What’s the first thing that comes to mind when you hear the name, Latrell Sprewell? His 35-point performance at Madison Square Garden with the New York Knicks facing elimination in the 1999 NBA Finals? Him dunking on Jaren Jackson in the third quarter of that game?
Maybe it was his return to the Garden for the first time in more than a decade, last year, as a “friend” of Knicks owner James Dolan, not a foe. Perhaps it’s this recent Priceline commercial, supposedly a display of Sprewell’s sense of humor — at his own expense.
Or is it a moment obscured from the public’s eyes: Sprewell choking then-Golden State Warriors head coach P.J. Carlesimo during a December 1997 practice, leaving the gym, and returning, apparently to attack Carlesimo again?
Or is what you recall the aftermath, when the 24th pick in the 1992 NBA draft became a pariah? His name and likeness became synonymous with violence. The Warriors voided the then-three-time All-Star’s contract, and the NBA, a season removed from celebrating its 50th birthday, suspended him for a year after the episode escalated into an avalanche of bad press the league did not need one month into the pivotal 1997-98 season. Several stars, Hakeem Olajuwon, Shaquille O’Neal, and Scottie Pippen among them, were injured, Michael Jordan was all but certainly retiring, and a lockout was looming.
Then, in addition, the Milwaukee-born, Flint, Michigan-raised Sprewell, one of the NBA’s rising (albeit reluctant) stars, was labeled persona non grata. He’d admittedly committed an act of violence against his coach. It was an act that seemed to confirm every absurd fear about the rise of the overpaid, petulant, violent (and *gasp* black) athlete. It was the problem with sports, to let sportswriters and fans alike tell it. And although Sprewell acknowledged that his actions were inexcusable — “I don’t condone what I did,” he told the New York Times in 1998 — he took issue with how he was portrayed. This was epitomized by the cover of Sports Illustrated’s Dec. 15, 1997, issue.
“It’s always a picture of me looking mad or being aggressive,” he said during a news conference one week after the incident, for which he was initially suspended 10 games without pay. “I never saw pictures of myself where I had a smile on my face. It was always negative.”
The enigmatic Sprewell was easy to cast as the villain. The former University of Alabama and Three Rivers Community College standout was an aggressive slasher and defender. His appearance was menacing — to people who associated cornrows with criminal activity. And Spree had previously fought teammates. He absolutely considered himself a fighter, but only in self-defense.
“I don’t get upset unless somebody’s doing something to me or to my family, disrespecting me to where I just can’t tolerate it,” Sprewell told Time in 2000. That’s how he viewed the altercation with Carlesimo.
The choking itself, said to have happened in practice during an argument about Sprewell’s effort (“Put a little mustard on those passes,” Carlesimo reportedly told him), triggered revealing discourse, in the pre-social media era, about the very often uncomfortable intersection of race and sports.
Sports Illustrated flew into the eye of the storm, and made a valiant effort to unpack the situations. And while the story itself excellently contextualized the NBA’s head-on collision with race, the image — Sprewell, in mid-scream — chosen for the Dec. 15, 1997, issue’s cover, was provocative for the wrong reasons. Sports Illustrated was the de facto bible of sports at the time, in an era before breaking news spread via Woj Bombs and trending topics. A time when writers discussed stories with editors via phone calls — not yet in Google Hangouts, or Slack.
Phil Taylor doesn’t remember exactly how he heard about what transpired between Sprewell and Carlesimo, but as a senior writer for Sports Illustrated at the time, he called his editors to discuss how they planned to cover it. “This was a huge story … right in my backyard, and as lead NBA writer, I knew I was going to be writing something lengthy,” sadi Taylor, now a contributing writer for The Athletic. “I’ve often thought that if it happened now, we would have obviously been able to put something out on Twitter and everyone would have just written stories immediately. But I remember thinking that [as a weekly publication] we were not going to be able to get an immediate story out there.”
“One of my first thoughts was, at least put P.J. on there looking angry, too.
The Sprewell-Carlesimo incident took place on a Monday — the worst case scenario for the magazine, which was finalized for the mass printing on Sundays. Back then, hundreds of thousands of issues would be sent to subscribers, and would be available on newsstands on the Wednesday/Thursday of the following week. Local outlets such as the San Francisco Chronicle were already on top of the story. That extra time, though, did allow Sports Illustrated to fine-tune its coverage, and Taylor ended up writing two of the three stories: a look at who Sprewell was and an essay about race and the NBA.
“We knew that by the time the story came out, the story might have advanced beyond what we knew at the time we were writing,” Taylor said. “So we wanted to come up with something to better put this into context, and that’s where we started talking about the issue of race in the NBA and what the Sprewell incident had to do with that.”
