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      Magic Johnson, Michael Jordan and Others React to Bill Russell’s Legacy

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      Magic Johnson said the Celtics great was his idol. Michael Jordan called him a pioneer. Jaylen Brown called him one of the greatest athletes ever.Bill Russell had more N.B.A. championship rings than he had fingers and as many Most Valuable Player Awards as all other Boston Celtics players combined.But in the hours after Russell’s family announced his death on Sunday, N.B.A. players remembered him as so much more.Legend. Trailblazer. “Everything we all aspired to be,” Isiah Thomas, the Hall of Fame point guard from the Detroit Pistons, said in a post on Twitter.Russell, 88, spent 13 seasons with the Celtics in the 1950s and 1960s, including three as a player-coach. He was the first Black coach in the N.B.A., and he was known for his civil rights activism during and after his playing days. He has remained visible around the N.B.A. as a fan, mentor and symbol of greatness. The finals M.V.P. trophy is named after him, and he would often attend games wearing a purple hat with the initials of one of his favorite players, Los Angeles Lakers guard Kobe Bryant, who died in a helicopter crash in 2020.Players across basketball generations hailed him on Sunday.From the 1980s, there were Thomas and another Hall of Fame point guard, Magic Johnson of the Lakers.“Bill Russell was my idol,” Johnson said on Twitter, citing Russell’s basketball talent and position on the “front line fighting for social justice.”He continued: “Despite all of his achievements, he was so humble, a gentle giant, a very intelligent man, and used his voice and platform to fight for Black people.”Michael Jordan, who dominated the 1990s with the Chicago Bulls, said in a statement that Russell was a “pioneer.”“He paved the way and set an example for every Black player who came into the league after him, including me,” Jordan said. “The world has lost a legend.”Notable players from the 2000s also spoke of Russell with reverence and a warmth that showed the Celtics icon’s lasting influence in the league.“I can go on all day about what u meant to me,” Paul Pierce, the Celtics Hall of Famer, said in a tweet.Pierce, too, called Russell a “pioneer” and “trailblazer.” He also mentioned his “great laugh” and shared a picture of Russell talking with Pierce and other N.B.A. players. “I’ll never forget this day we was like kids sitting around a camp fire listening to your stories,” Pierce wrote.Pau Gasol, whose Lakers faced Pierce in the finals twice, shared a picture on Twitter of himself with Russell, calling him “one of the most dominant players in @NBA history.”“I’ll forever be honored to have met you,” he said.Players from the 2010s and present day also pointed to Russell’s humor, activism and basketball skill.Noting on Twitter that there was no 3-point line or social media during Russell’s heyday, Celtics guard Marcus Smart posted a list of Russell’s accomplishments.“Just played and dominated in a day and a league that was def not soft,” Smart said.Smart’s teammate Jaylen Brown shared a photo of Russell with Muhammad Ali, Kareem Abdul-Jabbar and Jim Brown in 1967, when a group of Black athletes were showing support for Ali’s refusal to fight in the Vietnam War.Calling Russell “one of the greatest athletes ever,” Brown said: “Thank you for paving the way and inspiring so many Today is a sad day but also great day to celebrate his legacy and what he stood for.”In recent years, N.B.A. players — Brown included — have more prominently carried on Russell’s legacy of civil rights activism. Phoenix Suns guard Chris Paul, who was the president of the players’ union during its social justice efforts after George Floyd’s murder in 2020, also posted about Russell on Twitter on Sunday.“Unapologetically himself at all times!! The ultimate leader and just happened to be one of the best hoopers ever! RIP Mr Russell, you will be dearly missed,” he wrote. More

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      Pretty in Any Color: Women in Basketball Make the Style Rules

