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Lakers vs. Celtics is bigger than basketball. The truth behind the NBA’s top rivalry

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Each nice story wants a villain — and for the Los Angeles Lakers, the most important dangerous of all has at all times been the Boston Celtics.

In Episode 2 of “Binge Sesh,” hosts Matt Brennan and Kareem Maddox discover probably the most storied rivalry in NBA historical past. From Larry Chook to the “Beat L.A.” chant, we look at how the Celtics — embodied in HBO’s “Successful Time” by the legendary coach and basic supervisor Purple Auerbach — got here to be the Lakers’ quintessential opponent, for causes that went method past the basketball courtroom. Warning: This episode comprises profanity.

Or take a look at Episode 1: How Jerry Buss, Magic Johnson and the Showtime Lakers created the trendy NBA

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Jeff Pearlman: It’s a chilly day in Boston.

Kareem Maddox: You’re the Lakers, and also you’re the visiting crew.

Pearlman: The visiting locker room goes to be freezing. The warmth received’t work.

Maddox: That’s the worst whenever you’re attempting to vary or whenever you’re already sweaty.

Pearlman: You’re staying at no matter lodge. Amazingly, that identify of the lodge exhibits up within the newspaper.

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Maddox: Now you may have Celtics die-hards figuring out the place you’re sleeping.

Pearlman: And simply by coincidence, at 3 within the morning, a fireplace alarm is being pulled in that lodge and everybody has to go away, after which they return to the room and, oh, it’s 5 o’clock and it’s pulled once more.

Maddox: Now you’re exhausted. And whenever you do ultimately present up on the Boston Backyard …

Pearlman: … there’s useless spots within the parquet flooring that the Celtics knew however the visiting gamers didn’t know. You’re dribbling the ball. The ball rapidly hits a flat spot.

Maddox: Welcome to basketball hell.

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READ MORE >>> There’s no place that may examine with Boston Backyard

Maddox: I’m Kareem Maddox, basketball-playing podcast host.

Matt Brennan: And I’m Matt Brennan, Irish Catholic boy from Boston, Mass., and TV editor of the Los Angeles Instances.

Maddox: And that is “Binge Sesh.” This week we’re testing Episode 2 of “Successful Time,” by which we bought to fulfill a number of the Lakers’ without end rivals, the Boston Celtics. So Matt and I are speaking rivalries: what makes them, and what made up one of the vital infamous ones from the Nineteen Eighties.

Brennan: So, Kareem, you went to Princeton, proper?

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Maddox: Sure, I did.

Brennan: So who’s your rival?

Maddox: We name them “these guys down in Philly.”

Brennan: Wait, actually?

Maddox: Yeah, we don’t say the identify.

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Brennan: Um, for these of us who should not intimately conversant in “these guys down in Philly,” who does that discuss with?

Maddox: The College of Pennsylvania.

Brennan: What’s your most vivid reminiscence of that rivalry?

Maddox: Being made to run by my coach, who was additionally a Princeton alumni.

Brennan: OK, describe to me, I don’t even know what you’re speaking about. Describe to me what the working is, the place you’re working, the way you’re working, what the aim of the working is.

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Maddox: The place we’re going?

Brennan: Yeah.

Maddox: Yeah. So, nowhere. We needed to run suicides. So it’s like, mainly, begin on the baseline, so, beneath the ring. You run to the free throw line after which again; after which to half courtroom after which again; after which the opposite free throw line, again; full courtroom, again.

Brennan: That sounds horrible.

Maddox: They’re not enjoyable. And we needed to do these as a result of our coach didn’t like fascinated about these guys down in Philly, however that was the week of the sport towards these guys down in Philly.

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Brennan: What you’re telling me is that your coach punished your crew earlier than the sport towards your largest rival — simply because they exist.

Maddox: Sure, that’s precisely what occurred.

Brennan: That is very very like a Lauren Conrad versus Heidi Montag state of affairs.

Maddox: Who’s that?

Brennan: OK. I’m making a psychological observe to introduce you to “The Hills.” However what I meant by that’s that rivalries don’t simply apply in sports activities, however we’re going to deal with how they function in sports activities at present and particularly how they function for the Lakers and their archrivals, the Celtics. However earlier than we get to that: I truly bought to speak to a few professors who research rivalries.

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Joe Cobbs: I’m Dr. Joe Cobbs and I’m co-founder of the Know Rivalry Mission with Dr. David Tyler, who’s on the College of Massachusetts at Amherst.

Brennan: That’s the Ok.N.O.W. undertaking. So, their undertaking seems to be at a whole lot of totally different sports activities rivalries.

Cobbs: The substances that go into them and a number of the outcomes or the outcomes. What are the variations? And the way do these contribute to followers’ reactions?

Brennan: So the primary apparent query I had was merely: How do you outline rivalry?

Cobbs: An opponent or an out-group that poses an acute risk to your in-group. That might be a risk to esteem, or it might be a sensible risk to your in-group’s accomplishment. The better the risk, the extra alternative there’s additionally for enhancement of shallowness when you can overcome that risk.

