The Pan American Games eluded me until 2023. And I've been in a funk since their conclusion last month.
Happily, the recent "19th Edition" of the event hosted at Santiago, Chile, added this international athletic festival to my sports CV.
Too young to travel to the '87 edition of Indianapolis, too American (as in being a U.S. passport bearer) for Havana '91, and too oblivious for most Pan Ams since (save Rio 2007 and Toronto '15), on a whim I applied for Santiago media credentials after learning about the Games' feathered mascot, Fiu, in a pin trade at the World Athletics Championships in Hungary.
The serendipity of that exchange proved a great memory. What fantastic hosts the Chileans proved to be for the athletes and attendees from Oct. 18 to Nov. 5.
While client work in Atlanta kept me grounded at home for week one of the Pan Ams, I booked passage from Oct. 28 to Nov. 2 with stopovers in Miami. Thanks to an unruly passenger who disrupted our overnight flight to Chile -- through which fellow passengers and I enjoyed and impromptu and surreal 18-hour layover in Panama City -- it was fun to finally touch down in Santiago in time to attend the first four days of track and field competition at Parque Estadio Nacional, which also hosted aquatics, field hockey and gymnastics venues near the Main Press Center, which was a well-oiled operational machine for over 1,800 accredited journalists.
Through an organizing committee led by Pan-Am Sports Organization (PASO) President and International Olympic Committee Member Neven Ilic, I learned the 2023 Pan American Games were a first for Chile with over 6,900 competitors.
My focus turned to track and field entrants from Team USA, which afforded access and introduction to several emerging stars of Team Chile. Highlights from the experience include:
Witnessing Team USA's two-time Olympian Deanna Price win gold in hammer, followed by her medal ceremony (see photo)
Learning about fellow American Ryan Talbot who won bronze in decathlon with a score of 1,086 (see photo at base of post)
Capturing on video the last 300 meters of the women's 400m run, during which Team Chile's Martina Weil achieved hometown legendary status on a rain-soaked track (not since Usain Bolt's 100m victory in Rio have a heard such an elated crowd)
Meeting Isidora "Isi" Jimenez, also of Team Chile, following her silver medal performance in the 4 x 100m relay.
The biggest win of the Santiago experience, however, was finally meeting in person a one-time PR client, fellow Georgian and Team USA's Jordan Gray, who in 2021 launched the Let Women Decathlon campaign for which a half-page New York Times article was a feat for us both (f you have not done so already, please sign the petition).
In Santiago, Gray competed in heptathlon to earn bronze with a score of 5,494, with Team USA's Erin Marsh earning gold with 5,882 (visiting with her father during day one of heptathlon, I learned Marsh is also from Georgia).
Off the track I found time to take in a women's water polo match, some field hockey and rhythmic gymnastics and some pin trading, ultimately returning stateside with about 50 new designs.
The trip also afforded time to visit three great museums including La Chascona, Pablo Neruda's home shared with his mistress, as well as the modern art collection of Museo Ralli steps from the city's fantastic public trails, and the top of South America's tallest building with spectacular views of the surrounding Andes.
Is a return to the Pan American Games in works? Yes, please count me in for the XXth edition of '27 in Barranquilla, Columbia.
And a return to Santiago? Absolutely, as soon as possible!
About 10 years ago I started compilation of a most-loved "Big Song List."
Of the 2,850 tunes saved to date, few artists enjoyed as many or more noted works as Sinead O'Connor, who sadly died earlier this month.
Reflecting on her passing and my personal journey with her catalog brought to mind three introductory encounters with the Irish singer.
Like tens of millions of fellow fans, my first brush with O'Connor's powerful voice and iconic gaze arrived in early 1990. The new decade had just opened, and on a mid-winter weekend to attend a Rotary Teen Leadership Retreat held near the Marland Mansion in Ponca City, Okla. (hometown of 1960 Olympic gold medal wrestler Shelby Wilson), Sinead first appeared.
In my shared room for the weekend, MTV was the only decent channel for a 17-year-old, and on the night of our arrival "Nothing Compares 2 U" was in heavy rotation. And, oh, my God, it was captivating! (In those days we did not abbreviate OMG!)
