Wednesday, March 7, 2012

Lovellette selected for Hall of Fame


— Former Kansas standout Clyde Lovellette and Georgetown great Patrick Ewing lead a 10-member class that will be inducted into the National Collegiate Basketball Hall of Fame in November.

The class was announced Tuesday in Kansas City.

The two post players will be joined by North Carolina’s Phil Ford, Wyoming’s Kenny Sailors, Grambling’s Willis Reed and Winston-Salem State’s Earl Monroe.

Also inducted will be Joe B. Hall, who followed Adolph Rupp as the coach of Kentucky, and Dave Robbins, who won more than 700 games at Virginia Union.

Businessmen Jim Host and Joe Dean will go in as contributors.

The induction ceremony is scheduled for Nov. 18 at the Midland Theatre in Kansas City. The following night, Kansas, Saint Louis, Texas A&M; and Washington will play in the semifinals of the CBE Classic at the nearby Sprint Center.

“All of these individuals have played key role in the growth and foundation of our wonderful and great game,” said Reggie Minton, the deputy executive director of the National Association of Basketball Coaches and the chairman of the Hall of Fame selection panel.

Lovellette in many ways laid the blueprint for how Ewing played his position. The 6-foot-9 center was a three-time All-American for coach Phog Allen at Kansas, and was the nation’s top scorer in 1952, when he was voted most valuable player of the NCAA Tournament.

Before becoming one of the NBA’s best post players, Ewing was a dominant center for the Hoyas of coach John Thompson, earning consensus All-America honors three straight years.

The 7-foot center helped the Hoyas reach the NCAA championship game as a freshman, where they fell to North Carolina. He cut down the nets as a junior when he led Georgetown past Houston, and was part of one of the NCAA tournament’s greatest upsets when eighth-seeded Villanova beat the No. 1 seed Hoyas 66-64 for the championship his senior season.

Ewing later played for two gold medal-winning Olympic teams, and amassed more than 24,000 points and 11,000 rebounds during a Hall of Fame career for the Knicks.

Ford was the first freshman to start the first game of his career under Hall of Fame coach Dean Smith at North Carolina, and was the national player of the year as a senior.

“This is a tremendous honor,” said Ford, who played for the Kings, Nets, Bucks and Rockets in the NBA. “Truly one that caught me off guard.”

Monroe never caught anybody off guard. Playing for Clarence “Big House” Gaines, he averaged 41.5 points per game and led Winston-Salem State to the Division II title in 1967.

“The Class of 2012 has incredible roots in college basketball,” Minton said.


wrwlumpy 8 years, 5 months ago

When the NBA started showing their games on tv, Clyde was as big a star as Cousy, Wilt, and Russell. He was similar to Big Country in his looks. Clyde always had a flat top. And half of his shots were hook shots, Even his longer shots.

I remember as a child watching him step on a player's chest ON PURPOSE with no foul.

His banner hangs next to Wilt's in AFH.

bradh 8 years, 5 months ago

I was trying to figure out why it would take 60 years for Mr. Lovellette to make it into the Hall of Fame. I guess the HOF is part of the CBE, so only a few years old itself. So it will take a while to get the past greats in. I'm glad they are getting to Mr. Lovellette, he is well deserving.

VaJay 8 years, 5 months ago

Thanks for looking into that. I was wondering the same thing!

Eric Dawson 8 years, 5 months ago

Something screwy here. According to the NCBHof's own website, Clyde was one of the original 180 inductees when the HoF first opened in 2006. Same with Earl Monroe.

Perhaps they are being specially honored this year? The HoF makes it a point each year to honor a couple of founding class members at the induction ceremony.

That must be it -- and this is a not so good piece of reporting.

Mike Skiles 8 years, 5 months ago

Totally agree - very poor journalism in this news article from AP.

Clyde Lovelette was one of the founding members of the National Collegiate Basketball Hall of Fame, as was Phog Allen and many other Jayhawks!

I laughed as well at the lack of mention of Clyde's fantastic pro career, his USA Gold Medal per Olympic team, etc.


8 years, 5 months ago

Well-deserved honor for Clyde. I wonder if he and Wilt ever made amends after their "fight" in the 1964 NBA finals.

8 years, 5 months ago

One of Patrick Ewing’s most entertaining quotes occurred when he was president of the NBA Player’s Association during contract negotiations, where he was referring to the players and said, “We make a lot of money, but we spend a lot of money.”