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Quincy Isaiah as Magic Johnson in “Successful Time.”

(Warrick Web page/HBO)

Maddox: So in a method, being part of a rivalry as a fan is form of like playing with happiness. The extra heated the rivalry, the larger the payoff in case your crew wins. But when they lose —

Brennan: Precisely. And for a very long time, Lakers followers misplaced that gamble rather a lot.

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So we noticed within the first episode of “Successful Time” that the lopsidedness of this rivalry just about drove Lakers nice Jerry West loopy.

[“Winning Time” clip: Jerry Buss character: When he retired, they made his silhouette the logo of the league. Jerry West character: You think that made me f— happy? Well, it didn’t!]

Maddox: Lakers legend Jerry West was sick of his Lakers shedding. Within the ‘60s and ’70s, the Lakers went to the finals 9 instances — 9 instances! — however solely received a type of championships. And 6 of the eight instances they misplaced, it was to the Celtics.

Brennan: Beat L.A., child!

Maddox: Don’t say that.

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Brennan: However that historical past is a part of what makes rivalries tick, in response to the blokes from the Know Rivalry Mission.

Cobbs: That’s actually form of what the rivalries are, is that they’re a story that takes place over time, that builds up the which means of that opponent greater than different opponents. And the narrative of Lakers-Celtics is simply so deep with totally different layers. And so a type of layers is definitely these superstars of the ’80s and ’90s. However the superstars return on this rivalry even earlier than Chook and Magic.

Maddox: In Episode 2 of “Successful Time,” we meet one of many superstars that cemented this rivalry into the e-book of rivalries: Purple Auerbach.

[“Winning Time” clip: Jerry Buss character: But I’d still like to meet the past. Where’s this Auerbach? David Stern character: Oh, you mean the Pope? Follow the white smoke.]

Brennan: My notion of Purple Auerbach, who was earlier than my time, has at all times been as this red-faced, cigar-chomping cartoon villain, besides since he was affiliated with my hometown crew, he was the hero. And my concept of him, I feel, traces up fairly a bit with the caricature that we’re launched to in “Successful Time.”

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Two photos of Boston Celtics coach Red Auerbach clapping in 1951

Boston Celtics coach Purple Auerbach expresses himself from a field seat throughout a Celtics recreation in these two photographs from 1951. Auerbach had been tossed from the sport on the finish of the primary half for protesting the officers’ choices.

(WCC / Related Press)

[“Winning Time” clip: Jerry Buss character: Red Auerbach. Winner of 13 rings, seven of them against our club, no losses. If you’re a Laker, he’s the devil incarnate. If you’re from Boston, chances are you’re Catholic, but you’d sell your soul for him.]

Maddox: It looks like he actually leaned into this popularity as a villain. For instance, he as soon as punched the proprietor of one other crew as a result of he thought their crew had messed with the peak of the hoops. Then there was that different time when he ran onto the courtroom to problem Moses Malone, a large of a human, to a struggle.

Brennan: Michael Chiklis, who performs Purple within the present — his model of the character doesn’t dispel that picture. He’s not simply depicted as conceited, aggressive and ruthless. He describes himself that method.

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[“Winning Time” clip: Red Auerbach character: Championships aren’t won, they’re taken. By men like me, who cut your heart out and still sleep like a baby for one more banner in the rafters. Because I don’t want to win, I need to. And it doesn’t make me happy, it makes me a miserable f— bastard.]

Maddox: He does seem to be the Penguin from the previous Batman films, however there’s one other aspect to his legacy: When Purple entered the league, it was 100% white. He turned the Celtics coach in 1950. And that crew chosen the primary Black participant to be drafted into the NBA. He was the primary coach to begin 5 Black gamers in a recreation. He traded away two good white gamers to have the ability to draft Invoice Russell, who after all would go on to win 11 rings with the Celtics and turn into a Corridor of Famer. After which when Purple Auerbach turned the overall supervisor, he made Invoice Russell the NBA’s first Black head coach.

Bill Russell puts one arm around coach Red Auerbach and holds a basketball in the other arm

Celtics star Invoice Russell is congratulated by coach Purple Auerbach after Russell scored his 10,000th level Dec. 12, 1964.

(Invoice Chaplis / Related Press)

Brennan: So I’ve been doing slightly Purple Auerbach googling ’trigger I used to be interested in this.

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Maddox: I guess you may have.

Brennan: I’m a nerd. What can I say? Um, I stumbled on this quote from Celtics nice Bob Cousy, who truly as soon as mentioned of Auerbach, “He was definitely no chief of civil rights. He was fully one-dimensional. His total life was win.”

READ MORE >>> Nobody beat L.A. like Auerbach did

Maddox: Yeah, precisely. So we will’t actually know what motivated Purple. We don’t know the way and if he was supporting Invoice Russell when he confronted some critical acts of racism in Boston. Rachel Legal guidelines Myers is the creator of “Race and Sports activities” and an professional within the space. She informed us about probably the most notorious instance.

