang GT Premium. That partnership didn’t last long – Daniels transferred to LSU in March 2022, eventually becoming a Heisman Trophy winner and No. 2 pick in the NFL Draft – but Jones has continued to strike NIL deals with Sun Devil football players.
Most importantly, he estimates his dealerships have sold at least 20 cars tied to this venture. He knows this because his staff takes notes when prospective buyers mention the Arizona State connection they’ve seen on social media or on online message boards. “It’s now generating a (return on investment),” Jones says. “Is it the absolute No. 1 most successful ROI of any advertising campaign that we’ve ever had? No. But it’s in the black and it’s not a losing-money venture for us.”
The ripple effect has been more like a rogue wave everyone is comfortably riding.
Martin McKinley, a Clemson alum and general manager at Fred Caldwell Chevrolet in Clover, S.C., saw Ohio State players posing in front of cars on the lot. Soon after, he struck a deal with former Clemson defensive end Bryan Bresee. After Bresee graduated in the spring of 2023, McKinley had an opening – he says he has more modest aims for one partnership per year as an “image thing” – and partnered with starting quarterback Cade Klubnik.
“I just went with the most recognizable person on Clemson campus because it’s always going to be quarterback,” McKinley says. “My demographic historically is not 18-to-22. We’re selling $90,000 cars. But the branding works. These guys all have 100,000 followers on social media. I’m also careful not to alienate fan bases. I didn’t really do it to sell cars. Now I know we’ve sold some because of it.”
Ricart and his team study the social media histories of potential collaborators to gauge whether their reach is worth a key to a car. Players deeper down the Ohio State depth chart have reached out directly to Ricart to introduce themselves in hopes of landing a deal.
If the player’s social media presence is lacking in audience and transparency in their own lives, Ricart advises players to utilize their platform to be more marketable. He’ll also check in with sources in the Ohio State football complex to gauge if a player may be a starter in a year or two. “You’ve got to be able to quantify it and make sure it’s the players that people know,” Ricart says.
It is, naturally, no coincidence that the players who earn deals tool around in something a little more noticeable than a sensible family sedan.
When assigning Klubnik a vehicle, McKinley says he handed over the keys to “about the nicest truck we had in stock.”
It’s a black Chevrolet Silverado ZR2. Price tag starts at about $71,000.
Angel Reese’s birthday present to herself was a stunner: A black Mercedes-Benz with a red bow on the hood.
@angelreese10 BIG BODY BENZ BARBIE! 👀💖Why not get a new car when it’s your 21st birthday week??? 🥳Thank you @mercedesbenzofbatonrouge for helping me purchase my NEW CAR!! This is a gift to myself for everything that I’ve accomplished in 1 YEAR but I wouldn’t be the Bayou Barbie without @bayoutraditions & @matchpoint_connection ! Appreciate you guys so much!! BIG EQS580😘 #BAYOUBARBIETURNS21 #GODDID
♬ Originalton – tonic
Along with four pictures in a May 2023 post on X, she thanked both the Baton Rouge dealership and LSU’s NIL collective, Bayou Traditions. That Reese would get into a luxury ride while still in college was no surprise; she was an All-American and national champion with millions of social media followers (not to mention a year away from attending the Met Gala).
Nor was it shocking that, the previous spring, Oklahoma softball star Jocelyn Alo – the NCAA’s all-time leader in career home runs – posed inside a car she’d be driving as part of a deal with Fowler Toyota in Norman. Of course, the stars among stars of women’s sports would be first in line in the NIL era, too.
But a Boise State volleyball player and golfer?
After initially balking at the concept of NIL deals entirely – more on that in a bit – Jim Sterk tiptoed into the waters by agreeing to partner with Riley Smith, then a tight end with the Broncos football team. The general manager at Lithia Ford in Boise simultaneously decided he should add a female athlete to the mix, too. He asked the school to suggest candidates. His first interview was with Paige Bartsch, a volleyball star. “I just looked at our ad agency and I was like, ‘I don’t know about you, but I don’t need to talk to anybody else,’” Sterk says.