Memorable was the visual alternation from pensive garden strolls to tight, tearful closeups of O'Connor's hypnotic eyes, which climactically spill over as the song crescendos, a scene later replicated twice my Margot Robbie, first in the title role of "I, TONYA" (reviewed here) then again as the lead "Barbie" -- but I think directors of Sinead's video took their cue from Glenn Close's final scene in 1988's "Dangerous Liaisons."
The video inspired discussion among the impressionable teen attendees before and after the event's keynote speaker, prominent Oklahoma businessman Vince Orza, presented his remarks.
The 1990s and early 2000s provided further opportunities to get acquainted with Sinead's work. I purchased a cassette of "I Do Not Want What I Haven't Got" and received "Universal Mother" at Christmas 1994.
Between the acquisitions, the famous "Saturday Night Live" incident occurred, which I missed in real-time, later citing SNL skits of preceding and following weeks among my favorites. Not surprisingly, NBC.com is experiencing "technical issues" preventing clip access.
By the early 2000s, my career started to gel in Atlanta, with The Tabernacle -- an historic downtown church restored as a concert hall in time for the 1996 Olympics -- emerging as a media relations client. When O'Connor performed for a packed house there in 2007, attending was a no-brainer, and she put on a fantastic show for which apparently few recall the exact setlist.
After the intimate concert, dozens of fans including myself lined up in the parking lot, cautiously optimistic for an autograph or photo.
She had indeed, replying in her friendly and softspoken voice that she lived here with "her boy" (her youngest?) for a spell. In retrospect, it's possible her "boy" in this context was an agent who, years later, she referenced in her autobiography as a frequent guest of Atlanta's thriving strip club scene.
Now, nearly 16 years later, I don't recall much more from the conversation except that she not only made, but also sustained for more than a minute, sincere and smiling eye contact for our entire chat, which was very powerful. She also had a firm handshake as she thanked me and moved on to the next fan with her black Sharpie pen on the ready.
I also came to respect what came next. Excited by the surroundings and eager to pose another question (and to attempt a second autograph, this time with my Sinead cassette liner notes), I stood in line again while she spoke with others, eventually asking what became my standard query of other celebrities: What's been your experience related to the Olympics?
Sinead politely paused with another fan, turned my direction and softly admonished me, "Now, please, I was able to answer your question earlier and now it is another person's turn (implying so let's not spoil it for them,while motioning to my already-signed ticket, as though to state, "sorry, only one to a customer").
Message received, I smiled back and sincerely thanked her again while making space for others to interact. And then she turned to board a bus and exited the scene.
Over the years of sharing this story, it's set a high bar for other A-list conversations, also shaping how I respect other fans in those moments.
Flash forward to October 2019, when a pair of Sinead concerts went on sale scheduled for March 22 and 23 at City Winery Atlanta the following year. Lucky me, I snapped up one front section seat for each evening ... at a bargain price of $105 each! Would this pair of events provide an option for long-awaited follow-up questions?
Sadly, by March 12, 2020, the world shut down due to COVID-19, and both shows got rescheduled for June 2021 only to be indefinitely postponed again. Reading her autobiography "Rememberings" was small consolation -- on the last page she wrote, "I've decided to start school in autumn 2020 and go out on tour again (I hope) in the summer of 2021." Regretably, that never happened.
Through the arc of these 1990-to-present experiences, O'Connor's religion shapeshifting resonated with me. Here's another person who grew up with questions about organized religion and tested the waters with several.
Her book and archived interviews delve into her personal journeys with Catholicism, Judaism, Christianity and Islam, which she Tweeted, "This is the natural conclusion of any intelligent theologian's journey" according to news reports.
And in 2019, upon viewing Natalie Portman's role as a pop star with serious issues in "Vox Lux" I could not help wondering the extent to which O'Connor's roller coaster career impacted the writers and performers.
Some did compare Portman's and Sinead's shaved heads back in the day and more recently. The former's fictional media interviews in the film definitely are reminiscent of the latter's real life media convos. When given the chance to one day speak with Portman, I'll be sure to ask.
