Thursday, March 5, 2015

Why I'm Quitting Football

For me, in some ways, football is the closest thing I have to religion. Every Sunday, I would pledge my allegiance to ESPN for two hours of pregame, and then devote myself to Fox, CBS, and NBC for nine or ten hours. It was more than a game or entertainment, it was a ritual.

And when fantasy football became popular, I remember creating my yahoo account so that I could sign-up for a random league. It only grew from there. A fun hour of drafting evolved into weeks of pouring over stats and trends, trying to find a way to outsmart my friends and co-workers.

But I have to be honest, I don’t feel the way that I used to about the game. I know I have to quit football.

As a New England Patriots fan, their recent, Super Bowl win was a roller coaster. As a fan, I can name their entire starting lineup, relevant stats, college highlights for their players, and explain how Tom Brady was basically screwed over at Michigan. The Super Bowl was the culmination of years of fandom, of disappointments, triumphs, failures, and successes.

And yet, the game left me feeling unsatisfied. But I’m jumping ahead. My feelings of discontent have accumulated over the last four years. As the information on head injuries has become more transparent, the harm that these men are inflicting on themselves has reached dangerous levels. As the NFL has failed to implement sufficient, safety strategies, and in some cases, even acted to suppress the evidence associated with the catastrophic toll these players are putting on their bodies, I’ve grown more and more disgusted with the league’s  actions.

Even more frightening is the mentality that so many players display, as they hungrily accept any opportunity to play one more down. “Play for your teammates, your family…” I hear that, again and again from players. I shake my head as I read about the number of former football players suffering from serious brain injuries, some even committing suicide. For men who played for “their families,” I can’t imagine the pain that their actual family must feel. The NFL, however, continues to make money. Record-setting attendance, viewership, and participation are a constant. Not bad for a non-profit (PETA, take notice…).

I don’t specifically blame the players, as it’s hammered into them from a young age. You sacrifice, you work, you put the team before everything else. Of course they feel a sense of loyalty to that contrived idea. For a lot of young athletes, it becomes an integral part of their life, an opportunity to be a part of something bigger. The issue arises when those same athletes then sacrifice their futures for 60 minutes of glory. The excuse is that there is honor in being part of something bigger than oneself. When there is profit, however, in an industry that suppresses the likely harm to its employees, there is a danger because the NFL is using disillusionment to line the pockets of its owners, regardless of the personnel cost.

My dissatisfaction reached new levels, however, with the handling of the league’s big players, Ray Rice and Adrian Peterson. I personally don’t have a problem with the league reacting one way or the other on the charges levied against the players (that’s what courts are for). But the NFL’s waffling, their inability to form a semi-coherent response to the actions of both reminded me of my preschool class requesting an extra recess from our teacher. We kept asking, changing our reasons for being outside again, hoping that what we said would eventually be what our teacher wanted to hear.

For those of you unfamiliar with it, Ray Rice, a Pro Bowl-level running back who used to be on the Baltimore Ravens, knocked out his then-fiancee (now wife) in a casino elevator. The NFL originally suspended him for two games. TMZ obtained the Ray Rice video, however, the NFL said that they were blindsided by the actions in the video, and suspended him indefinitely (TMZ said it took one phone call to obtain the video after the NFL claimed that they could not get the video). Aside from the absurdity that TMZ was the moral arbiter in the situation, the NFL seemed either grossly incompetent in their inability to obtain a video that the hotel was more than willing to provide, or they lied. Neither one bodes well for the future of the most popular sport in the United States.

With the Adrian Peterson circumstance, where Peterson was charged with child abuse (he eventually plead no contest to a charge of misdemeanor reckless assault),  the NFL bundled another attempt to set some industry standard for how the league wanted to conduct itself. More than that, fans lined up near the courthouse and took to every message board they could to support him. This was a man who was being charged with striking a child, multiple times, causing numerous lacerations, and their only reaction was unadulterated support, criticizing anyone who suggested that the object of their affection could be guilty of ANY wrongdoing.

The real kicker, however, is that the Super Bowl, with growing concerns of the conduct of the players and their safety, still set viewership records. Also, I watched it. Meanwhile, stuff like this was going on in the world... 