Brooke Patterson, meanwhile, took different inroads: Sterk knew the Patterson family, and Brooke asked to visit with him to discuss NIL opportunities before she left to play golf at Cincinnati. What Sterk thought would be an advice session turned into a direct business pitch he couldn’t turn down. “I said, ‘Your deal has to sell cars instantly for me,’” Sterk recalls. “And she says, ‘Well, this is who follows me.’ She showed me her phone and it’s all 35- to 65-year-old males that drive Ford F-150s. She’s like, ‘We don’t want to reach out to these people?’”
Bartsch took home Mountain West player of the year honors in 2023, and the sport’s visibility is spiking. Both are undeniable pluses. Patterson won’t take a swing for the Broncos until next season after a transfer brought her back to Boise last December, but it’s an unmistakable sign of these times that non-household names in non-revenue sports benefit, too, and that dealerships see them as worthy partners.
“Social media-wise, females are way better at presenting the product than males are,” said Sterk, who can attribute at least five car sales directly to the partnership with Patterson.
Sterk’s dealership partnered with Boise State athletics for about a decade before the new NIL rules took effect, but the only cars that left his lot bound for campus were standard courtesy automobiles for coaches. When the landscape shifted, Sterk did not initially want to embark down that road. “I was pretty negative about (NIL),” he said. Then a receptionist who was also a member of the school’s spirit squad suggested he meet with Riley Smith. Sterk agreed in part because he had confused Smith, a Florida native, with another Boise State player who was local.
The conversation nevertheless went so well that it spawned a deal for Smith. That sparked the idea to complement it with one for Bartsch. Eventually, the dealer who wanted nothing to do with giving cars to players had a half-dozen of them on the Lithia Ford roster. He’s already contemplating who will replace them after they graduate.
“It’s been super positive in the community for the dealership and with PR,” Sterk says. “It does generate business and it does generate awareness. And so now a guy that was completely against it has six athletes … It’s wild.”
(Top image: Daniel Goldfarb / The Athletic; Photos: Greg Nelson / Sports Illustrated via Getty Images; Martyn Lucy / Getty Images; iStock)
Culture
Test Yourself on the Settings Mentioned in These Novels About Road Trips
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights the starting points or destinations of five novels about road trips. (Even if you aren’t familiar with the book, most questions offer an additional hint about the location.) To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
Culture
This Poem About Monet’s “Water Lilies” Reflects on the Powers and Limits of Art
In the midst of the world’s unrelenting horribleness, it’s important to make room for beauty. True! But also something of a truism, an idea that comes to hand a little too easily to be trusted. The proclamation that art matters — that, in difficult times, it helps — can sound like a shopworn self-care mantra.
So instead of musing on generalities, maybe we should focus our attention on a particular aesthetic experience. Instead of declaring the importance of art, we could look at a painting. Or we could read a poem.
A poem, as it happens, about looking at a painting.
Hayden did not take the act of seeing for granted. His eyesight was so poor that he described himself as “purblind”; as a child he was teased for his thick-framed glasses. Monet’s Giverny paintings, whose blurriness is sometimes ascribed to the painter’s cataracts, may have revealed to the poet not so much a new way of looking as one that he already knew.
Read in isolation, this short poem might seem to celebrate — and to exemplify — an art divorced from politics. Monet’s depiction of his garden, like the garden itself, offers a refuge from the world.
But “Selma” and “Saigon” don’t just represent headlines to be pushed aside on the way to the museum. They point toward the turmoil that preoccupied the poetry of Hayden and many of his contemporaries.
“Monet’s ‘Waterlilies’” was published in a 1970 collection called “Words in the Mourning Time.” The title poem is an anguished response to the assassinations of Robert F. Kennedy and the Rev. Dr. Martin Luther King Jr., and to the deepening quagmire in Vietnam. Another poem in the volume is a long elegy for Malcolm X. Throughout his career (he died in 1980, at 66), Hayden returned frequently to the struggles and tragedies of Black Americans, including his own family.
Born in Detroit in 1913, Hayden, the first Black American to hold the office now known as poet laureate of the United States, was part of a generation of poets — Gwendolyn Brooks, Dudley Randall, Margaret Danner and others — who came of age between the Harlem Renaissance of the 1920s and the Black Arts movement of the ’60s.