During summer of 2017, while traveling in New Jersey, reports of O'Connor's post from a Hackensack Travelodge gave pause. Which brings us to the now.
My third time "meeting" O'Connor arrived these last few days since the BBC and other international news organizations announced her death. With each tribute post or report, such as NPR's summary of O'Connor's career, I started learning about fantastic recordings by Sinead that proved new to my ears or not heard in years.
Here's are a few notes from by "Big Song List" favorites and/or the recent discoveries marked with an asterisk:
"Oh, I love you.God, I love you. I'd kill a dragon for you. I'll die, but I will rise. And I will return: The Phoenix from the flame! I have learned, I will rise, and you'll see me return, being what I am. There is no other Troy for me to burn."
Heroine, with The Edge, for the film "The Messenger." Bring me into your arms again.
Feel So Different, ... taught me the "Serenity Prayer" and a few other things. Started off with many friends and we spent a long time talking. I thought they meant every word they said, but like everyone else, they were stalling.
Drink Before the War, with these contemplative lyrics ... admonishing an unnamed someone at the top of her lungs:
"And your parents paid you through, You got a nice big car - nothing bothers you. Somebody cut out our eyes, you refuse to see, ah, Somebody cut out your heart, you refuse to feel. And you live in a shell, you create your own hell. You live in the past and talk about war. And you dig your own grave, yeah, but its a life you can save, oh, So stop getting fussed, it's not gonna happen. And you'll cry, but you'll never fall, no, no, no. You're building a wall. Gotta break it down, start again."
The Emperor's New Clothes, which O'Connor referenced in the April 5, 2020, epilogue to her autobiography. Of Donald Trump she wrote, aptly frustrated, "None of the reporters ever ask him, 'Sir, what is wrong with you?' Negligence ... and it goes on and on. No matter what he does."
Last Day of Our Acquaintance, which, if the mood is right, I quote to fellow passengers after boarding and fastening my seatbelt on flights: "I know you don't love me anymore." At least once, the person next to me replied with the rest of that lyrical sentence, "You used to hold my hand when the plane took off." Then we laughed, until deplaning with, "I'll meet you later in someone's office."
*V.I.P., one of her last songs, through which Sinead rhetorically asked fellow celebrities (specifically, Miley Cyrus and her peers, perhaps):
"To whom exactly are we giving hope, when we stand behind the velvet rope, or get our pictures taken with the pope, like some sick April fool's kind of joke?"
On the day of Sinead's passing, one of my close friends quipped that he knew of no obvious O'Connor Olympic connection for a tribute by this five-ringed blogger. Inspired and challenged by his comment, I searched for and found two, the first of which tops this post. It's an image taken in the late 1980s at Dublin's popular Olympic Ballroom.
The other regards Sinead's starstruck notes in her "Rememberings" chapter titled "The Greatest Love of All." This is my favorite section for the apex of joy it seemed to deliver, and it tethers to various memorial posts logged on this site in 2016.
"The most incredible experience I ever had, apart from having children, was meeting Muhammad Ali," wrote O'Connor. "Not only did I meet him, but myself and my eldest son, Jake, escorted him to the Special Olympics in Dublin in 2003."
In her description of that Rome Olympian encounter she later wrote, "That guy is my biggest hero ever" (her quote to Jon Bon Jovi, who set up the Ali introduction and, indirectly, inspired the moment of conception of O'Connor's fourth son, Shane, whose full name includes the Olympic champion's nom du guerre). Through this chapter, O'Connor at once poignantly and accidentally sets the joyful antithesis of her son's later suicide. It's a happy chapter, though tough to read with that later context. Another cheerful and insightful version of her Ali encounter appears in this Equire article from that time in their lives.
To wrap up this tribute post of appreciation, scroll down for an Irish all-star assemblage courtesy of "The Late Show with David Letterman" archive.
Only Sinead could get away with laughing in Van Morrison's face. Brilliant!