I don’t mean to make this an advertisement about John Oliver. Truth is, I just love his show.

It was about a week after the Super Bowl that all of the destructive factors came together for me. I realized the real issue with the NFL: me. I was the problem, or, at least, I was part of the problem. I spent so much time the previous year watching videos on NFL.com, checking my ESPN fantasy app, checking the Patriots Salary Cap situation, and debating possible playoff teams with my friends that I never stopped to realize the dangers, both health and in perception, that the league presented. It altered my sense of justice, my empathy for the health of others, and my prioritization of the different issues that were going on in the world. All so that I could watch a person I’ve never met hold up a metal statue.


I’m happy that it entertained me for the time that it did, but the game has gotten to a point where it stands for something that I don’t want to be a part of anymore. Maybe I’m naïve and it was always like this, I just didn’t (want to) see it. Whatever the reason, I can’t contribute to this empire, anymore. My time, my money, my energy could be much better spent. More importantly, I hope that if enough people also feel like this, we can cause change by affecting the one thing the NFL would notice: their wallet.

Tuesday, July 22, 2014

Modern creativity: cultural wasteland or age of discovery?


What better way to start a blog than with my thoughts on the broadest of topics, creativity. To clarify, by creativity, I'm referring to the works in a plethora of fields. Movies, music, literature, fine arts (and all that they entail), comic books, television, and most fields where new works are forged.


This entry is spurred by a recent discussion I had. I heard a number of my co-workers discussing the inadequacy of modern works, specifically when compared to works from previous eras. Where are the new Great Gatsby-s, where are the new Ready to Die-s, where are the new Casablanca-s (and I doubt those three works have ever been coupled together)?

With some investigation, and informal polling of friends and officemates, this perception of the decreased quality of today's cultural landscape is interesting, but this idea is not a recent one. Certainly there is evidence to support the detractors of modernity. New York City Opera recently closed after investors could not be found, leaving the Metropolitan Opera House as NYC's only large venue for the genre. Sequels, reboots, and remakes dominate the movie landscape, with original movies becoming scarcer and scarcer. Studies are being done regarding the complexity and note variation in modern music, and the overall variability is less than in previous ages. Art critics lament the trend that historical traditions and interpretive intricacies are giving way to so-called "pop-art" and exhibitions based on straightforward themes.

And yet, creativity today is anything but dead, and, if anything, is more readily available than ever before. When surveying the landscape of creative fields, we'll have to hone the discussion to specific areas. I'd suggest stories (a combination of literature, television, and movies) and music. Admittedly, these fields could be sliced into countless variations, but simply to provide us with a point of entry, we'll focus on these two fields. Let's start with stories.

At a recent dinner, I was discussing one of my favorite, recent movies, The Dark Knight Rises, and one of my favorite books, The Great Gatsby, prompted by a comment that Gatsby, up there with Moby Dick, and The Adventures of Huckleberry Finn as the Great American novel, and stories like it, don't exist anymore. I opined that The Dark Knight Rises might be such a story, and was promptly ridiculed for making such an assertion. After all, Gatsby is a masterpiece, perfectly encapsulating an age, highlighted by value sets, notions of love, and a crushing, and revealing, narrative. Conversely, The Dark Knight Rises is, by some counts, the 10th movie including some version of Batman, who also has an extensive history of comics, television, and even radio broadcasts providing source material. How could I possibly compare the two?

First, I think it's important to remember that, at their core, these are all stories, accounts of specific events (to put it as simply as possible). Now, how well this is done can be measured by any number of factors, and yet, there is the perception that this is not done as well as it may have been done in the past. But how do we measure a story? Is it by originality? If so, whereas Batman has a number of previous incarnations, the thematic elements of Gatsby are original, highlighted by how emblematic the story is of the era in which it was written. The focus on originality, however, loses a lot of what makes some stories great. There are repeated elements in The Dark Knight Rises, especially with it being the conclusion of a trilogy, but the most interesting element of the film is its ability to hearken back to previous events and themes. Consider the previous film in the trilogy, The Dark Knight, and the Joker’s message to Batman that the people would turn on each other if provoked. Whereas, sadly, Heath Ledger could not appear in the movie due to his death, his character’s shadow is cast over the entire film. The events he set in motion are realized by the time The Dark Knight Rises takes place.