A poet of modernist sensibilities and moderate temperament, he didn’t adopt the revolutionary rhetoric of the times, and was criticized by some of his more radical peers for the quietness of his voice and the formality of his diction.
But his contemplative style makes room for passion.
Culture
Frankenstein’s Many Adaptations Over the Years
Ever since the mad scientist Frankenstein cried, “It’s alive!” in the 1931 classic film directed by James Whale, pop culture has never been the same.
Few works of fiction have inspired more adaptations, re-imaginings, parodies and riffs than Mary Shelley’s tragic 1818 Gothic novel, “Frankenstein; or, the Modern Prometheus,” the tale of Victor Frankenstein, who, in his crazed quest to create life, builds a grotesque creature that he rejects immediately.
The story was first borrowed for the screen in 1910 — in a single-reel silent — and has directly or indirectly spawned hundreds of movies and TV shows in many genres. Each one, including Guillermo del Toro’s new “Frankenstein,” streaming on Netflix, comes with the same unspoken agreement: that we collectively share a core understanding of the legend.
Here’s a look at the many ways the central themes that Shelley explored, as she provocatively plumbed the human condition, have been examined and repurposed time and again onscreen.
“I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.”— Victor Frankenstein, Chapter 3
The Mad-Scientist Creator
Shelley was profuse in her descriptions of the scientist’s relentless mind-set as he pursued his creation, his fixation on generating life blinding him to all the ramifications.
Sound familiar? Perhaps no single line in cinema has distilled this point better than in the 1993 blockbuster “Jurassic Park,” when Dr. Ian Malcolm tells John Hammond, the eccentric C.E.O. with a God complex, “Your scientists were so preoccupied with whether or not they could that they didn’t stop to think if they should.”
Among the beloved interpretations that offer a maniacal, morally muddled scientist is “The Curse of Frankenstein” (1957), the first in the Hammer series.
“Mary Shelley’s Frankenstein” (1994), directed by Kenneth Branagh, is generally considered the most straightforward adaptation of the book.
More inventive variations include the flamboyant Dr. Frank-N-Furter, who creates a “perfect man” in the 1975 camp favorite “The Rocky Horror Picture Show.”
In Alex Garland’s 2015 thriller, “Ex Machina,” a reclusive, self-obsessed C.E.O. builds a bevy of female-like humanoids.
And in the 1985 horror comedy “Re-Animator,” a medical student develops a substance that revives dead tissue.
Then there are the 1971 Italian gothic “Lady Frankenstein” and the 2023 thriller “Birth/Rebirth,” in which the madman is in fact a madwoman.
“With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet.”— Victor Frankenstein, Chapter 5
The Moment of Reanimation
Shelley is surprisingly vague about how her scientist actually accomplishes his task, leaving remarkable room for interpretation. In a conversation with The New York Times, del Toro explained that he had embraced this ambiguity as an opportunity for imagination, saying, “I wanted to detail every anatomical step I could in how he put the creature together.”
Filmmakers have reimagined reanimation again and again. See Mel Brooks’s affectionate 1974 spoof, “Young Frankenstein,” which stages that groundbreaking scene from Whale’s first movie in greater detail.
Other memorable Frankensteinian resurrections include the 1987 sci-fi action movie “RoboCop,” when a murdered police officer is rebooted as a computerized cyborg law enforcer.
In the 2012 Tim Burton animated “Frankenweenie,” a young scientist revives his beloved dog by harnessing lighting.
And in the 2019 psychologically bleak thriller “Depraved,” an Army surgeon, grappling with trauma, pieces together a bundle of body parts known as Adam.
“Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust?”— The creature, Chapter 15
The Wretched Creature
In Shelley’s telling, the creature has yellow skin, flowing black hair, white teeth and watery eyes, and speaks eloquently, but is otherwise unimaginably repulsive, allowing us to fill in the blanks. Del Toro envisions an articulate, otherworldly being with no stitches, almost like a stone sculpture.
It was Whale’s 1931 “Frankenstein” — based on a 1927 play by Peggy Webling — and his 1935 “Bride of Frankenstein” that have perhaps shaped the story’s legacy more than the novel. Only loosely tethered to the original text, these films introduced the imagery that continues to prevail: a lumbering monster with a block head and neck bolts, talking like a caveman.