Rachel Legal guidelines Myers: When Invoice Russell was with the Celtics, you already know, this man had any individual break into his own residence and defecate on his mattress. When you concentrate on that private violation, to play on the nationwide stage, to win nationwide championships, to be lauded and praised, however then to come back house to your sanctuary and know that any individual broke in, all varieties of racial slurs on his partitions. And to actually defecate in your mattress. I imply, that’s hatred to the very best diploma.

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Maddox: What Russell confronted in Boston spilled over from politics into skilled sports activities. And never simply the NBA. That’s what Jeff Pearlman, who wrote the e-book that “Successful Time” is predicated on, informed us was taking place on the eve of the “Showtime” period.

Pearlman: I really feel like at the moment interval, folks weren’t prepared to embrace the quote unquote Blackness of a sport league. I imply, on the identical time interval, the NFL was mainly not permitting Black quarterbacks. So, like, you activate an NFL recreation, your star goes to be a white man. Main League Baseball, a lot of the stars are white guys. You go to the NBA, it’s a quote unquote Black league, you already know, and and it simply wasn’t actually embraced.

Brennan: And presently, Boston particularly was related to racism within the public creativeness. Which, although it breaks my coronary heart to say it, is smart.

Maddox: Why does that make sense?

Brennan: The Boston busing disaster.

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So I talked to the crew behind a podcast known as “Fiasco.” They did an entire season that defined what the Boston busing disaster was actually about. As a result of it was about much more than busing. Sam Graham-Felsen was a producer on the sequence.

Sam Graham-Felsen: I feel lots of people have heard of busing in Boston however don’t know a lot about it. And the remainder was historical past. We made a seven-part podcast about it.

Brennan: And it turned apparent to Sam that this was all actually a struggle over faculty desegregation nonetheless occurring 20 years after Brown vs. Board of Schooling. The host of “Fiasco,” Leon Neyfakh, defined the state of affairs:

Leon Neyfakh: Boston is a Northern metropolis the place folks considered themselves as progressive on race and there’s form of a pleasure in being not the South. However in truth, the faculties in Boston had been totally segregated, and within the faculties the place the Black college students went had been a lot, a lot worse, a lot, a lot poorer as a result of they didn’t have the identical sources.

And busing was an try to repair that.

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Brennan: The state of affairs got here to a head in Boston in 1976, America’s bicentennial yr.

Graham-Felsen: You had an overwhelmingly Black neighborhood known as Roxbury and also you had an overwhelmingly white neighborhood known as South Boston. These neighborhoods weren’t terribly far-off from one another, however they had been far sufficient that you just couldn’t stroll from one neighborhood to the opposite when you had been a highschool child. So the one approach to desegregate was to make use of buses.

Louise Day Hicks, who was one of many central characters, she simply actually latched on to this concept of, of busing. She would at all times say, like, “I’m not towards, you already know, Black youngsters. I’m not for segregation. Variety is a pleasant factor, however I I hate busing, I don’t wish to put my youngsters on a bus and make them drive for hours to some scary neighborhood far-off.” So that they made all of it in regards to the tactic of busing to obfuscate from the truth that they didn’t actually wish to combine white youngsters and Black youngsters.

Brennan: There’s a Pulitzer Prize-winning {photograph} from 1976 shot in Boston’s Metropolis Corridor Plaza. It’s known as “The Soiling of Outdated Glory,” and it condenses all of the forces at play right here. Leon Neyfakh described it like this:

A white anti–busing demonstrator uses an American flag to attack a Black man

This 1976 {photograph} is named “The Soiling of Outdated Glory.”

(Stanley Forman / Boston Herald)

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Leon Neyfakh: What you see whenever you have a look at the picture is a white man. He’s younger, however he’s not a child. He’s bought form of lengthy hair. He form of nearly seems to be like a hippie, which I feel makes it slightly even a extra slightly extra sinister. He seems to be like he’s holding an enormous spear and the flag is dangling on the finish.

As your eye form of follows this flag, what you see is that the particular person on the receiving finish of this spearing is a Black man sporting a go well with who’s form of crumpled nearly. He’s been destabilized, and he’s being form of held by different white folks. You may’t actually inform if he’s getting up or if he’s falling. And it seems to be, you already know, as you have a look at it, like he’s being restrained and this man with the spear is attempting to lunge at him with the flag, utilizing the flag as a weapon.

Graham-Felsen: Yeah, I imply, it seems to be like he’s attempting to stab the man to demise with the American flag. We quoted from a letter that any individual wrote to the Boston Globe the place the author says one thing like, “If these folks actually had been anti-busing, then why didn’t they go assault a bus? As an alternative they attacked a black lawyer. What does that need to do with a bus?”

Neyfakh: Yeah.

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Graham-Felsen: In order that mentioned every part to us.

Brennan: So I wish to be clear right here that the purpose of claiming all this isn’t to recommend that Boston was uniquely racist. College desegregation was fought tooth and nail by white mother and father and public officers in metropolis after metropolis, North and South, over the course of many years. In some ways, it nonetheless is. However for a number of causes — as a result of the so-called busing disaster was so latest, as a result of “The Soiling of Outdated Glory” was disseminated so broadly — Boston turned the image of the white backlash towards civil rights.