UmbertoConforti 8 years, 5 months ago

I know nothing about the College Hall of Fame, but that it took 59 years for Lovellette to make it is really weird. Lovellette was the main man on the 52 championship team and a major force on the championship olympic team that year.

Tony Bandle 8 years, 5 months ago

Opened at the end of 2006, the hall is only five years old...the first class included 180 players, coaches, execs, etc.!!!!

I guess Clyde had to let the crowd get through the door for a few years!!

Tony Bandle 8 years, 5 months ago

Interesting side note..the Women's Collegiate Basketball Hall of Fame in Knoxville, Tennessee, opened up in 1999, a full seven years before the men's.

I also found it interesting that under the categories player/coach/contributor/referee there is no mention of Dr. Naismith...who besides founding the sport, probably fulfilled, at some point, all four categories.

Tony Bandle 8 years, 5 months ago

I know, I's the "Women's" Hall of Fame..but, come on, the inventor of the game doesn't get a mention??

Steve Gantz 8 years, 5 months ago

What took so long? Ewing as well, he's been out of the game for almost 30 years.

JayHawkFanToo 8 years, 5 months ago

Ewing last played in the NBA for Orlando in 2002; that puts him "out of the game" for about 10 years. He last played College BBall in 1985; that would put him 27 years "out of College BBall."

Cameron Cederlind 8 years, 5 months ago

I read nowhere in Ewings bio about his abduction by the MonStars. I figured this would be an important part of his playing career.

W Keith Swinehart II 8 years, 5 months ago

It's hard to believe that neither Lovellette nor Ewing are not already in the Hall of Fame. Both were the most powerful basketball stars of their day; genuine freaks of basketball nature (in the good sense). Their day MUST come. Let it be now.

RJ King 8 years, 5 months ago

I wax nostalgic at the mention of Houston's upset by Nova during Ewing's Senior season and at Ford's National POY as a Senior. Neither would've happened in today's era of OAD's. I much prefer the entire book to the brief paragraphs of talented players today - and stand behind Self's general method of recruit, develop, and enjoy, rather than recruit, use, and exchange for new parts.

W Keith Swinehart II 8 years, 5 months ago

Reading the article again I saw Adolph Rupp's name mentioned. Is he in the Hall of Fame (I would think, yes)?

Rupp was from Halstead, KS and played basketball under Coach "Phog" Allen. At the time, James Naismith was assisting the "Phog." Later, Rupp became a legendary coach of Kentucky. All of this, of course, is according to Wikipedia. However, it underscores the many links to Kansas basketball and basketball history forever enshrined in the Hall of Fame.

Tony Bandle 8 years, 5 months ago up College Basketball Hall of Fame and you'll see virtually every name you'd expect to see included within the first 200 inductees.

jaybate 8 years, 5 months ago

Part I

"Come Out into Space with Earl the Pearl"


For me, when I was 13-14 in 1967, there were only two.

Marilyn and Earl.

Marilyn, whom I had seen when barely 5-6 years old at the drive-in in Some Like it Hot in 1959, or 1960, Marilyn, who was by then not yet a candle in the wind but rather the evening star extinguished extinguished seven years in mortal time, but living on in my child's mind beautiful beyond compare, even as she does to this day in me.

And Earl.

Earl, then burning brightly outside the mainstream media spotlight at a tiny NCAA DII "black college," that's what they were called in this those days, was who I wanted to play like.

Earl Monroe.

He helped Big House win an NCAA DII ring in 1967. Big House went on to win 828 games.

Earl Monroe.

He was Earl "The Pearl" Monroe to the few that then had heard of him.

I wanted to move on a basketball floor as he did and I wasn't even entirely sure where Winston Salem was.

I saw him for the first time in some film footage of his 1967 season. and maybe some footage of the championship game in Evansville in which his team beat Southwest Missouri State for the D2 ring.

Excuse me. these memories are so strong I forget they are not shared by most board rats, who are too young to recall them through their own telescopic memories.

Big House would be Clarence "Big House" Gaines.

Many of you probably do not recall Big House--Winston Salem's fine coach, one of what I have come to call "the last of the Bebop college basketball coaches.

The what?

Bebop was a kind of jazz pioneered by Charlie "Yardbird" Parker, Dizzie Gillispie, Milt Hinton and many others.