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      Angel Reese considers herself “a pink kind of girl.”Pink nails, pink hair tie, pink shoes, sometimes even “a little bit of pink in my lashes,” Reese said of the eyelash extensions she applies before basketball games. “Everything’s pink.”It’s all part of the pregame routine for Reese, who in May transferred to Louisiana State after a breakout season on Maryland’s women’s basketball team. Before Reese hits the court, she swipes on lip gloss and gels down her edges — her hairline — to prevent flyaways.“Grandma would always emphasize, ‘Don’t let anybody make your makeup sweat,’” Reese said.Reese’s devotion to her appearance for games expresses who she is as much as her playing style. Players in women’s basketball freely mix a traditionally feminine beauty standard with finishing touches that are popular in Black and Latina culture, like gelled edges. It’s a freedom that some say is an advancement in a sport whose athletes have historically been pressured to fit a mass-market ideal that has long benefited straight, white women. Reese is Black.But the introduction of name, image and likeness deals in college sports and an influx of marketing money in professional women’s basketball have added dollars-and-cents stakes to female players’ decisions to glam up. In interviews with a dozen college and professional players, women talked about how the decision on how to express themselves through their appearance has been changing.“I’ve never really felt the pressure until the N.I.L. thing started,” said Reese, whose endorsement deals include Xfinity, Amazon, Wingstop and a Washington, D.C.-area supermarket chain.Camille Lenain for The New York Times‘There is a pressure for me to look a certain way.’Stanford forward Cameron Brink usually applies concealer, eyebrow gel, mascara and maybe a little blush before she heads out for a game, but she scoffed at the idea of in-game touch-ups. “I look like this when I was playing, I’m going to live with it,” she said.Her shot-blocking was a key piece of Stanford’s run to the 2022 Final Four, where the team lost to Connecticut in front of 3.23 million TV viewers, a 19 percent increase over the previous season and a 49 percent bump from 2019, before the coronavirus pandemic. But there’s also a swelling fan base that follows Brink on social media. She posts makeup tutorials, which she loves because she views makeup as art. “It’s really relaxing to me,” she said. Brink has had deals with ThirdLove, Visible Mobile, the energy drink Celsius and Portland Gear.She acknowledged that her following — 203,000 on Instagram and 62,800 on TikTok — had built up at least in part “because I do play into that role of being feminine and dressing femininely.”“There is a pressure for me to look a certain way,” said Brink, who is white. “Sometimes it’s refreshing to go out and play sports and not worry about it.”Stanford’s Cameron Brink said that she felt some pressure to conform to traditionally feminine beauty standards but that her beauty routine was also something she enjoyed.Rikkí D. Wright for The New York TimesRikkí D. Wright for The New York TimesLast year, the N.C.A.A. changed its rules to allow college athletes to profit from their names, images and likenesses in marketing deals. Women’s college basketball players quickly began out-earning athletes in every other sport besides football, according to the marketing company Opendorse. Connecticut’s Paige Bueckers, who is white, signed with Gatorade for an estimated $1 million.Blake Lawrence, a co-founder of Opendorse, said female college basketball players had outshined their male counterparts in the N.I.L. marketplace in part because of how they distinguish themselves through their appearance.“They’re willing to create content; they’re willing to create a character that you want to follow and cheer for while on the court, while on the track, while on the grass,” Lawrence said. “That may be through hairstyle changes; that may be through makeup changes; that may be through the accessories that you bring to the field.”But with that can come tremendous pressure to fit traditional notions of attractiveness, adding another layer of competition to college basketball.“Comparing yourself to other people — oh, this girl is really pretty; oh, she looks really pretty — it’s hard,” Oklahoma guard Kelbie Washington said.Washington enjoys spraying on perfume as part of her pregame routine (Jimmy Choo is her favorite), and she pays for eyelash extensions, which can cost more than $130 a set.“Everyone is human,” she said of the urge to compare herself with others. “Everyone has those emotions, whether they say it out loud or not.”‘Women have to be so much more marketable than men.’TV ratings for college and W.N.B.A. games are rising, and the profiles of the players — among the most vocal and visible social justice activists in sports — are exploding.Within that explosion, Victoria Jackson, a sports historian at Arizona State, sees the players driving a generational shift, a reframing of norms. “Athletes themselves are pushing back against historical ideas of what it means to be a female athlete and what’s acceptable to be performed as a female athlete,” Jackson said, adding that the W.N.B.A. is “a good example” of that.Nefertiti A. Walker, an associate professor in sports management at the University of Massachusetts Amherst and a former college basketball player, said players didn’t necessarily feel as if they had to fit the usual standards.“What you’re seeing is certainly athletes now who, because of the changes we’ve seen in college sport — they all have pride nights, there’s gay marriage now — all these changes that have happened in their lifetime that signal it might be OK to perform their gender in a different way,” she said.That may be true on the court, but a recent swimsuit edition of Sports Illustrated suggested a narrower view of sex appeal, which can be an important factor in marketing. The magazine included five W.N.B.A. players in bikinis and one-piece swimsuits with cutouts.Courtney Williams, an All-Star guard on the Connecticut Sun, said on Twitter that the shoot would have been better if it had included a player in a sports bra and baggy shorts. “There’s more than one way to look sexy, and I hope in the future we can tap into that,” she said.Gabriella Angotti-Jones for The New York TimesCamille Lenain for The New York TimesRikkí D Wright for The New York TimesGabriella Angotti-Jones for The New York TimesJonquel Jones was the W.N.B.A.’s most valuable player in 2021. “If u don’t fit into the normal stereotype of what feminine is or what it ‘should be’ you lose opportunities,” Jones said in an August 2020 Twitter post. “Women have to be so much more marketable than men.”W.N.B.A. players, with a maximum base salary of about $230,000, earn far less than their millionaire counterparts in the N.B.A., making marketing dollars even more important. The W.N.B.A. has a pool of $1 million that it must spend on marketing deals for players, and each team has to spend between $50,000 and $100,000 per year on player marketing deals. Any unspent amount carries over to the next season on top of the minimum.The league said it selects players to participate in marketing efforts based on a variety of factors: on-court performance, an established personal brand with an active fan base, and the willingness to travel and participate in league events.“Ideas about bodies play out most explicitly on the bodies of athletes — harmful ideas and also positive ideas,” Jackson said. “That’s another way in which this can be a space of conflict and a space of harm, too, depending on the way those ideas are packaged and sold.”‘They have no idea about what a Black woman goes through, let alone an athlete.’Tiffany Mitchell likes to feel the swing of her ponytail as she runs the court.Mitchell, who is Black, has often worn her hair in long, braided styles past her waist since she starred at South Carolina from 2012 to 2016. This kind of protective hairstyling allows her to go longer between restyling and can prevent breakage during the grind of the season with the W.N.B.A.’s Indiana Fever.Those swinging braids became an issue during the W.N.B.A. off-season in December, when she was competing with the Melbourne Boomers, a professional women’s team in Australia. Basketball Australia, the sport’s governing body, said the league’s players had to tie their hair back or up, mistakenly attributing the policy to a FIBA rule that was no longer in effect. Mitchell, one of just three Black players on the Boomers’ roster, felt targeted, since she had never had to change her hair for other international competitions. Basketball Australia later apologized and rescinded what it called a “discriminatory” policy.“They have no idea about what a Black woman goes through, let alone an athlete,” Mitchell said. “So I think that me bringing it to their attention called out the ignorance because there have been players in this league that have had braids before me, and it was never an issue.”Tiffany Mitchell loves playing basketball while wearing long braids. But that became an issue when she was competing in Australia.Gabriella Angotti-Jones for The New York Times‘When I look good, I feel good, I play good.’As early as fifth grade, Deja Kelly’s mother encouraged her to create a signature hairstyle.“She would call it a ‘D-I do’: If you want to go D-I, you have to look like you play D-I,” Kelly said.She adopted a slicked-back ponytail or a bun as her preferred hairstyles. Her glam routine now — eyelash extensions, a tight bun and detailed edges — “has never affected my performance” as the University of North Carolina at Chapel Hill’s leading scorer last season. Kelly has had endorsement deals with Dunkin’, Beats by Dre, Forever 21 and the sports drink Barcode, among others.“For me, when I look good, I feel good, I play good,” Kelly said. “That’s something I always prided myself in.”Walker, the sports management professor, said her studies on women’s sports pointed to a trend: Women in basketball are showcasing greater agency and self-determination by glamming.Video by Gabriella Angotti-JonesDiJonai Carrington of the W.N.B.A.’s Connecticut Sun said she felt that she played better after she had gone through her glam routine.Gabriella Angotti-Jones for The New York TimesGabriella Angotti-Jones for The New York Times“A lot of women’s basketball players feel free to express themselves, to perform in a way aesthetically that accomplishes whatever they want to accomplish,” Walker said. “Sometimes we underestimate how business savvy they are, particularly in this day and age.”Connecticut Sun guard DiJonai Carrington has had an endorsement deal with Savage X Fenty, Rihanna’s lingerie brand. She makes sure she has on her 20-millimeter mink eyelash extensions before every game. Her nails, typically coated with some sort of bright polish, are usually done with acrylic extensions. She’s grown so accustomed to applying gel to her hairline that it takes her only about 30 seconds.“I feel like I play better. I don’t know if I do or I don’t, but I just feel like I do,” Carrington said. “And I never have wanted to compromise one thing or another, whether that’s being a hooper and being a dog on the court and still being able to look a certain way.” More