Top photo from Dublin's Olympic Ballroom via The New York Times and Independent Newspapers Ireland/Getty Images. Jan Hooks/SNL photo via NBC. Ali photo via AP/Esquire/Getty Images. Ticket photo by Nicholas Wolaver. Tabernacle photo by Robb D. Cohen via AJC.com. "Rememberings" jacket designed by Mark Robinson w/photo by Herb Ritts via Houghton Mifflin Harcourt. "Vox Lux" image via IMDB.
Building upon last month's announcement of the torch relay route for next summer, Paris today revealed its 2024 Olympic torch design, with blended themes of equality, fluidity and tranquility.
Or to be more precise, the new torch is "inspired by equality, water and peacefulness" according to press materials shared under embargo until today's unveiling in the French capital.
On a press preview call last week, Paris 2024 officials shared numerous details in anticipation of the announcement du jour, the penultimate date for tomorrow's "one year to go" milestone for next year's opening ceremony.
When the design competition opened, each of the 10 entrants enjoyed near carte blanche options to dazzle the selectors. From a finalist field of three, French designer Mathieu Lehanneur earned the assignment "chosen for his poetic and highly symbolic approach, along with his ability to grasp the values and expectations of Paris 2024," according to this announcement.
On the press call, Lehanneur also shared that organizers encouraged his team to submit multiple design proposals, but in spite of this option, they went all-in and did not deviate from the final, reflective concept that was at once elegant in its simplicity and complex in its operational features to withstand intense wind, rain or other forces of nature.
"We wanted to be sure it achieved balance with a message," said Lehanneur. "We [later] discovered in the process that it is a super complex design to keep the flame beautiful and visible."
The Paris 2024 torch is sleek and original, for the first time equal in shape and curves from the center to its top and its base handle. The "perfect symmetry" features an "equator" of gold.
Perhaps a figurative "toast" to the torchbearers, my take is each of the halves resemble stylized bottles of wine fused at their bases.
While the top half of the torch is smooth with a Champagne-colored matte finish -- showcased in the press kit as "bead-blasted" -- the lower half is fluid and mirrors light like waves of, and reflections from, surf or a running stream, symbolic of the Paris 2024 Olympic Torch Relay's planned journey across the Mediterranean Sea and four oceans.
When I asked if this torch was designed for use beneath the surface -- like the flame sticks of Sydney 2000 and Sochi 2014 held by scuba divers -- officials confirmed there are "no plans" for this torch to be submerged, but that "new surprises" will be revealed during upcoming months, including the cauldron from the same firm.
The design's hollow, round top enables the fire within to burn up and out, but also a "flame slip" cut into the steel will encourage fire to wave outward "like a flag" as the torchbearer walks or jogs forward.
Other facts about the new torch:
Fabricated from 100% recycled scrap steel with equipment typical of auto manufacturing lines
Finished with a high-tech coating that "cleans easy" while encouraging patina from flame ignition
The smooth, groovy "waves" enable even nerveuse/nerveux torchbearers to get a grip
While the torch exterior and assembly is tous Français, the inner workings rely in-part upon engineering used for the Tokyo 2020 torch design as well as fabrication in partnership with Luxembourg-based ArcelorMittal, which built the public art/attraction "Orbit Tower" at London 2012's Queen Elizabeth Olympic Park and will install the cauldron as well as monumental Olympic rings of steel at iconic Parisian sites.
One surprisingly petit number for the Paris 2024 torches is the quantity produced: Only 2,000, which was a conscientious decision by organizers in the name of sustainability.
I personally wondered, but stopped short of asking, whether they realize this vast reduction from over 10,000 may make the collector's market go fou furieux (berserk), but then, their mission had nothing to do with the relay's likely aftermarket.
When more than one reporter pressed about the quantity, organizers explained that "some" (dozens? hundreds?) replica torches of the original size will be made, but not carried in the relay, for sponsor, educational/museum or ceremonial purposes. Miniature replica torches also will be produced, presumably for retail sale.
Now that LVMH signed on as a Paris 2024 sponsor, maybe the torchbearer uniforms will be touched by Dior or Louis Vuitton.
Back to the inspiration behind Lehanneur & Co.'s bold work: In terms of equality, the parity of female:male entrants at Paris 2024 led to the reflective, symmetrical design from the center of the torch outward.