In this way, connecting common threads, finding ways to reevaluate characters, and redefining elements that have been established over the course of multiple films (or books or television programs) is The Dark Knight Rise’s strength, not a weakness.

I don’t want to presume to say that unequivocally that The Dark Knight Rises is better than The Great Gatsby, but merely to suggest that the complexities of the novel, and stories like it, are still being produced today.

Moving into the realm of music, it’s difficult to pick the specific era, or even genre to hone in on. For example, for hundred of years, classical was the standard by which music was evaluated and realized in the Western world (admittedly, other genres existed, specifically when one looks outside of Western cultures). Even within the classical genre, different periods and eras are marked. Music shifted, and it continued to transform and change. The one area I would like to focus on, however, is class. The simple truth is, only rich people made music. To have the resources to study, practice, and hone the skills necessary to become a musician, you needed to have well-to-do parents or be a once-in-human-history prodigy. Today, you need to have enough money to get a computer and then you’re set to go. Granted there are other costs (Internet, mics, possible instruments), but the Internet has made the production of music more equitable, and while it may not always work out really well (See: Justin Bieber), there are countless examples of small time musicians gaining a more steady following after a successful Internet campaign. In that way, music is less about how much money you have, and more about how well you can perform.


This is critical to remember when discussing the even larger questions of what music should be. From the interpretive to the interpersonal, music is great for what it allows us to feel, and more opinions, from different types of people, allows more of us to feel a wider variety of things.

Monday, August 12, 2013

League Constitution 

This sets forth the administrative considerations, procedural guidelines, and other subjects pertinent to the enjoyment of the Fantasy Football League. 

Article 1: Purpose of The League 
The League is designed to be fun. There is a monetary component, but overall this is meant to be a league for everyone to enjoy. Within the confines of fairness and equity, all decisions and rulings will be made with this overriding idea. 

Article 2: Structure of The League 
Our League is a 12-team, head-to-head fantasy football league. Members, outside of permanent members to the League, will be decided upon by the Council by July 1st every year prior to the coming fantasy football season. After deciding upon prospective members, the Commissioner will send out invitations for the league, with all members needing to be set by August 1st. If members are not set, the Commissioner will be responsible for additional members to fill 12 teams. The League will run from Week 1 of the NFL Season to Week 13 of the NFL Season, with the League’s Playoff’s beginning in Week 14 of the NFL Season and the League’s Championship being played during Week 16 of the NFL Season. 

Article 3: Draft 
The League will have teams select players by way of a 12-team auction draft. Each team will be awarded $200 (+10) in fantasy money. Any dollars remaining at the end of the draft will be awarded to the team in their free agency budget. The order of selection of players nominated for auction will be based on reverse order of standings from the prior season. New members to the league will be placed in the remaining nomination spots in order that they sign up for the league. 

Article 4: League Fees 
All teams will be required to pay a standard fee for the League. The Chart below will set the scale that determine amount paid by each member. Payouts will be awarded as follows (with X being the fee paid by an individual member): 

Winner of the League: 10X 
Loser in the Championship Matchup: X 
Winner of 3rd Place and 4th Place Matchup: 2/3X 
Winner of Consolation Bracket: 1/3X 

2013: $45 for League entry (+$5) 
2014: $45 for League entry (+$5) 
2015: $60 for League entry (+$10) 
2016: $60 for League entry (+$10) 
2017: $90 for League entry (+$15) 

Article 5: Scoring and Changes to Scoring 
Scoring will be determined on a year-to-year basis by the League Commissioner, with all changes to the League from the previous year being announced to members of the League three times prior to the draft. Any changes are subject to review by members of the League, and can be overturned to previous year’s status by a majority vote after August 1st but prior to the League’s draft. All scoring changes to the League after the Draft (until the beginning of the playoffs) can only be approved by a unanimous vote. 