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      Wimbledon Needs More Arthur Ashe Moments, On and Off the Court

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      Nick Kyrgios and Ons Jabeur brought a fresh diversity to the men’s and women’s singles finals.WIMBLEDON, England — For the first time in nearly a half-century, a weekend at Wimbledon felt, and looked, different.Nick Kyrgios and Ons Jabeur brought a fresh diversity to the men’s and women’s singles finals. Jabeur, of Tunisia, became the first North African player to make it to a singles final. Kyrgios, an Australian with Malaysian roots and a well-documented swagger that marks him as something wholly different from his peers, was playing in his first Grand Slam final. Jabeur and Kyrgios each ended up losing, but that is beside the point.Not since 1975, when Arthur Ashe and Evonne Goolagong made it to their finals, had both championship matches combined to be as diverse. Tennis evolves in fits and starts, and nowhere does that feel more true than at Wimbledon.To look at the Centre Court crowd these past two weeks was to see how hard change is to pull off, especially when it comes to race.In the stands, an all-too-familiar homogeneity. Aside from a dappling of color here and there, a sea of whiteness. To me, a Black guy who played the game in the minor leagues and always hopes to see it move past its old ways — to see a lack of color always feels like a gut punch, particularly at Wimbledon in London.After Saturday’s women’s final, I stood beside a pillar near one of the Centre Court exits. Hundreds walked by. Then a few thousand. I counted roughly a dozen Black faces. This grand event plays out in one of the most diverse metropolises in the world, a hub for immigrants from across the globe. You wouldn’t know that by looking at the spectators. There were some Asian faces. A few Muslims in hijabs. The Sikh community is huge in London. I saw only one of the traditional Sikh turbans at the court.When I pulled a few of the Black fans aside and asked them if they felt aware of how rare they were in the crowd, the reply was always as swift as a Jabeur forehand volley or a Kyrgios serve. “How could I not?” said James Smith, a London resident. “I saw a guy in a section just above me. We smiled at each other. I don’t know the man, but there was a bond. We knew we were few and far between.”The fans see it.And the players, too.“I definitely notice,” said Coco Gauff, the American teen star, when we spoke last week. She said she is so focused when she plays that she barely notices the crowd. But afterward, when she looks at photographs of herself at Wimbledon, the images startle. “Not a lot of Black faces in the crowd.”Gauff compared Wimbledon with the U.S. Open, which has a more down-to-earth feel, like the world’s greatest public parks tournament, and a far more varied crowd.“It’s definitely weird here because London is supposed to be such a big melting pot,” Gauff added, pondering for a while, wondering why.Going to Wimbledon, like going to big-time sporting events across North America and far beyond, requires a massive commitment. Tried and traditional Wimbledon pushes that commitment to its limits. You can’t go online to buy tickets. There’s a lottery system for many of the seats. Some fans line up in a nearby park, camping overnight to attend. The cost isn’t exactly cheap.“They say it is open for all, but the ticket system is designed with so many hurdles that it’s almost as if it’s meant to exclude people of a certain persuasion,” said Densel Frith, a Black building contractor who lives in London.He told me he’d paid about 100 pounds for his ticket, about $120. That’s a lot of money for a guy who described himself as strictly blue collar. “Not coming back tomorrow,” he added. “Who can afford that? People from our community cannot afford that. No way. No way. No way.”There’s more to it than access and cost. Something deeper. The prestige and tradition of Wimbledon are its greatest assets, and an Achilles’ heel. The place feels wonderful — tennis in an English garden is not hyperbole — but also stuffy and stodgy and stuck on itself.“Think about what Wimbledon represents for so many of us,” said Lorraine Sebata, 38, who grew up in Zimbabwe and now lives in London.“To us it represents the system,” she added. “The colonial system. The hierarchy” that still sits at the foundation of English society. You look at the royal box, as white as the Victorian era all-white dress code at this tournament, and you cannot miss it.Sebata described herself as a passionate fan. She has loved tennis since the days of Pete Sampras, though she does not play. Her friend Dianah Kazazi, a social worker who came to England from Uganda and the Netherlands, has an equal passion for the game. As we spoke, they looked around — up and down a corridor just outside the majestic, ivy-lined Centre Court — and could not find anyone who appeared to have the African heritage they shared. They said they had many Black friends who enjoyed tennis but did not feel they could be a part of Wimbledon, situated in a luxurious suburb that feels exclusive and so far from the everyday.“There is an establishment and a history behind this tournament that keeps things status quo,” Kazazi said. “You have to step outside of the box as a fan to get around that.” She continued: “It is the history that appeals to us as fans, but that history says something to people who don’t feel comfortable to come.” For many people of color in England, tennis is simply not seen as “something for us.”I understood. I know exactly where these fans were coming from. I felt their dismay and bitterness and doubt about whether things would change. Honesty, it hurt.Maybe it helps to know what Wimbledon means to me.I get goose bumps whenever I enter the gates, off leafy, two-lane Church Road. On July 5, 1975, when Arthur Ashe defeated Jimmy Connors, becoming the first Black man to win the Wimbledon singles title and the only Black man to win a Grand Slam tournament title except Yannick Noah at the French Open in 1983, I was a 9-year-old whose sports love was the Seattle SuperSonics.Seeing Ashe with his graceful game and keen intelligence, his Afro and skin that looked like mine, persuaded me to make tennis my sport.Wimbledon didn’t alter the trajectory of my life, but it did change the direction.I became a nationally ranked junior and collegiate player. I spent a little over a year in the minor leagues of the professional game, reaching No. 448 on the ATP rankings list. Nonwhite players were nearly as rare in my time as in Arthur’s.Today, as we just witnessed this weekend, there is a budding new crop of talent. Serena and Venus Williams combine as their North Star. And yet there’s a lot of work to be done. Not only on the court, but in drawing fans to the game and getting them into the stands at a monument to tennis like Wimbledon. A whole lot of work that will take a whole lot of time. More

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      Julian Gaines Has a Question: ‘How Do I Paint Oregon Black?’