Looking at today's Wiki on Bebop it is defined as "...a style of jazz characterized by fast tempo, instrumental virtuosity and improvisation based on the combination of harmonic structure and melody."

That about says it for bebop music and that about says it for bebop basketball.

IMHO, but probably in no one else's, Big House coached Bebop basketball--fast tempo, players playing their instruments with virtuosity, and lots (and I mean lots!) of improvisation.

Purists of the time called it undisciplined.

Racists necks of the time called it, well, hmmm, I have chosen never to use the word, because that's what African Americans have indicated to me they prefer, so, uh, to strike a balance between historical accuracy and consideration for the present, just call it N-Bomb Ball.

But if you were 14 and saw it for the first time, it was like hearing some wonderful new kind of music for the first time.

jaybate 8 years, 5 months ago

Part II

As a suburban kid from Overland Park, watching Winston Salem "play" in the little snippets that I saw was as striking and impossible to explain as watching old KC jazz musicians still playing bebop in the 60s and 70s eras of soul and acid rock.

Big House and his prodigy, Earl Monroe, played some kind of ball!!!

Now in recalling Earl this long after, I realize most of my memories are from his pro days with Wes Unseld and the Baltimore Bullets, and then later with the New York Knicks. But some of the stuff in the You Tube feed I've attached with this post I have seen somewhere before and I suspect it was back in his college days.

Regardless, Earl Monroe had this way of combining herky jerk with smooth as silk that covalent bonded like some wild assed hybrid of tap dancing, Balanchine, Fosse and classical ballet, with some watusi thrown in to the mix. It was raw and beautiful and cool beyond words.

He slid, he spun, he faked, he shot at the top of his jump, he shot in the middle of his jump, he shot flat footed, he faked and went the other way, he faked and went the same way, he spun half way, he spun 3/4s of the way, he spun 360, he spun 450, he used the glass head on, he used the glass at angles, he swished outside, he swished lay-ups, he dribbled behind his back, he passed behind his back, he baked barbecue and corn bread behind his back, he probably recited the Lord's Prayer and some Psalms behind his back, he probably sang Poppa's Got a Brand New Bag behind his back, he finger rolled, he rainbowed, he stutter stepped with the ball, he gave the ball, he pulled the ball back, he drove in the paint, hell, he drove out of the paint, and he was so loose jointed he could start out going several directions at once and then pick the path of least resistance!

He was, without exaggerating much, a chocolate-colored amoeba in tennis shoes that would back up to a defender, force the defender to commit one way and then would literally seem to flow around him and then flow straight to the freaking iron rim.

At first, and for some time after, I Earl the Pearl just came down the birth canal doing this stuff. I thought it was all independent of the cosmos and originated entirely within him.

jaybate 8 years, 5 months ago

Part III

I mean Vernon Earl Monroe came from Phillie playgrounds, where he was reputedly called "Thomas Edison," because he invented so many moves.

I was a suburban kid in the 20th Century and there was no Wikipedia to give me history that could change day to day and no You Tube feeds to consult for every last detail of life since celluloid was invented.

You took snippets here and there that you saw once and never again, you pieced together some Sports Illustrated and Sporting News and Sport Magazine and if you were lucky, which I was in junior high and had a "unified studies" teacher (can you believe that things were ever together enough in America to have unified studies?) who moonlighted for the KC Star and he got us all wire service photos of KU games until one day I said can you get me one of Earl Monroe and he wrinkled his face, smiled, and said, "I'll see what I can do." A week or so later he plopped a glossy of Earl spinning in the air. God I wish I had saved that thing now!!!

But much later, as an adult frankly, I figured out that, no, Big House and Earl were really more hangers on, in a way, hold outs of the way basketball once had begun to be played, only to be stamped out by more disciplined, and muscular forms of play.

Go back and watch Bob Cousy early in his career and you know that bebop ball existed as far back as the the late 40s, when bebop music was probably already starting to pass its prime. And one gets the feeling that Bob Cousy was not the only kid in America doing it; that he was just the one being allowed to do it in a spot light. Some of the other kids were no doubt white and from ethnic neighborhoods in eastern cities, but a lot were no doubt black--African-American to fast forward you to today.