Article 6: Free Agency Process and Budgets 
All player not purchased during auction will be placed in the free agency pool. Teams will have the chance to purchase players by way of an auction, which will occur on Wednesday, Thursday, Friday, Saturday, and Sunday every week. At 11am on each date listed, prior bids by each team, drawing upon their free agency budget, will be tallied and the team with the highest bid will be awarded that player. If there is a tie for the highest bid, the player will be awarded to the team lower in the standings. Players can also be purchased for $0 if no other team places a bid on that player. FA budgets will be set at (fantasy) $25 at the beginning of each season. FA dollars can be traded during the season. As for ways to get more FA dollars, an Amendment will be made to determine the best way to award FA dollars during the season. 

Article 7: Structure of Playoffs 
The highest rated team in each division shall be granted a BYE in the first week of the Fantasy Playoffs (Week 13 of the NFL Season). Subsequent weeks will be based upon the bracket, which arranges teams by record and total points. 

Article 8: Week-to-Week Matchup 
Weekly Matchups will be decided by the team that scores more points. If points are tied, then the bench points will be used to break the tie. If a tie still exists, then the QB’s points will be compared to determine the winner. If a tie still exists, then the D/ST’s points will be compared to determine the winner. If a tie still exists, the teams’ TEs will be compared to break the tie. If a tie still exists, the teams’ starting RBs will be compared to break the tie. If a tie still exists, the tie will go to the home team. 

Article 9: Permanent Members and Council 
Permanent members of the league are Jon Finn, Matt Heintz, Stephen Gomez, Kyle Aikens, and Brett Goldman. New members who wish to be added to the permanent members (who wish to be nominated for the THE LEAGUE Council and opt-in to all future incarnations of the League) can email the Commissioner and will be voted on by the league Council. The league Council will be comprised of three members and the Deputy Commissioner. Prior to the draft, the Commissioner will select the members of the Council (along with the Deputy Commissioner, the fourth member), but a challenge can be brought by the remaining members of the League. If a challenge is brought by a majority of non-permanent members, a new candidate can be presented to serve on the council, winning the spot with more than 50% of the vote of the entire league. The Inaugural Council is Brett Goldman, Matt Heintz, and Kyle Aikens, with Jon Finn as Deputy Commissioner. Responsibilities include reviewing all rulings by Commissioner regarding trades, reviewing all trades made by Commissioner (though if a Council member is involved with the Commissioner, remaining members will approve or disapprove the trade), frequent posting on the message board, suggesting changes to the league, and overall administration of the league. A 3/4 ruling by the Council overrules any action by the Commissioner. 

Article 10: The League Commissioner 
The League Commissioner shall be decided by a vote at the end of the fantasy season by a vote (simply needing to win a plurality of the vote). The Commissioner will be responsible for creating the league, setting the scoring, choosing the Council, selecting a Deputy Commissioner, setting up a date and time for the auction draft, selecting members to be expelled from the league, selecting new members for the league, setting the schedule, setting the playoffs, correcting any problems that may arise during matchups, administering extra/bonus money selecting polls on a weekly basis, setting up the election for the next year’s Commissioner and all other duties needed to run the League. A Commissioner can be impeached by a vote of no-confidence, which requires 2/3’s of the members of the league to vote against him (an email can be sent to the Deputy Commissioner who will arrange the vote). If 2/3 or more of the league vote against the Commissioner, the Commissioner will be removed, the Deputy Commissioner will be made Commissioner, and the open Council spot will be awarded to the team with the most points (that is not the impeached Commissioner and already on the Council). Stephen Gomez is the Commissioner for the remainder of the season, and a new vote will be held at the end of the season. 

Amendment 1: This Constitution shall go into effect with a 2/3 vote by members of the League. 

Amendment 2: Commissioner has power to overrule any roster move, subject to review by council. 

Amendment 3: On all actions not involving the Deputy Commissioner and Commissioner as primary parties, both shall have a vote on all actions requiring a council vote. 

Amendment 4: The Council for 2013 (and until further notice, or I am no longer Commissioner) is Brett, Kyle, Matt, and Jon as Deputy Commissioner.