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      In a cavernous studio on a wind farm in Forest Grove, Ore., about halfway between Portland and the Tillamook State Forest, Julian Gaines, an artist born and raised in Chicago, is creating a body of work devoted to Black American life.He starts his workday at 9 a.m. and goes until the work tells him he’s done, creating images of the civil rights movement’s heroes and martyrs, including James Baldwin and Malcolm X, in a state where Black people make up roughly 2 percent of the population, according to the United States Census Bureau.“I can’t complain about an environment that I’m in but not actually try to change it,” said Mr. Gaines, 31, who left Illinois in 2016. “I get out here and I see that Oregon is culturally inept. It is identical to a blank canvas. I think, ‘How do I leave my lasting mark here? How do I plant my Pan-African flag? How do I paint Oregon Black?’”On a recent afternoon, his studio was filled with the sounds of a fellow Chicagoan, Curtis Mayfield. An American flag occupied part of a 30-foot wall. Mr. Gaines lifted the flag to reveal two stark paintings that appeared to depict lynchings. They were part of a recent series, “Under the Flag.” On the other side of the room, there was a canvas, 14 feet wide, called “Better Timing.” It showed the face of Emmett Till, the Black boy from Chicago who was lynched at 14 while visiting Mississippi in one of the most brutal hate crimes of the last century.Artist at work: Julian Gaines in his Oregon studio.Amanda Lucier for The New York TimesMr. Gaines got widespread attention in 2020, when his series “KAREN(S)” was featured on the cover of New York magazine. It was Pop Art with a political edge — a bold image of a white woman holding a phone to her ear, her expression stern, a tear running down her cheek. It evoked a string of incidents involving women who had called the police on Black bystanders: a bird-watcher, a man entering his apartment building, an 8-year-old selling water.“KAREN(S)” owed something to an experience Mr. Gaines went through himself, after a neighbor damaged his car two years ago, he said. When he asked the neighbor, a white woman, to provide her insurance information, she threatened to call the police and report him for elder abuse, he said. As she approached him, ranting and pressing a finger to his chest, he recorded her with his phone. Once the police arrived, Mr. Gaines was able to show them the images on his screen. The neighbor ended up admitting to the police that she had caused the damage to the car, and the officers left soon afterward.“If I did not have that video, who knows what could have happened?” Mr. Gaines said.Nike released a limited-edition sneaker designed by Mr. Gaines in 2017.Amanda Lucier for The New York TimesAfter the incident, the woman sent Mr. Gaines a note of apology: “I am sorry for my actions and unneighborly behavior,” she wrote. The note hangs in his studio.Mr. Gaines has a key supporter in the art collector James Whitner, the chief executive of the Whitaker Group, the company behind the fashion labels A Ma Maniere, Social Status and APB. Works by Mr. Gaines, including “KAREN(S),” appear in Mr. Whitner’s North Carolina home, along with paintings and sculptures by KAWS, Nina Chanel Abney and Jammie Holmes.“He’s speaking to the Black experience, and he’s not blinded by institution,” Mr. Whitner said in an interview. “Some people don’t necessarily get Julian, but I get Julian because for years people didn’t get me.”Last summer Mr. Gaines had his first solo show, “Painting the Blueprint,” at the Steven Harvey Fine Art Projects gallery in Lower Manhattan. In September, “Benji,” his monochromatic rendering of Ben Wilson, a top basketball prospect who was killed in his Chicago neighborhood at 17 in 1984, sold for more than $20,000 at a Phillips charity auction. Mr. Gaines was born on the Southeast Side of Chicago and raised in a building owned by his great-grandmother, Gladys Pelt. His mother, Pamela Robinson, still lives there. An image of the building is tattooed on Mr. Gaines’s right wrist.He was born into a city and a world where Michael Jordan, whose Nike Air Jordans had become a streetwear staple, was everywhere. As a boy, Mr. Gaines loved Nikes, but he got only one pair a year — usually Nike Air Force 1s. He started expressing himself artistically at age 13, when he painted his Nikes to camouflage the wear and tear. In high school he kept at it, decorating classmates’ sneakers and T-shirts, sometimes for a fee.Mr. Gaines’s neckwear includes an easel pendant.Amanda Lucier for The New York TimesHe was also deeply involved in the Trinity United Church of Christ, where a young politician, Barack Obama, was a frequent presence. Mr. Obama’s rise to the presidency helped Mr. Gaines view history as something other than an abstraction.“My church family was really the first people to let me know that I could be a great artist,” he said. “I remember being in the room when Barack Obama was in the early stages of his campaign. Just being there and seeing those things really set a foundation for my work.”In 2010, he accepted a partial scholarship to play football at Northern Michigan University. He thought he had a shot at making it to National Football League, and he saw himself following the path of Ernie Barnes, a pro football player and artist who was often fined during his career for sketching when he should have been at practice. Mr. Barnes went on to make more than $100,000 a year from his art, after his retirement from the N.F.L. His painting “The Sugar Shack” appeared as the cover of the 1976 Marvin Gaye album “I Want You” and as the image shown during the credits sequence of the 1970s CBS sitcom “Good Times.”Injuries put an end to Mr. Gaines’s dream of going pro. So he focused on his art. “I got to see what it means to be a real student and not an athlete,” he said. “In college your time is monopolized if you’re an athlete. I’m really grateful for that injury.”The clothes are stained with paint after another day in the studio.Amanda Lucier for The New York TimesAn older classmate offered to buy one of his paintings for $300. His pastor and family members had purchased his artwork before, but this was the first time someone without a clear rooting interest in his success had become a patron.After graduation, he moved back to his great-grandmother’s place and used the garden apartment as a place to make art. “I wanted to paint myself out of there,” he said in his studio, before taking a drag on a joint.In 2016, before the legalization of marijuana in Illinois, he was arrested during a traffic stop after a police officer said he smelled of marijuana. During the brief time he was in custody, he decided to leave his home state. “I can’t be as creative as I want to be living in an area where my freedom was taken from me because of the way I smell,” he said.Nike, which has its headquarters in Beaverton, Ore., loomed large in his thoughts. He moved to Portland in 2017 and made regular visits to the Beaverton complex, walking seven miles there and back and taking meetings in the cafeteria with whoever would see him. In his studio he keeps a sneaker box filled with 80 visitors’ badges from those days.“You’re supposed to return those badges,” he said. “Most people didn’t know who I was. I knew three people that worked at Nike, and they were not in any position to give me a job.”While trying to join the company in some way, he was building a reputation as a sneaker artist by selling his embellished versions of Nike Air Force 1s to his Instagram followers. Nike hired him as a freelance designer to create a collection especially for people in creative fields.“What I brought to Nike, and they were so gracious to believe in, were shoes for creating in,” Mr. Gaines said. “This is a shoe that embodies me, where I can feel comfortable and stand in the shoe all day.”Mr. Gaines’s recent work on display in his studio, including KAREN(S).Amanda Lucier for The New York TimesHe worked with two Nike models, the 1982 Nike Sky Force ¾ and 1985 Nike Air Vortex, and called the collection Game Worn. Nike released it, in a limited edition at a store in Chicago, in 2017. Since then, LeBron James and Russell Westbrook have been spotted wearing his creations. As part of the sneaker release, Mr. Gaines led a weeklong workshop, backed by Nike, that included art classes at Chicago’s South Shore Cultural Center.“I wanted to do something for the kids in my community,” Mr. Gaines said. “A lot of times children in Chicago live so far from where people are doing these events that they can’t pay $50 or risk their lives taking public transportation to get to the North Side.”Now he is focused on his art as he prepares for a solo show scheduled for August at the Russo Lee Gallery in Portland.“He’s doing it in his own way,” said Gardy St. Fleur, a curator who advises National Basketball Association players on their art collections. “It’s raw and it’s real.”Mr. Whitner, the art collector, thinks there may be something missing in Mr. Gaines’s work — and that once he figures it out, his paintings may become even more interesting.“I don’t think Julian has allowed himself to be vulnerable,” Mr. Whitner said. “I don’t even think Julian has reconciled his feelings about coming from Chicago. And I’m curious to see how that shows up in his work once he does start to really reconcile those feelings.” More