We’ll be proper again.

::

Maddox: All proper. I’m going to explain an NBA legend, and you need to guess who it’s.

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Brennan: Oh, OK.

Maddox: OK. Not your robust go well with, however we’ll see how this goes. So 6-foot-9, about 220 kilos. Nice athlete. Grew up poor in faculty, led their crew to the NCAA championship and is an all-time nice.

Brennan: OK, we did it, we lined this in Episode 1, and I did my homework. Magic Johnson.

Maddox: Flawed. It’s Larry Chook.

Brennan: Wait, they’re the identical top?

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Magic Johnson holds a basketball and turns away from Larry Bird

Magic Johnson rips a rebound from the fingers of Larry Chook throughout a Lakers-Celtics recreation on Dec. 28, 1979. The matchup was the primary time the previous NCAA stars met on the courtroom as NBA gamers.

(Related Press)

Maddox: Identical top, roughly the identical weight, yeah. Larry had that mustache, although.

Brennan: I feel what I wish to say is that with that mustache, you’re not going to get a popularity for being glamorous.

Maddox: No, you’re not. No, it was.

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Brennan: Sorry, Larry.

Maddox: It was. It was a troublesome, powerful ‘stache.

Brennan: A tricky ‘stache.

Maddox: Perhaps the mustache was an ‘80s factor.

Brennan: One of many issues that distinguishes Larry Chook and Magic Johnson is that Magic Johnson has this like megawatt smile and he walks right into a room and everybody’s eyes flip to him and he loves the eye. And my learn on Larry Chook was at all times that he hated the eye. He’s notoriously press averse.

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Maddox: Proper, he’s form of unassuming. Which is attention-grabbing, too, as a result of one of many issues Larry Chook is understood for is being an all-time s— talker.

Brennan: Wait, s— speaking on the courtroom? Like throughout a recreation?

Maddox: Oh yeah.

Brennan: How does that work? Like, you go up whenever you’re, like, near the man and also you, like, whisper in his ear?

Maddox: I imply, it might be a mild whisper.

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Brennan: OK, sorry, I didn’t imply to sound romantic, however like, what do you say? What’s s— speaking?

Maddox: Yeah. So Larry Chook would simply — he had this type of untouchable angle the place he would simply let you know how he was going to beat you. After which he would go and do it, and he was expert sufficient to have the ability to do it.

He’s one of the vital artistic gamers in NBA historical past. When you see a number of the issues he did — I imply, lots of people would argue, and so they’re most likely all from Boston, that he was as artistic and as flashy as Magic Johnson, however simply in a unique bundle.

So, Brad Turner is a employees author for the L.A. Instances who covers the Lakers, and he informed us this story from his expertise about how a lot respect there was for Larry Chook’s abilities.

Brad Turner: You go to the Black barbershop. And once more, he comes on and it’s like, “I hate Larry Chook. I can’t stand Larry Chook, however rattling, he’s good.” And the joke could be amongst my Black pals that he was not Larry Chook as a result of he was so rattling good. They might name him Larry Abdullah. As a result of there’s no method this white child, this white man, might be that rattling good. But he was.

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Brennan: These narratives had been all fueling the Lakers-Celtics rivalry presently. What was taking place in Boston, the racial side of Larry and Magic’s on-court battles — folks took all of that materials and ran with it.

Cobbs: The media generally — that is talking particularly in regards to the Chook-Magic period. The media form of creates one narrative, which on this case I might say is about form of the cultural variations, the variations between the groups, the variations between the cities, the variations in look, you already know, white, Black. However whenever you actually dig into it and also you hearken to interviews by Chook and Magic and also you learn issues that they mentioned about one another, I feel what drove the rivalry between them is de facto the similarity between the 2 of them. I feel that’s the place the competitiveness between the 2 of them got here from.

Maddox: They usually do have comparable backgrounds. They each grew up poor. Magic, as we’ve already seen within the present, is from Michigan, the Detroit space. Chook was from French Lick, Ind. You realize his nickname, proper?

Brennan: The Hick from French Lick.

Maddox: That’s the one. They famously performed one another within the NCAA Championship in 1979 — Larry Chook at Indiana State and Magic Johnson at Michigan State. (Magic received.)

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Magic Johnson and Larry Bird in March 1979 in street clothes.

As faculty college students, Magic Johnson and Larry Chook pose collectively in March 1979 earlier than taking part in towards one another within the NCAA basketball championship.

(Jerome McLendon / Related Press)

Brennan: It’s form of like on the pinnacle of each stage of their profession, they bumped into one another.

Maddox: Precisely. And you’ll assume that will make them hate one another. However that’s not the case. Right here’s Magic in an interview with the L.A. Instances from a number of years again.

Magic Johnson: Nicely, Invoice, I like him now. You realize, arising in faculty after we met for the 1979 NCAA championship, you already know, I had an actual dislike for Larry.

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Maddox: In line with Magic, all of it goes again to that basic “us versus them.”