In addition to the seas and oceans the flame will cross, Paris' "backbone" the Seine and "waves, reliefs and vibrations" influenced the fluid forms that resemble the "Ocean Memories" series of surreal furnishings in his New York studio's portfolio.
Finally, the soft curves, rounded edges and gold touches via the 2024 Games' blended Olympic/Paralympic logo are intended to convey generosity and peace to those who witness the relay.
"Our intention was to break away from past designs" which Lehanneur described as "vaselike" or typically featuring a larger diameter at the flame end in the last several Olympiads.
Videos posted to the design firm's Instagram account show some of the wind tests and other engineering feats -- such as slicing one of the "flame slips" with a steel cutting device -- are impressive.
"Form is the substance which rises to the surface," said one of the greatest French writers of all time. Of the Paris 2024 torch design, I think Victor Hugo would, and all of France should, be proud.
Most photos via Paris 2024 press preview documents; Eiffel Tower reflection image by Piotr Jacqewski/Getty Images.
Through most of my 27 years in Atlanta, Congressman John Lewis provided elected representation for this blogger's home district.
As noted in previous posts, I also enjoyed the good fortune of speaking with the Civil Rights icon and "the conscience of the Congress" more than once.
Sadly, when Lewis died during the early months of the pandemic, a suitable public memorial in Atlanta was not possible.
On a brighter note, this unfortunate timing finally got corrected July 21, when the U.S. Postal Service hosted the First Day of Issue ceremony for the first-class stamp honoring the legend. Most seem to love the classy design. A recording of the entire ceremony is available via YouTube and at the base of this post.
During the festivities held in the Martin Luther King Jr. International Chapel at Morehouse College, it was inspiring to be reminded of Lewis' lifetime of service, and to learn a few surprises during remarks from postal officials, two former Atlanta mayors and Lewis' son.
Golden Globe and EMMY-winning actress Alfre Woodard emceed the event (am I the last to learn she is from Oklahoma like me?), while U.S. Senator Raphael Warnock, who is also senior pastor at Atlanta's Ebenezer Baptist Church, delivered the benediction as fellow U.S. Senator Jon Ossoff, a former intern of Lewis' office, looked on from the front row of the packed venue, which also included the actor Emanuel Lewis.
Prior to the stamp's ceremonial unveiling, Ronald Stroman of the USPS shared details of its design, which features a photograph Marco Grob snapped for Time magazine in 2013 as the centerpiece of a design by Derry Noyes.
"Look carefully at how the shadow falls on the right side of [Lewis'] face, illuminating the left side, in a way that seems to take the viewer from darkness into the light," said Stroman. "A fitting tribute to a man who sought to awaken the conscience of a country."
The congressman's son, John-Miles Lewis, and other speakers later revealed that the elder Lewis was an avid stamp collector who deployed both family members and staff to purchase stamps on a regular basis.
Among Lewis' favorite designs: a 2017 Forever stamp commemorating the National Museum of African American History and Culture. A former colleague who knew of the congressman's passion for stamps speculated on how his former boss might react to one featuring his likeness.
"The release of this stamp is an honor that would overwhelm him and leave him speechless," said Michael Collins, former chief of staff for Lewis.
After describing his father's love for philately and encouraging the exchange of ideas through letters, John-Miles also relayed family and national lore of the initial mail exchanged by a youthful Lewis and MLK Jr. (also described in Lewis' own words in this video).
"Two stamps with letters changed history," he said.
As a philatelist since family and a childhood friend encouraged the hobby in 1986, I never coveted First Day of Issue covers, the envelopes with the special day-of-issue cancellations.
But I very much enjoyed attending this, my first official stamp-centric ceremony since the U.S. Postal Service in Oklahoma City hosted me for a thank you celebration after U.S. Olympic Festival-'89 (see the fine print of the Daily Oklahoman clip for details).
Though it was news to me that Lewis enjoyed philately, it's no surprise he found value in the unlimited lessons of the hobby from history and geography to design, creativity, leadership and understanding other perspectives. There's a lot to unpack from each miniature work of art.