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      Jane Campion and the Perils of the Backhanded Compliment

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      Jane Campion’s comment about Venus and Serena Williams reminded our critic of his own night of ‘botched fanciness’ and racial slights.Something about the way the director Jane Campion went overboard on Sunday to identify with, then insult, Venus and Serena Williams at an awards show brought to mind a night of botched fanciness that happened to me. A couple Fridays ago, I went to see some art: a Faith Ringgold retrospective at the New Museum in the afternoon, with friends; Norm Lewis singing at Carnegie Hall in the evening. (That was a solo trip.) For both, I wore a suit.The Ringgold show requires three floors and includes her 1967 masterpiece “American People Series #20: Die,” a blunt, bloody racial-rampage frieze that would be pure physical comedy about the era’s racial cataclysms were it not for the helpless terror in the faces she’s painted (Black men, women and children; white men, women and children). The scale of the canvas helps. It’s huge. Ringgold has always painted Black women in a range of moods, feelings, conditions, beauty. She gives them faces that feature both personal serenity and indicting alarm.I planted myself in a tight corridor that featured three works at the alarm end of things — the “Slave Rape” trio, from 1972. Each is a warm, sizable canvas of a woman nude and agape, framed by patchwork quilting, a signature of Ringgold. I was taking my time with one called “Slave Rape #2: Run You Might Get Away” — the woman is mid-flight, loosely shrouded by leaves, a big gold ring in each ear — when two strangers (women, white) parked themselves between me and the piece and continued a conversation I had heard them having in an adjacent gallery. They noticed neither me nor the depicted distress nor my engagement with it. I waited more than a minute before waving my hand, a gesture that seemed to irritate them.“Is something wrong?,” one stranger asked.“You’re in my way,” I told her.“Please accept our deepest apologies,” said her friend. If a middle ground exists between sincerity and sarcasm, these two had just planted a flag. But they did move, though not immediately, lest I relish some kind of relocation victory, and kept their talk of real estate and art ownership within earshot.The Faith Ringgold painting “American People Series #20: Die,” from 1967, in an  exhibition at the New Museum.Faith Ringgold/ARS, NY; Simbarashe Cha for The New York TimesAfter a drink with my friends I left for Carnegie Hall. A cab made sense. One pulled up, and the driver (male, brown) took a look at me, then noticed a white woman hailing a taxi up ahead and drifted her way, instead. When I jogged over to ask him what just happened — Is something wrong? — I was given no acknowledgment in the way only a guilty cabby can achieve. I chased the car half a block to photograph a plate number that you’d have to be Weegee to get just right. I’m not Weegee.I’d never been to Carnegie Hall. And I liked the idea that Norm Lewis was going to break me in. He played Olivia Pope’s senator ex on “Scandal” and one of the vets in Spike Lee’s “Da 5 Bloods.” He’s got a luscious, flexible baritone that I’d only ever encountered in recorded concerts on PBS. That night, backed by the New York Pops, he gave Stephen Sondheim, Andrew Lloyd Webber and Marvin Gaye the polished jewel treatment and pumped “Ya Got Trouble” with enough breathless gusto to make you wonder, with all due respect to Hugh Jackman, why the current “Music Man” revival isn’t starring him.As a solo performer, this was Lewis’s first show at Carnegie Hall, too. And people were anxious to see him and their beloved Pops. In a queue in the lobby before the show, one such person (woman, white) was making a point to push past me when I turned to ask if she was all right.“We’re going to will-call,” she said of herself and the gentleman she was with.“Ma’am, I think we all are,” I said.“We’re members. Are you?” she asked.I lied, hoping a yes would stanch her aggression.“Of the Pops?”She had me.“I like Norm Lewis,” I told her.“We love the Pops.”Venus Williams, left, and Serena Williams at the Critics Choice Awards; “King Richard,” a movie about their family, earned a best actor award for Will Smith.Frazer Harrison/Getty ImagesI was thinking about my night out a week later when one of the world’s great filmmakers saluted two of the world’s greatest athletes in an acceptance speech at the Critics Choice Awards. Jane Campion had been given the directing prize for a sneaky-deep ranch drama called “The Power of the Dog.” From the stage, Campion (woman, white) saluted Venus and Serena Williams and announced that she had taken up tennis but her body had told her to stop. In her nervous excitement, Campion was charming. She then took curious note of her plight as a woman in the film industry by informing the Williamses that they’ve got nothing on her. “You are such marvels,” she said, through a grin. “However, you do not play against the guys like I have to.”The Williams sisters were in the room that evening because a smart, tangy movie about their family, “King Richard,” was in the nominations mix, alongside Campion’s. “King Richard” is not about the time in 2001 when a California crowd booed and slurred Venus and Serena and their father, Richard, at a top tennis tournament. It’s not about the many mischaracterizations of their bodies, skills and intent in the press and by their peers. It’s not about the insidiously everlasting confusion of one sister for the other, the sort of thing that, just a few weeks ago, took place on a page of this newspaper. It’s not even about their fight, Venus’s particularly, to get women’s prize money even with men’s “King Richard” is about how the sisters’ parents molded and loved and coached them into the sort of people who can handle sharp backhands and backhanded compliments with the same power and poise.Even though Campion’s errant backhand had flown wide, the room lurched into cheers. Some of the applause came from Serena Williams, who has watched many a shot sail long. I had to desist further thought about the meaning of Campion’s aside. It was too confused. Was this a wish for the establishment of gendered guardrails for directors at award shows or the elimination of such distinctions in sports? Are there no men to be contended with in tennis? The line separating argument from accusation and accusation from self-aggrandizement was murky. I thought instead about the costs of the murk.Sunday afternoon, the Williamses got dressed up to celebrate some art. And somebody stood before them and challenged the validity of their membership, here in Campion’s restricted vision of sisterhood. The next day, Campion gushed an apology. These slips and slights and presumptions have a way of lingering, though. Their underlying truth renders them contrition-proof. I had every intention of keeping my date with Faith and Norm to myself. These incidents aren’t rare in fancyland, and therefore don’t warrant a constant spotlight because standing in its glare is exhausting. But Venus. Her face does something as Campion speaks. A knowing cringe. She and her family came out to soak up more of the praise being lavished on art about their life. They were invitees turned, suddenly, into interlopers, presenting one minute, plunged through a trap door the next. Faith Ringgold would recognize the discomfort. She painted it over and over. Run you might get away. But you probably won’t. More