Johnson: I simply hate anyone in inexperienced. It was Larry. It was Kevin McHale. Since you needed to hate the Celtics to beat them. As a result of once I bought right here, we had been 0 for, I feel, 8, and so that you had an actual dislike for them. However now, Larry and I are pals.

READ MORE >>> Larry Chook retires: The Lakers wished to kill the mocking Chook, till they bought to know him. Then they only wished to beat him

Brennan: As Jeff Pearlman informed us, although, Individuals appeared to take no matter priors they’d and undertaking it onto what was taking place on courtroom.

Pearlman: Boston was simply, you already know, it’s all slightly cliche, however they had been just like the gritty, hard-nosed crew and L.A. was the freestyling, excessive flying. And it was actually in a method a whole lot of it’s actually lazy. Larry Chook was an excellent athlete — not a superb athlete, an excellent athlete. Kevin McHale was an excellent athlete. Magic Johnson labored his ass off, you already know? James Worthy labored his ass off. The entire stereotype trope of all of it simply at all times was slightly lazy, nevertheless it made for nice drama.

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Maddox: Matt, you already know what else is nice for drama?

Brennan: Suspense.

Maddox: Dun dun dun.

Brennan: Oh, I’ve a superb story for you — after we come again.

::

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Brennan: We established earlier within the episode that you already know the “Beat L.A.” chant fairly nicely.

Maddox: Sure, I’m conversant in the haters.

Brennan: So that you received’t be stunned that the mantra first began in Boston.

Maddox: Sounds about proper.

Brennan: What you may not know — I didn’t — is that when the mantra originated, there wasn’t an L.A. Laker inside 3,000 miles.

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I truly got here throughout the origin story in a 2018 piece by the Instances sports activities columnist Invoice Plaschke. So I made a decision to ask him about it.

Invoice Plaschke: It began at a recreation that L.A. didn’t play.

It was within the Boston Backyard throughout Sport 7, the Celtics’ Sport 7 playoff loss to the 76ers. This native legal professional, Joel Semuels, was like, “If we can’t get in, if we will’t win it, L.A. positive as hell can’t win it.”

And he began screaming, “Beat L.A., beat L.A., beat L.A.,” and everybody was chanting it.

And you must know only for background that the “Beat L.A.” chant is probably the most common, one of the vital common chants of all sports activities in any metropolis. Anytime an L.A. crew — you already know an L.A. crew’s arrived whenever you hear any individual’s chanting, “Beat L.A.”

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Brennan: This recreation the place the “Beat L.A.” chant originated was in 1982. The Celtics and Lakers had not performed for an NBA championship for 13 years at that time. They usually wouldn’t meet within the championship once more till 1984. So what we consider because the ’80s heyday of this rivalry hadn’t even actually began but. And the phrases of that rivalry had been nonetheless so crystallized {that a} Celtics fan was nervous about beating L.A. when there have been no Lakers in sight.

To me, that exhibits simply how essential the narrative behind this rivalry was. It was that story that gave the rivalry form, and within the ’80s, the long-suffering Lakers would lastly start to surge forward.

Maddox: Nicely, there was only one downside.

Matt: Wait, what’s that?

Kareem: The Lakers want a coach.

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::

Brennan: OK, I would like you to offer me your finest s— discuss. Like, I would like you to s— discuss me.

Maddox: OK.

Brennan: Fake that I’m a foot taller and would truly be in competitors. OK.

Maddox: All proper. So what I might say is. Matt, you possibly can’t guard me if I had been you. I might if I had been you, I might go house, have a look within the mirror and ask your self why you assume you’re able to being on the identical courtroom as me. Like, significantly, what’s what provides?

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Brennan: I like this. OK. You may get meaner. Like I’ve a thick pores and skin. OK? You don’t have to carry again.

Maddox: It is a basketball. We’re taking part in basketball.

Brennan: Yeah, we’re taking part in basketball. I imply, you bought to think about me as somebody who you truly, like…. Fake I’m — what are they known as? — a type of guys from up in Philly.

Maddox: Hey, come get your son. Come get your son. He’s not. He can’t guard me. Come on. Any person assist somebody who wants assist proper now.

Brennan: Mother, come decide me up.

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Maddox: You’re not doing nicely, man.

Brennan: Kareem was imply.

Maddox: Now I really feel dangerous. I’m sorry.

Further sources

Larry Chook and Earvin “Magic” Johnson with Jackie MacMullan, “When the Sport Was Ours” (2009)

John Feinstein and Purple Auerbach, “Let Me Inform You a Story: A Lifetime within the Sport” (2007)

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The Know Rivalry Mission

Rachel Legal guidelines Myers, “Race and Sports activities: A Reference Handbook” (2021)

Leon Neyfakh, “Fiasco: The Battle for Boston” (2020)

Jeff Pearlman, “Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the Nineteen Eighties” (2013)

Invoice Russell with Taylor Department, “Second Wind: The Memoirs of an Opinionated Man” (1979)

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Invoice Russell with Invoice McSweeney, “Go Up for Glory” (1966)

Invoice Russell with Alan Steinberg, “Purple and Me: My Coach, My Lifelong Buddy” (2009)