Other fun facts from the Lewis ceremony press kit:
The postal service printed 30 million of the stamps in panes of 15
The image is one of approximately 25 designs approved each year, culled down from "about 30,000 suggestions" received annually for consideration by the Citizens' Stamp Advisory Committee (CSAC)
What's not in the press kit is that the CSAC and its 11 members have yet to respond to my detailed questions about the USPS halting Olympic stamp approvals since 2010.
But anyone who agrees U.S. Mail should include Olympic stamps again in the future may nominate the topic for consideration by submitting a letter to the committee by mail via the instructions posted at this link.
While exiting the ceremony to purchase two panes of Lewis stamps, I noticed the neighboring Morehouse track, recently resurfaced and named in honor of Olympic champion Edwin Moses, prompting a query about Lewis' own five-ringed experiences. The only definitive answer located so far was a June 1996 video archived by C-Span in which the congressman welcomed the Olympic flame to the U.S. Capitol steps (toggle to the 20-minute mark for Lewis' remarks).
The ceremony also inspired attendees to make time for personal correspondence and to find unlimited ways to engage in "good trouble" for all their days. If you have not done so already, I strongly recommend your investment of time to read or listen to Lewis' final op-ed published by The New York Times shortly after his death.
Event photos by Nicholas Wolaver; stamp images via USPS; quote image below via BlackAlliance.org
There's still time for nominations -- deadline 15 July -- for those seeking to fill one of the 10,000 torchbearer segments unveiled this Olympic Day.
Each torchbearer will transport the flame about 200 meters, or just over 650 feet, which is shorter than my occasional Midtown Atlanta walks for lunch at Mary Mac's Tea Room.
In press materials, this is estimated at four minutes per segment for the average torchbearer. Less officially that's 19 to 22 seconds for Usain Bolt or Florence Griffith-Joyner, respectively, the world and Olympic record holders for the same distance.
With help from Google Translate, I call it la petite segment (though la petite tranche sounds more dramatic).
During an online media preview held Tuesday morning, 2024 Olympic press team members showcased next year's torch relay route and other details under embargo until noon today in Paris. Since the first media question on the call regarded the in-progress police raid at Paris 2024's headquarters, it was not immediately clear how much resonated with other reporters in attendance.
For this writer, the scope of next year's five-ringed route is impressive, as much for its blend of torch relay traditions with new elements as for its first-time destinations exotiques.
Of course, the map starts in Olympia, Greece, where the Hellenic Olympic Committee will welcome the host city to launch the relay with rays from the sun on April 16, with VIP and Greek runners helping whisk aloft torches toward an April 26 ceremony at the Panathenaic Stadium in Athens.
Borrowing from past relays, the Olympic flame and its entourage will next travel by ship -- specifically aboard the triple-masted Belem-- embarking from the Port of Piraeus on April 27, heading westward to Marseille in time for a May 8 arrival ceremony. Historians may appreciate the Belemenjoyed its maiden voyage in 1896, the year Athens hosted the first modern Olympiad.
Simultaneous to this oceanic crossing for the flame's first visits to Guadeloupe (June 15) and Martinique (June 17), other segments will be carried at ceremonies in French destinations including Guyana (June 9), Reunion (June 12) and French Polynesia (June 13), where weeks later Olympic surfers will ride the waves. Sidebar: Martinique is where Humphrey Bogart got quizzed RE: whistling in "To Have and Have Not."
Not sure how -- my guess is by jet (as it was not made clear in the press kit) -- but on June 18 the flame returns to France tout suite, where voilà , the route resumes in Nice for its five-week final march to the City of Lights.
No matter the possible flaming snubs, of the 2024 route -- it's a lot!
Not the longest nor most elaborate torch relay, but definitely an expansive plan that will give tens of thousands of islanders or South American mainland and French residents a new or renewed option to experience the moving Olympic flame tradition.
Those seeking to complete nominations may find helpful the Paris organizing committee's FAQ for the process.
As for the crew of Maxi Banque Populaire XI, they'll be looking for Mother Nature to follow Lauren Bacall's instructions to put [her] lips together and blow.