The white kids were not being allowed to do it much, because it was called "undisciplined." It was too much French pastry, too much showing off. And the black kids were not being allowed to do it because the black kids were not even beginning to be allowed to play the game on the big stages. Wooden supposedly played the first African American at a predominantly white college at Indiana State circa 1949.

jaybate 8 years, 5 months ago

Part IV

But I suspect this bebop basketball existed on the playgrounds and driveways all across America both before it was allowed into the spotlight and after it left the spotlight.

Yep, I haven't been to the playgrounds for a long time, but I gotta believe that in the middle of all the prison bodies there are still some loose jointed scare crows in shorts doing the bebop thing.

Alas, as I' ve indicated, we don't see bebop ball anymore on the big stages. We see some pretty magnificent stuff in its own right to day, but its muscle, its fight the power, its skin head, its rambo ball, its Fast and Furious shizz ball, its take this in your mouth ball, its Dirty Sanchez ball, that's what its become, or so it seems to this old guy in need of a geezer-otomy.

Bebop ball belongs to another time and era.

Like bebop music, a lot of people in my opinion either did not get bebop basketball, or did not like it.

But if you got it and liked it, you could not get enough of it. And I could not and did not.

To understand bebop basketball, or at least my idiosyncratic, quasi-historical revisionism I am attempting to dish out as bebop ball, it helps to know just a bit about bebop music.

Bebop music emerged sometime around American WWII and it achieved notoriety shortly after WWII and like so much in jazz music, it was brilliant and short lived, giving way to the next musical exploration of wrestless, often poor, sometimes acutely alienated and drug addicted African American musicians, with a smattering of other equally down beat members of other races getting involved also. Yeah, they loved their tunes and they loved their instruments, but musicians have always been even weirder that three point shooters. I mean how !@#$%ing weird do you have to be to choose to communicate your deepest feelings without !@#$%ing words?

jaybate 8 years, 5 months ago

Part V

When you hear bebop, you hear something akin to raw energy transmuted into beautiful sound improvisations that seem, if you really listen closely, to be exploring space through the medium of the sound in time.

You catch that?

That's usually the point that people blink. :-)

WTF did he just say?

Bebop music has a spatial dimension to it that all other music to my mind lacks, except maybe for some classical music, which has such fantastic architecture that it similarly can tower and arch over you in your imagination as you listen. Beethoven and Mozart, these mofo's got space alright, even though they were deeply, deeply trapped in the oppressive time of Europe. And getting it made them seem extremely crazy to people who had long since forgotten that they came to be where they were by fleeing Mongol hordes in central Asia.

But in America, in the New !@#$$%ing World, its always been about the space of first the American continents and then trump-all space of the Pacific ocean caught in conflict with time, about space trying to break out of time's hold on subordinated people, and of time massively and cruelly trying to re-subordinate space. Its about time slowly taming the new world, and the wildness of space periodically beating down time and leaving it in the dark alleys that time's obedient supplicants built for time, the tyrants.

Visualise if you will coming out of the bonds of time that hold you in lockstep and drudgery, like you are on, not a chain gang, but a time gang. Visualize someone throwing off the time shackles and saying, "Hey, I'm free in the only dimension that really matters. I'm free in space, the only place I can exist. No more time for me. Screw time. I am here and I am there. I am up and I am down. But I ain't anywhere in time. Time is for suckers that want you working on a leash, on a time gang. Human beings lived millions of years without knowing WTF time it was, without having to be anywhere on time, without having to make any amount of money, or gather any amount of food in time for winter. Early on we were smart enough to understand that cold is for polar bears and penguins, not people. But then we got dumb and we got confronted with changing seasons and, damn, you had to figure out how much time you had before the snows came and everything that was easy to eat was suddenly non existent. Then you had to start thinking about time again.

jaybate 8 years, 5 months ago

Part VI

And every since we humans have been swinging wildly between wanting to break back out of time and into space and realizing that, oppressive though it may sometimes be, we are caught up in time and better think about it rationally, i.e., in terms of cost and benefit of actions given time constraints.

Well, its my hypothesis that one of these swings to, or episodes of, breaking out of time and into space happened around WWII and its epicenter was in USA. Miillions of Americans had been ripped out of time by WWII and had been all over the world, seen all kinds of wondrous and horrific things, and then suddenly found themselves back in good old USA with a mushroom cloud hanging over them.

And along came bebop music.

But bebop does not tower and arch over persons and cultures, like European, mostly Germanic European classical music once did. Bebop comes on your ears more like a great, flat abstract painting by the likes of Stuart Davis, or later Jackson Pollack, or Arshile Gorky, de Kooning, or whom ever you have ever liked.