In a break from covers that featured full-bleed photography, a particularly incisive excerpt from Taylor’s essay was featured —white type on a black background:
“Latrell Sprewell has been publicly castigated and vilified, and any player who gets a similar urge to manually alter his coach’s windpipe will surely remember Sprewell’s experience before he acts on that impulse. Problem solved. But the Sprewell incident raises other issues that could pose threats to the NBA’s future, issues of power and money and—most dangerous of all—race … ”
Placing that much text on the cover of a magazine was rare for SI. “The editors liked what I wrote, and I think it was our managing editor Bill Colson … thought it was so strong that we should put those words on the cover.”
Part of Taylor’s satisfaction came from his belief that the cover would differ from what had quickly become a typical characterization of Sprewell as angry. Until he saw it, that is.
“My words … but they added that picture of Sprewell, and that was disappointing to me,” said Taylor, who didn’t see the cover until the issue came out. “One of my first thoughts was, at least put P.J. on there looking angry, too. But maybe that would have been inflammatory as well, because then you would have had a black man screaming at a white man. That sort of anger could be interpreted as racial, but … would have at least been more fair.”
It was unfair to Sprewell because although what he did was undeniably wrong, Carlesimo was far from … docile. He was notoriously hard on his players, and notoriously unpopular for it. “We’ve been face-to-face on many occasions,” Rod Strickland, who played for Carlesimo while with the Portland Trail Blazers, told the Baltimore Sun.
“I’ve often thought, that if it happened now, we would have … put something out on Twitter, and everyone would have just written stories immediately.”
“I played under him, so it doesn’t surprise me.” Tracy Murray, who began his career with Portland, added.
After the Warriors hired Carlesimo in 1997, he was the focal point of their “No More Mr. Nice Guy” campaign, appearing on billboards with his coaching staff dressed like a team of FBI agents. Carlesimo was depicted as an enforcer; he was celebrated for an approach that alienated players and, more importantly, never translated into success in the NBA.
“P.J. was a guy who stirred it up, and was as bellicose and belligerent as Sprewell was,” Taylor said. But Carlesimo had a vastly different relationship with the media, Taylor added. He was very cooperative, affable, and would ask about the reporters’ well-being. He’d remember their first names. That charm likely played a factor in Carlesimo receiving more favorable coverage than Sprewell, who was tight-lipped with the press.
Imagery is as important to a story’s narrative as reporting or analysis. A March 2002 issue of Sports Illustrated featured Charles Barkley in shackles. It drew criticism from Sports Illustrated staffers, readers, and Barkley’s friend and colleague, Kenny Smith, alike. Golfweek’s infamous Tiger Woods “noose” cover, from January 2008, got its editor and vice president fired. LeBron James’ historic moment as the first black man to grace the cover of Vogue that spring was sullied by the black man-as-savage beast stereotype it projected. According to Taylor, the media routinely overlooks the reverberations of such editorial decisions.
“The media in general has always — and definitely at that time —underestimated the power of the images of black athletes,” said Taylor. “I don’t think the implications of putting an angry Sprewell out there occurred to them. I’m not even sure the implications of putting Barkley in chains occurred to them — until the backlash came.”
Taylor noted that no black editors were involved with the Sprewell story. “I might have been the only black writer or editor at that time,” he added. The magazine could have placed an expressionless Sprewell on the cover, and it would’ve been just as captivating. That’s how great the treatment is, and how powerful Taylor’s words are. But the cover — and all of the more incendiary examples that preceded it, and will surely continue to follow — represent a more hazardous issue: a failure on the part of many media professionals to grasp the complexity of stereotypes and the way they’re bound to black identity, and how all of that impacts the way black people are viewed and treated.
Still, though, Taylor gives Sports Illustrated’s editors credit for deciding to explore the NBA’s racial undercurrent. After discussing the atmosphere with them, he said, Colson asked if the magazine should write about it. Taylor was stunned, because that was “edgy” for Sports Illustrated — and really for any mainstream sports publication of that era.
“They were willing to take on a controversial issue, although they kind of regressed on it … by choosing the picture they chose,” he said. “I wish they hadn’t done that.”
Sprewell survived his figurative public stoning, and continued his career with the Knicks, and then Minnesota Timberwolves. The clothing and footwear company AND1 even branded him “The American Dream” upon his return to the NBA in 1999 — the last time the Knicks made the Finals. The events of December 1997 never impeded Sprewell’s career, but his career ended abruptly in 2005 after he claimed he couldn’t feed his family on the three-year, $21 million deal the Timberwolves offered him. That Priceline commercial, where he pokes fun at his mistakes, is poignant considering the headlines that have emerged since his retirement.
Despite Sprewell’s success following the incident, he remains symbolic of poor decisions and explosive anger. Regardless of Sports Illustrated’s intentions, that’s all their cover screams about him too.