Dan Shaughnessy, “Want It Lasted Eternally: Life With the Larry Chook Celtics” (2021)

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Movie Reviews

‘The Substance’ Review: An Excellent Demi Moore Helps Sustain Coralie Fargeat’s Stylish but Redundant Body Horror

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‘The Substance’ Review: An Excellent Demi Moore Helps Sustain Coralie Fargeat’s Stylish but Redundant Body Horror

Not long into Coralie Fargeat’s campy body horror The Substance, Elisabeth Sparkle (Demi Moore) is unceremoniously fired from her gig as the celebrity host of a daytime exercise program. The former actress’ credentials — an Academy Award, a prominent place on the Hollywood Walk of Fame — aren’t enough to save her Zumba-meets-Jillian-Michaels-style show, fittingly called Sparkle Your Life. Her producer, an oily personality conspicuously named Harvey (Dennis Quaid), wants to replace Elisabeth with a younger, more beautiful star. In his words: “This is network TV, not charity.” 

The Substance, which premiered at Cannes in competition, is Fargeat’s second feature. It builds on the director’s interest in the disposability of women in a sexist society, a theme she first explored in her hyper-stylized and gory 2017 thriller Revenge. She gave that film a subversive feminist bent by turning the trophy girlfriend — a sunny blonde who is raped and murdered — into a vengeance-seeking hunter.

The Substance

The Bottom Line

Uneven genre offering boosted by formal ambition and Demi Moore.

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Venue: Cannes Film Festival (Competition)
Cast: Demi Moore, Dennis Quaid, Margaret Qualley
Director-screenwriter: Coralie Fargeat

2 hours 20 minutes

In The Substance, a woman also takes fate into her own hands and combats underestimation, only this time she’s at war with herself, too. Fargeat combines sci-fi elements (as in her early short Reality+) with body horror and satire to show how women are trapped by the dual forces of sexism and ageism. Beauty and youth are the targets at the heart of this film, but the director also takes aim at Hollywood’s ghoulish machinations and the compulsive physical and psychological intrusiveness of cisgender heterosexual men. 

Fargeat flaunts an exciting hyperactive style. Ultra wide-angle shots, close-ups and a bubble-gum color palette contribute to the film’s surreal — and at times uncanny — visual language. The British composer Raffertie’s thunderous score adds an appropriately ominous touch, especially during moments of corporeal mutilation. 

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There’s a lot going on in The Substance, and while the ambition is admirable, not everything works. The thin plotting strains under the weight of its 2 hour 20 minute runtime; there are scenes, especially in the middle of the film, that land as leaden repetition instead of clever mirroring. But strong performances — especially from Moore and Quaid — help sustain momentum through the film’s triumphantly amusing end.

During his final meeting with Elisabeth, Harvey doubles down on his offensiveness. By the time women reach the age of 50, he suggests to Elisabeth while stuffing his mouth with shrimp, it’s over for them. Fargeat heightens the perversity of Harvey’s blunt assessment with shots of his mouth masticating on shellfish bits. As he crushes the coral-colored creatures with his molars, Elisabeth stares at him with a faint disgust bordering on hatred. Quaid’s character lives in the more satirical notes of The Substance, and the actor responds with an appropriately mocking performance.

Harvey’s words, coupled with the blank stares Elisabeth now receives from passersby, drive the actress to seek a solution. She reaches out to the anonymous purveyors of The Substance, a program that allows people to essentially clone a younger version of themselves. While Fargeat’s screenplay leaves much to be desired when it comes to conveying the company’s scale of operations or how they function in her version of Los Angeles, the rules of the experiment are straightforward. After individuals spawn their duplicates, it’s critical they maintain a balanced life. Every 7 days one of them enters a coma, kept alive through a feeding tube, while the other roams free. Then they switch. The catch, of course, is the addiction of youth. 

Elisabeth and her younger self (Margaret Qualley), Sue, follow the program rules for a bit. The middle of The Substance is packed with scenes underscoring the difference in treatment they receive. While Sue blossoms, winning the affection of Harvey and getting her own exercise show, Elisabeth languishes in the shadow of her invisibility.

Moore imbues her character with a visceral desperation, one that enriches the unsettling undercurrents of Fargeat’s film. She plays a woman who can’t quit the addiction of having youth at her fingertips despite its lacerating effect on her psyche. In one particularly strong scene, Elisabeth, haunted by a giant billboard of Sue outside her window, struggles to leave the house for a date. She tirelessly redoes her makeup and each attempt reveals the layers of anguish behind the actress’s pristine facade. 

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Moore leans into the physical requirements of her role later in the film. Elisabeth eventually learns that upsetting the balance of the experiment reduces her vitality. Sue, greedier for more time outside the coma, becomes a kind of vampire, and Elisabeth wilts. Moore’s slow walk and hunched shoulders add to the sense of her character’s suffering. Special makeup effects by Pierre-Olivier Persin render Elisabeth’s withering even more startling and persuasive.  