Bebop was band music paired down to a few players that then stretched the music out with tempo and improvisations in time until it achieved a kind of spatial dimension.

Arts achieving experiences thought to come from other arts was not new. But all the arts of that early post war period exploded out of time and into space, as the poet Charles Olson once said it, at roughly the same time and the explosion continues to echo, though ever more faintly, down through to the present.

The world had largely lived in rational time, since the French and American revolutions, at least, or maybe since the Renaissance, or if your are really a stickler, maybe since 1300 BC, if you agree with Charles Olson's analysis, when the Greeks got us into this whole categorizing, rationalizing, anal retentive thing.

And, well, after two world wars and a Great Depresssion, and unprecedented thing called nuclear annihilation, a generation of musicians and graphical artists had had enough of time and rationalism, and were ready to chuck both, and look into space, as a possible means of escaping the then recent madness of human life.

And even if you don't buy into the chuck time, come into space thing, bebop expressed something emergent in American culture in the late 1940s--a wrestless energy that had been pent up by a depression and whose release had been delayed by the purposefulness of a war. It combined both the frenetic and the existential that arose in the triple shadows of depression, horrific war, and the nuclear cloud.

jaybate 8 years, 5 months ago

Part VII

Bebop and its graphic arts equivalent of abstract expressionism exploded, then collapsed like stars falling in on themselves, but they wound up kind of a pair of quasars that keep beaming out light intermittently that every 5-10 years after created yet another wave in culture. The Beat Generation of writers and poets basically took Bebop and abstract art and put them behind the wheels of two door coupes fueled with booze and drugs and transposed the music and paintings with space in them to lives spread across the great triangle of New York, San Francisco and Mexico City and recorded in poetry and prose written on everything from spools of news print paper to rolls of toilet paper. And when their exploration of geographic space burned out and collapsed, then not long after an exploration of inner space began in the 1960s. And periodically you see elements of the quest to rediscover and remap space--outer, inner, digital--bubble up in the arts.

But jaybate, what has this to do with Earl Monroe and toad on a rock, man?

Like, basketball is played on a plane, you dig? It is child's play abstracted into geometric space. It is conducive to many kinds of spacing with many kinds of strategies and styles of moving through that space, you dig? Slow. Fast. Vertical. Horizontal. Smooth. Muscular. Linear, nonlinear. And on and on and on.

And if you look at Bob Cousy in some very old kinescopes, or news real footage, or Earl Monroe, in the early years of color TV with rabbit ears and Telstar, like, it is conducive to bebop, you dig?

Bebop spreads the game out, but speeds up the tempo, and spikes the improvisation. Bebop ball happens more horizontally than vertically, but it can get up when it wants. Bebop ball syncopates everything. It surprises even itself with its improvisations. Bebop ball turns improvisation into the norm and routine into the exception.

Watch this Earl Monroe feed on YouTube and you will understand exactly what I am talking about.

We are not talking Sly and the Mother!@#$%^ing Family Stone here. We are not talking James Brown with a process and "I Feel Good." We are talking about something older and deeper. Something more spatial and less funky in the way Earl played the game.

For those that either weren't in the 60s/70s, or can't remember because they were there and were to blown out to enter it into long term memory, Earl Monroe was an anomaly even in the craziness of those tradition ripping, chemically augmented decades.

Earl was, even among the brothers moving into full dominance of the shellac, a brother from another planet, another time, another parallel universe.

RJ King 8 years, 5 months ago

Your choice of adjective to describe Sly&TFS makes me think perhaps you too were in Hoch Auditorium waiting not so patiently for the main act of our Homecoming concert. During an extensive delay while his entourage was probably either trying to sober him up, wake him up, or simply locate him, an unheralded soul/horn warm up band from Oakland continued to Rock the Hoch. By the time Sly finally came onstage, many booed his appearance. I've been a huge Tower of Power fan ever since.

jaybate 8 years, 5 months ago


There are guys that were/are way more explosive and fantastically more acrobatic than Earl "The Pearl" Monroe then and today, and there always have been. But watch this guy for awhile and he will introduce you to the syncopated horizontal and vertical space that exists aboriginal in your soul and he will show you a kind of basketball beauty that no longer exists, a kind of ball in which space kicks time's ass and takes names not later, but in other places. You don't see the game played this way anymore. Mostly you didn't see it played this way back in The Pearl's time either.