Cinephiles and sports fans of all shoe sizes may revel that "AIR" -- the new Nike-centric feature directed by Ben Affleck -- scores with almost nothing but net on the big screen.
The fast-paced crowd pleaser centers on a few autumn '84 days when the global sports equipment brand courted then-recent Olympic gold medalist Michael Jordan as the era's B-ball shoe stalwarts Converse and Adidas also pursued the rising star.
Much like the basketball legend approaching his rookie NBA season, screenwriting newcomer Alex Convery weaves great storytelling with compelling dialogue peppered with light-hearted moments and inspiring monologues.
The clear scene stealer is Viola Davis as Jordan's mother, one of several dealmakers including Nike's Michael Knight (Affleck), marketer (Jason Bateman), VP of athlete relations (Chris Tucker) and salesman Sonny Vaccaro (Matt Damon) who ultimately must convince the Jordan family of the potential to write history for professional athletes, sports apparel and other industries touched by the world's all-time greatest basketball player.
Several moments of Davis' performance brought to mind her Oscar-nominated role holding her own with Meryl Streep in "Doubt," this time matching wits with Damon while they both circumvent a seasoned and, at times, slippery sports agent David Falk (Chris Messina).
Damon's Vaccaro channels some of his best elements from "The Informant!" with a more ample, chuckle-inducing spare tire. Affleck as a bearded Knight (like "Argo") and Tucker (a la "Silver Linings Playbook") also shine, as does Marlon Wayans as LA84's golden Team USA Assistant Coach George Raveling.
Affleck & Co. included a few five-ringed Easter eggs throughout the film, including an authentic looking Olympic gold medal and cauldron mosaic as set pieces of Adidas' German HQ. The film's climax also pops with archival Dream Team footage of Jordan on Barcelona's courts.
The shoe lab scenes, which tee up the original design and naming of Air Jordans while introducing shoe designer Peter Moore (Matthew Maher) also resonate, and discovering a cameo by a personal favorite actress, Barbara Sukowa, this time as an heiress to the Adidas brand (reminiscent of her role in "Europa" a.k.a. "Zentropa"), also proved fun, especially when juxtaposed with cool cucumber Davis across the boardroom table.
One fact-checked Achilles' heel, however, is the assortment of timing issues that play in the ample (and excellent) soundtrack, hand-picked by Affleck, according to published reports.
I lost count of songs -- starting with "Money for Nothing" during the opening credits -- that are hits that only existed months after the October 1984 story (DUH! Dire Straits' first smash landed in June 1985, and Mike + The Mechanics' "All I Need Is A Miracle" arrived, for better or worse, as a 1986 single). According to one report, I'm not alone in wondering why the Olympic year's hitmakers Madonna, Prince and the other M.J. went missing (at least Van Halen's omission was explained).
These errors are forgivable, however, given the wealth of other strong selections including The Alan Parsons Project, Big Country, Bruce Springsteen, The Clash, Tangerine Dream and Cyndi Lauper, though I questioned the choice of her "Time After Time" over "Money Changes Everything" given the portrayed financial stakes for all of the film's main characters.
The other, less-forgivable error is the preposterous scene in which Vacarro calls Knight from a rental car phone in rural North Carolina. Yes, car phones existed in 1984, but from this blogger's perspective, it is doubtful that Avis, Hertz or any other rental company offered such expensive equipment in their fleets of any year in that decade (or ever).
But these minor flaws are easy to overlook. What's apparent in "AIR" is that Affleck, Damon and the team had fun while fine-tuning their craft. Alley-oops abound, and just like Mike, this story makes us want to fly.
Photos via Amazon Studios and Ana Carballosa/Prime
A public relations executive by day, small-time eBayer by night and weekends, lifetime member of the International Society of Olympic Historians (ISOH) and full-time Olympic enthusiast who also looks at "BoingBoing-style" unusual news with interest. Please e-mail me at olympiada@yahoo.com or if you can't get enough try my Facebook page http://www.facebook.com/people/Nicholas_Wolaver/713593008
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