Qualley does not have as meaty a role as Moore. Her character functions as Elisabeth’s foil, seeming to exist only to help us understand the perversion of Hollywood’s gaze on the starlet. That’s a shame, because The Substance’s smart premise and direction promise more revelatory confrontations between Elisabeth and Sue than the one we are offered.

The reality of this experiment is that it traps both characters in the same toxic, self-hating cycle as the standards imposed by society. The most compelling parts of The Substance deal with how social conventions turn women against themselves. A stronger version of the film might have dug into the complexities of that truth, instead of simply arranging itself around it. 

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Sean 'Diddy' Combs apologizes for attack on his former girlfriend revealed in 2016 video

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Sean 'Diddy' Combs apologizes for attack on his former girlfriend revealed in 2016 video

Embattled hip-hop mogul Sean “Diddy” Combs issued an apology Sunday for his 2016 assault of his former girlfriend that was captured on a hotel security video.

The video, released Friday in a CNN report, shows Combs chasing, kicking, dragging and hurling a glass vase at Casandra Ventura, who filed a lawsuit against Combs last year. Ventura, a singer who goes by the name Cassie, settled the suit the day after it was filed in U.S. District Court.

The video matched the details of the incident at the InterContinental Hotel in Century City as described in Ventura’s lawsuit. Combs denied all of the allegations at the time the suit was filed.

But Combs acknowledged his actions in a video posted on Instagram.

“It’s so difficult to reflect on the darkest times in your life, but sometimes you got to do that,” Combs said. “I was f— up — I hit rock bottom — but I make no excuses. My behavior on that video is inexcusable. I take full responsibility for my actions in that video.”

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Combs went on to say he sought mental health counseling after the incident. “I got into going to therapy, going to rehab,” he said. “I had to ask God for his mercy and grace. I’m so sorry. But I’m committed to be a better man each and every day. I’m not asking for forgiveness. I’m truly sorry.”

Combs’ apology comes two days after the video first appeared. The Los Angeles Police Department and the Los Angeles County District Attorney’s office have both said they are aware of the video but could not prosecute Combs for his actions as the statute of limitations has passed.

Ventura’s attorney Douglas Wigdor issued a statement Sunday that said the Combs apology was self-serving.

“Combs’ most recent statement is more about himself than the many people he has hurt,” Wigdor said. “When Cassie and multiple other women came forward, he denied everything and suggested that his victims were looking for a payday. That he was only compelled to ‘apologize’ once his repeated denials were proven false shows his pathetic desperation, and no one will be swayed by his disingenuous words.”

Law enforcement sources have told The Times that Combs is the subject of a sweeping inquiry into sex-trafficking allegations that resulted in a federal raid in March at his estates in Los Angeles and Miami. Combs has not been charged with any crime and has denied any wrongdoing.

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‘Rumours’ Review: Cate Blanchett and Alicia Vikander Play Clueless World Leaders in Guy Maddin’s Very Funny, Truly Silly Dark Comedy

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‘Rumours’ Review: Cate Blanchett and Alicia Vikander Play Clueless World Leaders in Guy Maddin’s Very Funny, Truly Silly Dark Comedy

World leaders at a G7 conference politely bicker, copulate in the bushes and work on wafty, content-free speeches while a worldwide apocalypse commences — politicians, they’re just like us! — in collaborating Canadian directors Guy Maddin, Evan Johnson and Galen Johnson’s frequently hilarious latest feature.

Although they’ve kept busy with a steady stream of shorts, the trio haven’t made a feature with actors since the fantastical The Forbidden Room from 2015. With a proper beginning, middle and end, and barely any tributes to silent cinema or interactive tricksiness, Rumours may arguably be Maddin’s most conventional film ever, or at least since The Saddest Music in the World (2003). That is, if you can call a film conventional that’s got furiously masturbating bog zombies, a giant brain the size of a hatchback, and an AI chatbot that catfishes pedophiles. All the same, it’s a hoot, even if the energy flags in the middle.

Rumours

The Bottom Line

The last laugh before it all burns down.

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Venue: Cannes Film Festival (Special Screening)
Cast: Cate Blanchett, Roy Dupuis, Denis Monochet, Charles Dance, Nikki Amuka-Bird, Rolando Ravello, Takehiro Hira, Alicia Vikander
Directors: Guy Maddin, Evan Johnson, Galen Johnson
Screenwriter: Evan Johnson, based on a story by Guy Maddin, Evan Johnson and Galen Johnson

1 hours 58 minutes

For those who like to keep score on these sort of things, this is also the first film directed by Maddin, let alone brothers Evan and Galen Johnson, that’s been programmed in Cannes’ official selection. Apart from the fact that it’s a welcome rib-tickler that breaks up this year’s festival’s monotonous procession of poverty porn and disappointments by fading auteurs, Rumours’ path to the Croisette was almost certainly smoothed by the presence of major names in the cast including Cate Blanchett, Alicia Vikander, Charles Dance and French star Denis Ménochet (Beau Is Afraid, Peter von Kant). That cast and the festival showcase won’t do any harm to the film’s commercial prospects. Bleecker Street recently announced they’ve acquired the rights for U.S. distribution.