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      Overlooked No More: Ora Washington, Star of Tennis and Basketball

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      She was dominant in both sports over two decades and was in all likelihood the first Black star in women’s sports in the United States.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.Ora Washington, a dominant two-sport champion over two decades, was so good at basketball and tennis that she was hailed in the Black press as “Queen Ora” and the “Queen of Two Courts” — and for good reason.In the 1920s through the 1940s, long before female athletes like Serena Williams, Simone Biles and Naomi Osaka became immensely influential sports figures, Washington was in all likelihood the first Black star in women’s sports the United States had ever seen.In one basketball game, she sank an improbable basket from beyond midcourt. In another, she scored 38 points when entire women’s teams normally didn’t score that many in a single outing. Washington “can do everything required of a basketball player,” the sports columnist Randy Dixon wrote in 1939 in the Black weekly newspaper The Pittsburgh Courier. “She passes and shoots with either hand. She is a ball hawk. She has stamina and speed that make many male players blush with envy.”Washington, the team’s center and captain, did it all without even warming up before competitions, coolly saying that she preferred to warm up as she went along. Her remarkable basketball skills were “flashy and aggressive,” as The Courier said in 1931, and brought spectators rushing to see her decades before the women’s game became popular in mainstream society.On the tennis court, Washington was perhaps even more spectacular. Beginning in 1929, she won seven straight national singles championships — and eight in all — as part of the American Tennis Association, a league that welcomed all comers at a time when the world’s top league, the United States Lawn Tennis Association, allowed only white players to compete. Washington also won 12 consecutive A.T.A. doubles titles from 1925 to 1936, including nine with her partner Lulu Ballard, and three mixed doubles titles.With a searing serve and an unconventional way of holding the racket halfway up its neck, Washington won her matches “with ridiculous ease” and “walloped opponents into the also-ran columns” with her “flying feet, keen sight, hairline timing and booming shots,” The New York Age, another Black newspaper, wrote in 1939. The Age likened Washington, who was square-jawed, muscular and about 5-foot-7, to the boxing champion Joe Louis because both won with “deadening monotony.”“If you’re looking at Black women’s sports in the pre-integration era, she was the star,” Pamela Grundy, a historian and a pre-eminent source of Washington’s life and career, said in an interview.“She did things her own way,” Grundy added. “I think that made a lot of people nervous.”Washington once made news when she boldly wore pants, not a skirt, on the tennis court. She rarely wore makeup, and she never married; her closest relationships were with other women, said Grundy, who has interviewed several of Washington’s relatives.After matches, Washington wouldn’t hobnob at social events that often surrounded big tennis matches. Instead, she quietly went home or back to her job as a housekeeper for wealthy white families, work she continued throughout her sports career, Grundy said.“Ora wasn’t girly girly,” she added. “And she didn’t pretend to be girly.”Washington was known for her physical, intimidating style of play, which opponents didn’t soon forget.“Competitors — 60 years after the fact — had quite vivid memories of her skills and style,” said the sports historian Rita Liberti, who has interviewed several of Washington’s opponents. Ruth Glover Mullen, who played against Washington in the 1930s, told Liberti that facing Washington “was just like playing a Magic Johnson or Michael Jordan.”Washington, right, in 1939 after winning the Pennsylvania Open. With her was the runner-up, Dorothy Morgan, whom Washington beat, 6-2, 6-1.John W. Mosley/Temple University Libraries, Charles L. Blockson Afro-American CollectionYears went by without Washington losing a single match. But white Americans did not notice because Washington had been relegated to a segregated corner of the sports world. And that was their loss, the tennis champion Arthur Ashe asserted decades later, “because Washington may have been the best female athlete ever,” he wrote in The New York Times in 1988.Some said her dominance had made tennis boring.“It does not pay to be national champion too long,” Washington told The Baltimore Afro-American in 1939. “It’s the struggle to be one that counts. Once arrived, everybody wants to take it away from you and you are the object of many criticisms.”She retired from her singles career in 1938 but came out of retirement briefly in 1939 to play Flora Lomax, the reigning A.T.A. national champion, whom the Black press had referred to as the sport’s glamour girl. There had been speculation that Washington had retired to avoid playing Lomax, prompting Washington to tell The Afro-American that she “just had to” prove somebody wrong after “they said Ora was not so good anymore.”Washington proceeded to beat Lomax with relative ease.Washington won her last A.T.A. mixed doubles title in 1947, when she was in her 40s. She and her partner, George Stewart, beat R. Walter Johnson and Althea Gibson, the Black athlete who was on the cusp of greatness.Washington then retired for good, just as the sport was beginning to be integrated. Had she stayed, “Ora would have beaten Althea,” Johnson was quoted as saying in Florida Today in 1969, and had she been a little younger, she could have become an international star.It was Gibson who became the first Black player to win a major tournament, the 1956 French Open singles; she went on to win five Grand Slam singles titles in all.Dixon, the columnist at The Pittsburgh Courier, said in 1939 that Washington might have become better known had she not shied away from the limelight. She had, he wrote, “committed the unpardonable sin of being a plain person with no flair whatever for what folks love to call society.”Ora Belle Washington is believed to have been born in the late 1890s in Caroline County, Va. (The state didn’t keep birth records at the time.) She was the fifth of nine children of James and Laura (Young) Washington, who owned a farm in the small town of File, about midway between Richmond and Washington.As a teenager, Ora left the increasingly violent segregated South for Philadelphia, where she picked up tennis at the Y.W.C.A. in the Germantown section of the city. She was a natural.At an A.T.A. regional tournament in 1925, just a few years after she had started playing tennis, Washington signaled that she had arrived when she upset Isadore Channels, the league’s reigning national champion. She also started her doubles winning streak with Ballard that year.After moving to Chicago, where she worked as a hotel maid, Washington won her first national singles title in 1929, and for seven straight years there was no stopping her. “Her superiority is so evident,” the Black paper The Chicago Defender wrote in 1931, “that her competitors are frequently beaten before the first ball crosses the net.”But with no avenue available to gauge her talents against white players, she turned to basketball. The timing was perfect; the sport was on the rise in the Black community, which embraced women ballplayers as celebrities.In 1930, Washington joined the Germantown Hornets, which played out of her local Y.W.C.A., and they lost only one game on the way to a Black women’s national championship.She later played for the Philadelphia Tribune Girls, a semiprofessional squad sponsored by a local Black newspaper, and the team became an all-star outfit that traveled throughout the South and Midwest for sold-out games. The team drew more than 1,000 fans when it played Bennett College, an all-Black women’s college in North Carolina, according to The Greensboro Daily News in 1934.The Newsgirls, as the Tribune Girls were also known, won 11 straight Colored Women’s Basketball world championship titles, in part because no opposing player could handle Washington and no coach could devise a defense to contain her.Even the mainstream press called Washington an “outstanding star” or the “famous colored girl athlete.” She remained with the team until 1943, when it disbanded.Washington then slipped nearly completely off the national stage. When she was inducted into the Black Athletes Hall of Fame in 1976, the organizers were surprised that she did not show up for the ceremony.They were even more surprised to learn that she had died five years earlier, on May 29, 1971, in Philadelphia, according to her death certificate. Grundy learned from an interview with Washington’s nephew Bernard Childs that Washington had been ill for some time.Washington was inducted into the Basketball Hall of Fame, in Springfield, Mass., in 2018, partly through the efforts of Claude Johnson, the executive director of the Black Fives Foundation, a nonprofit group that promotes awareness of African Americans who played basketball before the N.B.A. was integrated.“When Ora Washington played, there had never before been greatness at that level,” Johnson said in an interview. “We should honor that.” More