I once thought this kind of play was the future. I once thought I was seeing the birth of something, but instead I was watching the last, and probably the greatest bebopper of all time. I was watching something that was an echo of a time just before I was born. Not time zero, but space zero.

Looking back, I know now it was like seeing light billions of years old from a star across the universe and way back in time, or from a star that may have even been extinct before I saw its light.

The universe is the ultimate space game. Time is just something we earth specs use to get a handle on its effectively infinite immensity.

But still the metaphor holds for Earl the Pearl.

Something, some grain of sand, irritated the muscle of space and it yielded a pearl out of time.

Watch this feed of Earl Monroe. At first you will be let down, as persons always are when they hear the legendary bebop breaking into space for the first time. But watch the Monroe feed a few times. Watch it closely. Watch how much Earl Monroe is doing and watch how efficiently he does it, despite what seems like flamboyance. A first look at Earl Monroe makes one think he is making a lot of unnecessary movements, but look closely and you will see that there is not one unnecessary bit of motion expended, not one unnecessary jump, not one unnecessary fake to get to where he is going and to do what he is trying to do. Thomas Edison is inventing moves that fit the space he is in. We just are not used to seeing that space. We are too worried about the time. Hurry, hurry hurry, get to the spot on the floor on time. Wrong! Move the space quick, not fast. Stand still like a humming bird when you must.

jaybate 8 years, 5 months ago

Part IX

The reason it looks at first like a lot of unnecessary motion is that one is not used to seeing improvisational basketball, I mean truly improvisational, as in original moves.

To the unfamiliar, bebop musicians just seemed to be goofing off, going off in all directions at once and undisciplined. But once you watch and listen and learn bebop music becomes something magnificent, something rare and precious, something neither African Americans, nor Caucasian Americans, nor any other kind of Americans can sustain in the present but briefly, if at all.

Same with bebop ball.

And this guy, The Earl of Monroe, The Pearl, Thomas Alva, he played an entire career this way, once upon a space.

Watch Earl paired with Walt "Clyde the Glide" Frazier in this feed.

Walt Frazier played college ball at Southern Illinois for Jack Hartman, one of Iba's big three disciples that brought Okie Ball into the modern era.

Walt Frazier is surely one of the ten greatest defensive guards of all time. He was a great scorer too. Under Hartman, he became one of the most brilliantly disciplined big guards of his time.

When Frazier got to NY, he most definitely went Broadway in a hurry and quickly became known for his flamboyant wardrobes and flamboyant nickname--"Clyde the Glide." He got into a New York state of mind for sure.

But Frazier's game stayed amazingly puritanical and disciplined and perfectly timed until Earl Monroe got freed up from the hell of the Baltimore Bulllets and a knee injury that would have ended most players' careers in those primitive days of knee surgery with Buck knives.

Look at the feeds of Walt Frazier playing with Earl Monroe in what has to be one of the five best back courts of all time in the NBA.

Look at the way Walt Frazier comes alive playing, dare I say, jamming, with Earl Monroe.

Maybe you had to have known Clyde's game pre-Pearl to appreciate what Frazier is doing in the interplay with Earl, but let me it this way--even the Glide was coming into space.

jaybate 8 years, 5 months ago

Part X

Frazier literally took his already sterling game to another level by learning to play bebop ball with Earl. Earl Monroe could get no better at this point of his career, because he was already space-unbound and his knee would not permit more vertical exploration. But Monroe proved that he could switch to an essentially horizontal bebop game and still be good enough to compete for a title with the Glide at his side. And his bebop brand of ball took Frazier out of time and into space and to a final blaze of glory.

Watch feeds of Earl Monroe, all of you young kids out there spread out from Bangor to Biloxi, and from Miami to Moose Jaw, and since the game is stretching now around the world, watch these feeds of Earl Monroe, all of you young kids in equatorial Africa, and southeast Asia, and through the Stans and across to Sao Paulo.

Toad on a rock can be played in space a-n-y-w-h-e-r-e-!

And remember that though its Funky, Funky Broadway on the sound track, what is really happening goes back to some guys playing instruments together with virtuosity and improvisation at a fast tempo in the shadow of WWII trying to come out of time and into space.

Basketball will one day come out of time and into space again.

What goes around in time comes around in space.

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