In Tim Burton’s 1990 modern fairy tale “Edward Scissorhands,” a tender humanoid remains unfinished when its creator dies, leaving it with scissor-bladed prototypes for hands.
In David Cronenberg’s 1986 body horror, “The Fly,” a scientist deteriorates slowly into a grotesque insectlike monster after his experiment goes wrong.
In the 1973 blaxploitation “Blackenstein,” a Vietnam veteran who lost his limbs gets new ones surgically attached in a procedure that is sabotaged.
Conversely, in some films, the mad scientist’s experiment results in a thing of beauty: as in “Ex Machina” and Pedro Almodóvar’s 2011 thriller, “The Skin I Live In,” in which an obsessive plastic surgeon keeps a beautiful woman imprisoned in his home.
And in Yorgos Lanthimos’s 2023 sci-fi dramedy, “Poor Things,” a Victorian-era woman is brought back to life after her brain is swapped with that of a fetus.
“I am an unfortunate and deserted creature; I look around, and I have no relation or friend upon earth.”— The creature, Chapter 15
The All-Consuming Isolation
The creature in “Frankenstein” has become practically synonymous with the concept of isolation: a beast so tortured by its own existence, so ghastly it repels any chance of connection, that it’s hopelessly adrift and alone.
What’s easily forgotten in Shelley’s tale is that Victor is also destroyed by profound isolation, though his is a prison of his own making. Unlike most takes on the story, there is no Igor-like sidekick present for the monster’s creation. Victor works in seclusion and protects his horrible secret, making him complicit in the demise of everyone he loves.
The theme of the creator or the creation wallowing in isolation, physically and emotionally, is present across adaptations. In Steven Spielberg’s 2001 adventure, “A.I. Artificial Intelligence,” a family adopts, then abandons a sentient humanoid robot boy programmed to love.
In the 2003 psychological horror “May,” a lonely woman with a lazy eye who was ostracized growing up resolves to make her own friend, literally.
And in the 1995 Japanese animated cyberpunk “Ghost in the Shell,” a first-of-its-kind cyborg with a human soul struggles with its place amid humanity.
“Shall each man find a wife for his bosom, and each beast have his mate, and I be alone?”— The creature, Chapter 20
The Desperate Need for Companionship
In concert with themes of isolation, the creators and creations contend with the idea of companionship in most “Frankenstein”-related tales — whether romantic, familial or societal.
In the novel, Victor’s family and his love interest, Elizabeth, are desperate for him to return from his experiments and rejoin their lives. When the creature demands a romantic partner and Victor reneges, the creature escalates a vengeful rampage.
That subplot is the basis for Whale’s “The Bride of Frankenstein,” which does offer a partner, though there is no happily ever after for either.
Sometimes the monster finds love with a human, as in “Edward Scissorhands” or the 2024 horror romance “Lisa Frankenstein,” in which a woman falls for a reanimated 19th-century corpse.
In plenty of other adaptations, the mission is to restore a companion who once was. In the 1990 black comedy “Frankenhooker,” a science whiz uses the body parts of streetwalkers to bring back his fiancée, also Elizabeth, after she is chewed up by a lawn mower.
In John Hughes’s 1985 comedy, “Weird Science,” a couple of nerdy teenage boys watch Whale’s 1931 classic and decide to create a beautiful woman to elevate their social standing.
While the plot can skew sexual — as with “The Rocky Horror Picture Show,” “Ex Machina” and “Frankenhooker” — it can also skew poignant. In the 1991 sci-fi action blockbuster “Terminator 2: Judgment Day,” a fatherlike bond forms between a troubled teenage boy and the cyborg sent to protect him.
Or the creature may be part of a wholesome, albeit freakish, family, most famously in the hit 1960s shows “The Addams Family,” with Lurch as the family’s block-headed butler, and “The Munsters,” with Herman Munster as a nearly identical replica of Whale’s creature.
In Shelley’s novel, the creature devotes itself to secretly observing the blind man and his family as they bond over music and stories. While sitcom families like the Munsters and the Addamses may seem silly by comparison, it’s a life that Shelley’s creature could only have dreamed of — and in fact did.
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