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      Sam Jones, Sharpshooting Celtics Star of the 1960s, Dies at 88

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      A member of the Basketball Hall of Fame, he was named one of the 50 greatest players in N.B.A. history and played on 10 N.B.A. championship teams.Sam Jones, the Boston Celtics’ sharpshooting Hall of Fame guard who played on 10 N.B.A. championship teams, a milestone exceeded only by his teammate Bill Russell, died on Thursday in Florida. He was 88. His death was announced by a Celtics spokesman, who did not specify a cause but said that Jones had been in failing health. He also did not say where in Florida he died, but Jones had been living in the Orlando area.When Jones was selected by the Celtics out of the historically Black North Carolina College at Durham (now North Carolina Central University) in the first round of the 1957 draft — he was the eighth player chosen overall — he was more astonished and apprehensive than thrilled. Since players at Black colleges had gained little national notice at the time, he viewed himself as a potential pioneer, though he questioned his chances of making a Celtics lineup brimming with stars.“I had a lot of pressure put on me,” Jones told The Boston Globe in 2009. “We didn’t have scouts coming in to see what the Black colleges were doing. If I make good, they’re going to start looking into the Black colleges.”Despite his doubts, Jones quickly impressed Coach Red Auerbach. He went on to team with K.C. Jones (no relation), a tenacious defender, in a backcourt pairing that eventually replaced that of Bob Cousy and Bill Sharman, two of the N.B.A.’s greatest players of the 1950s. The Joneses became part of a record-setting run alongside Russell, who transformed the center position with his rebounding and defense, the forwards Tom Heinsohn, John Havlicek and Satch Sanders, and Cousy and Sharman in their final seasons.Jones went to the basket against the Philadelphia Warriors in a 1965 game as the Warriors’ Wilt Chamberlain (No. 13) looked on. Jones, who was 6-foot-4, relished getting the best of Chamberlain, who was 7-foot-1.Dick Raphael/NBAE/Getty ImagesSam Jones played on Celtics teams that won eight consecutive N.B.A. championships (1959 to 1966) and another two in 1968 and 1969. A five-time All-Star, he was called Mr. Clutch for the many baskets he scored in the final seconds of playoff games. His total of 10 championship rings has been exceeded only by Russell’s 11.Jones was elected to the Basketball Hall of Fame in Springfield, Mass., in 1984 and was named one of the 50 greatest players in N.B.A. history when the league celebrated its 50th anniversary in 1996. He once held the Celtics’ single-game scoring record, with 51 points against the Detroit Pistons in October 1965. When he retired after 12 seasons, he was the team’s career scoring leader, with 15,411 points. Larry Bird and Jayson Tatum are the current single-game record-holders, with 60 points, and Havlicek holds the career scoring record, with 26,395.Jones was renowned for using the backboard when most players were shooting directly at the hoop.“Sam showed them how to use the bank shot,” Auerbach once told United Press International. “He made it popular, and he made it an art.”Jones had supreme confidence in that shot. As he put it, “I felt it was like making a layup.”Samuel Jones was born on June 24, 1933, in Wilmington, N.C. At North Carolina College, playing for the Hall of Fame coach John B. McLendon in a Division II program, he was a fine shooter, scoring a total of 1,170 points, and an outstanding rebounder.Auerbach had never seen Jones play in college. But he drafted him when Bones McKinney, a North Carolinian and one of Auerbach’s former players, raved about him. Jones had planned to become a teacher but tried his luck at the Celtics’ training camp.He was a reserve for several seasons before taking over for Sharman. Though he was 6-foot-4, tall for a guard at the time, he was quicker than many smaller guards.When he saw Russell about to snare an offensive rebound, Jones would move away from the man defending him, who was watching the ball, and get ready to snare a pass from Russell and convert it into a bank shot. As he told NBA.com, “You only need a second to get a shot off.”Jones retired from the Celtics in 1969 and was later head coach at Federal City College in Washington (now the University of the District of Columbia) and at North Carolina Central. He was an assistant coach for the N.B.A.’s New Orleans Jazz.Jones in 2009 at the Sports Museum in Boston, where he received a lifetime achievement award. After retiring from the Celtics, he coached college ball. Steven Senne/AP Jones and his wife, Gladys Chavis Jones, who died in 2018, had five children. Information on survivors was not immediately available.Jones averaged 17.7 points a game in the regular season for the Celtics, but he was particularly dangerous in the playoffs. He hit a jump shot over the Philadelphia Warriors’ Wilt Chamberlain in the final seconds of Game 7 in the 1962 Eastern Division playoff final, giving Boston a 109-107 victory. He had five of the Celtics’ 10 overtime points against the Los Angeles Lakers in Game 7 of the league finals, helping to propel Boston to a fourth consecutive championship.Jones relished getting the best of the 7-foot-1 Chamberlain.“I never challenged him by trying to drive right on him — he’d just block your shot,” he told Terry Pluto for the N.B.A. oral history “Tall Tales” (1992). “I’d stop in front of him and shoot over him. Then I talked to him. I talked to everybody on the court, but it was a lot of fun to say things to Wilt because he’d react to them.”In a fight-filled fourth quarter of Game 5 in that Celtics-Warriors series, Jones collided with Chamberlain, who outweighed him by nearly 50 pounds, and they exchanged unpleasantries. When Chamberlain grabbed at Jones’s wrist — perhaps in a peace gesture — Jones ran off the court.“He saw Wilt still coming after him, so Sam picked up one of the photographers’ chairs and held it out at Wilt as if Sam were a lion tamer,” the referee Norm Drucker recalled to Mr. Pluto.“He was about ready to go up into the stands — he didn’t want to fight,” said Chamberlain, the strongest man in pro basketball. “So I said, ‘Ah, forget it.’” More