The satire here isn’t necessarily aimed at any specific politician given that the characters are all clearly living in a fictional world, one where ideology barely seems to matter. Nevertheless, there’s a distinct sharpness in the way the script, credited to Evan Johnson but based on a story by all three directors, pokes the bears. Pointedly it lampoons the airy, non-committal language of world summits, the promises that mean nothing, and the outcomes that achieve little in a world that, while admittedly always in crisis, really is on the verge of burning up thanks to climate change.

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The film’s most consistent running joke — worked so hard it goes from guffaw-inducing to stale to weirdly suddenly hilarious again, as if through attrition — concerns how seriously the seven world leaders take the process of drafting a joint statement full of platitudes, corporate-speak, psychobabble and song lyrics as they sit in a little woodland gazebo. So absorbed are they in their work, broken up into subgroups like high-schoolers assigned a class project, that they don’t even notice that their aides and servers have all mysteriously disappeared, leaving them alone in the woods.

In other ways, the leaders resemble middle-managers enjoying their annual conference with its catering, photo opportunities and time off from troublesome spouses — a particular concern for Canada’s prime minister Maxime Laplace (The Forbidden Room’s Roy Dupuis, rocking a man bun with an undercut like an aging pop star). Broad hints are dropped that Maxime had a fling with the United Kingdom’s otherwise goal-directed prime minister Cardosa Dewindt (Nikki Amuka-Bird). This year he’s caught the thirsty eye of host-country Germany’s elegant Chancellor Hilda Ortmann (Blanchett, showing off strong comedy chops, even in the way she Germanicizes her vowel sounds).

The United States’ President Edison Wolcott (Charles Dance, slyly self-parodying) is more interested in getting some sleep and keeps nodding off, a gag that may be sheer coincidence but weirdly parallels what’s going on at the minute with Donald Trump at his criminal hush money trial. Another cute gag has the film never explaining why the American president has such a plummy British accent, and the one time he’s about to share why gets interrupted.

Rounding out the democratic world powers, Ménochet’s French President Sylvain Broulez is a grandiloquent blowhard who probably talks more than Japan’s reticent Tatsuro Iwasaki (Takehiro Hira) and Italy’s bumbling beta-male Antonio Lamorte (Rolando Ravello) combined. Both of the latter two, however, are aces as slow burns and understated reaction shots, especially Ravello.

Alicia Vikander, speaking only in her native Swedish for a change, shows up halfway through the film as the president of the European Commission, Celestine Sproul, when Maxime stumbles across her in the woods with the aforementioned giant brain, which you’ll have to watch the film to understand.

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Not that understanding is really the point here. Rumours operates on a surrealist plane of its own, making up the rules of its universe as it goes along. Shall we have millennia-old boneless bog people who come to life and menace the guests, it asks itself, and the answer is yes, why not? What if the non-source music swells and bursts like the melodramatic score of a soap opera at times? Sure!

The whole thing sometimes feels like a skit show that just barely holds together until the filmmakers and cast bring it all home for a terrific climactic closure, in which all the buzzwords and banalities get to be rolled up into one triumphant speech shouted into the void as world burns. Like the best comic fantasies, Rumours has more than a grain of tragic truth to it.

Full credits

Cast: Cate Blanchett, Roy Dupuis, Denis Monochet, Charles Dance, Nikki Amuka-Bird, Rolando Ravello, Takehiro Hira, Alicia Vikander, Zlatko Buric, Tomi Kosynus, Ralph Berkin, Alexa Kennedy
Production companies: Buffalo Gal Pictures, Maze Pictures, Square Peg, Thin Stuff Productions, Walking Down Broadway
Directors: Guy Maddin, Evan Johnson, Galen Johnson
Screenwriter: Evan Johnson, based on a story by Guy Maddin, Evan Johnson and Galen Johnson
Producers: Liz Jarvis, Philipp Kreuzer, Lars Knudsen, Guy Maddin, Evan Johnson, Galen Johnson
Executive producers: Ari Aster, Cate Blanchett, Phyllis Laing, Jorg Schulze, Joe Neurauter, Devan Towers, Tyler Campellone, Lina Flint, Mary Aloe, Gillian Hormel, Andrew Karpen, Kent Sanderson, Adrian Love, Michael O’Leary, Stefan Kapelari, Moritz Peters, Blair Ward, Anders Erden, Lauren Case, Eric Harbert, Michael Werry, George Heuser, Jacob Phillips, Stephen Griffiths, Christopher Payne, Dave Bishop, George Hamilton, James Pugh, Janina Vilsmaier, Fred Benenson, Morwin Schmookler, George Rush
Co-producers: Judit Stalter, Simon Ofenloch
Directors of photography: Stefan Ciupek
Production designer: Zosia Mackenzie
Costume designer: Bina Daigeler
Editor: John Gurdebeke, Evan Johnson, Galen Johnson
Music: Kristian Eidnes Andersen
Music supervisor: Jillian Ennis
Casting: Avy Kaufman
Sales: Protagonist Pictures

1 hours 58 minutes

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