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      McCollum on Simmons Trade Rumors, Vaccines and Blazers Firing

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      Portland guard CJ McCollum is facing challenges both personal and professional in his first year as president of the players’ union. “It’s the life I chose,” he said.Portland Trail Blazers guard CJ McCollum has been interested in the business machinations of the N.B.A. since early in his career. He was a team representative and vice president in the players’ union, the National Basketball Players Association, before he was elected to succeed Chris Paul as its president this year.The job pays nothing. It adds phone calls and video conferences to his already busy schedule with his day job. His wife is due to deliver their first child any day now. He has a fledgling wine business.Why would McCollum want to take this on?“I’m ready for the next step, the next evolution of myself,” he said in a recent phone interview. “And that’s being more mature, having more responsibility, but also figuring out ways to help more people. Figuring out ways to provide leadership, counsel, guidance.”Since he started, more challenges have faced him and the Trail Blazers. McCollum, who is in his ninth season playing in Portland, has been the subject of trade rumors. As the team struggled on the court in recent weeks, its then president and general manager, Neil Olshey, was fired for improper workplace conduct. And McCollum is now sidelined as he recovers from a partially collapsed lung.On top of that, the union is navigating the coronavirus pandemic, with McCollum — who has said he doesn’t allow unvaccinated people into his home — and the league encouraging vaccines. The players do not have a vaccine mandate, but McCollum said, “We were at 98, we might even be around 99 percent vaccinated right now, which is a big deal.”He’s sought advice from Paul, other veteran players and lawyers and executives who work for the union. He’s learning to advocate for players while building relationships with teams and the league office. The next collective bargaining agreement will be negotiated during his term, and he’d like to help players with financial literacy.He recently spoke with The New York Times about being the players’ union president during a pandemic, how he handles trade rumors and his relationship with Olshey.This interview has been condensed and edited for clarity.Have you had to explain to others why the extra coronavirus testing is a good thing? [The league and union agreed to require additional testing, even for vaccinated players, after Thanksgiving, which has coincided with an uptick in positive tests.]I think when we explain to people the importance of knowing — there’s a lot of things that go under the radar in terms of being positive, but being asymptomatic. So I think testing around the holidays when people are flying or traveling, families are coming in from out of town, you’re gathering, you’re more exposed. It just makes sense and the only bad thing that can come from it is finding out that you are positive. But the good news is you’re finding out early and you can save and not expose some of your friends and family.As training camps opened, there was a lot of attention on the small number of unvaccinated players. Did that annoy you?Yeah, it did. I feel like we were targeted. Obviously, people look up to us. We play a sport for a living. It’s entertainment. People looked at us as the bar. In reality, we are kind of the bar: We got 98 percent of our league volunteered to be vaccinated, whereas the public was 55 percent or 60 percent at that point. No one was talking about corporate America going through the same problem, no one was talking about how there were health care workers going through the same issues. It was us in the spotlight, and I thought it was unfair because we were doing such a great job of educating our players.There was a lot of conversation about vaccine hesitancy in the Black community as being a problem for the N.B.A. How did you view that?There was hesitancy, but I think there’s hesitancy from everyone. We wanted to know more, we wanted more data. Understanding historically Blacks and African Americans have been taken advantage of, especially in similar circumstances and situations. Historically, we’ve been used almost as guinea pigs at times for experimental medicine. There was caution, there was pause, but for good reason.I think as we’ve continued to educate ourselves and ask the right questions from experts, we’ve learned that there was a shift.As union president, you have to think about the welfare of other players, but some of their situations impact you too. I’m thinking about Ben Simmons, who hasn’t played this year and how your name gets mentioned in trade rumors with him. How do you process your dual role in that?The Coronavirus Pandemic: Key Things to KnowCard 1 of 5The Omicron variant. More