CLOSE
Original image

Who Is World Wide Wes?

Original image

A 2007 GQ Magazine article on 45-year-old William Wesley asked, "Is this the most powerful man in sports?"

That's a stretch. But in the new NBA, where superstars are flexing muscles like Mixed Martial Arts fighters, the Summer of LeBron James seemed at times like the Summer of William Wesley, otherwise known as "World Wide Wes" -- which very well could be the greatest nickname going.

(Former NBA player Jalen Rose claims to have given Wesley his name. His latest name anyway. Wesley first answered to "Fresh Wes" when he was putting spanking new basketball shoes on the feet of athletes at a Cherry Hill, N.J., store called Pro Shoes.)

Not since Keyser Soze in The Usual Suspects has one man/myth cast such a shadow -- real or imagined -- over the proceedings as Wesley has recently.

Example: Louisville coach Rick Pitino told ESPN that for anyone courting LeBron James it would "probably be smart to have a relationship with William Wesley."

The well-dressed man moving through the crowd in Miami that greeted LeBron James' private jet the night he flew from "The Decision" on ESPN to his new life with the Miami Heat. Yep. World Wide.

"Uncle" to NBA stars such as James, Chris Paul, and dozens more. That's World Wide Wes.


The guy pictured shielding Ron Artest from harm on the court during the infamous Pacers-Pistons brawl at The Palace in 2004? That's him, too.


NBA analyst David Aldridge told GQ, "At any given time, if you look at a sports event, there's a very good chance you're going to see Wes."


And so the litany of Wesley sightings: hugging Jerry Jones after a Cowboys' Super Bowl win, sitting next to Jay-Z at the NBA All-Star game, with Phil Knight of Nike at the Final Four, hanging in Greenwich, Conn., with James earlier this month for the worst hour in sports programming history, in various locales with Team USA.

Brian Windhorst, my colleague at The Plain Dealer in Cleveland, attended the World Championships in Japan in 2006. Team USA execs had clamped down on distractions. They adopted a bunker mentality. No players' families. No entourages.

"Nobody," Windhorst said. "Except...there was Wes."

The Most Interesting Man in the (Sports) World

In the GQ article, writer Alex French doesn't quite pin down whether Wesley was a guest at Sinatra's funeral (one story says he was) or his legitimacy as a reported friend of the Clintons (another story). But he captures the Wes Experience with an anecdote involving Brazilian star Leandro Barbosa's trip to the United States in hopes of positioning himself for a NBA career.

Barbosa found himself in Cleveland that night at a Cavaliers' game, then shortly after in Wesley's car. The former shoe salesman/mortgage broker/all-around-go-to-guy impressed the young player by dialing up Michael Jordan on speaker phone (he got Jordan's voice mail) then Jay-Z (who was with Beyonce working a late night in the studio).

Who was this guy, Barbosa wondered?

No one has spent more time on that question than basketball writer Henry Abbott. One New Year's Eve night a few years ago, Abbott was struggling to come up with a resolution. Wesley popped to mind. Abbott pledged to find out as much as he could about William Wesley over the next calendar year.

OK, so it wasn't a pledge to help end world hunger. But he's a basketball writer, not a rock star.

And it beats my annual resolution to go to the gym once every January.

The abbreviated version of Abbott's findings paint the picture of a man who works the margins between players, teams, shoe companies and the entertainment industry. The more relationships he fosters, the more valuable he becomes.

As Abbott wrote, "The basic goal of the investigation was to find out what he did for a living."

Short answer: um, uh...everything?

The Rise of Fresh Wes

Wesley met a number of Philadelphia athletes while working at Pro Shoes in Cherry Hill and as a doorman for at a nightclub owned by former Pistons and Sixers player, Rick Mahorn.

Growing up in South Jersey, he also became best friends with high school basketball sensation Milt Wagner and followed him to Louisville, where Wagner appeared in three Final Fours. Through Wagner, the NBA world opened even more to Wesley, who met Jordan and worked at Jordan's basketball camp.

In 1993, he partnered in a Chicago nightclub frequented by Jordan, Scottie Pippen and Dennis Rodman. Rodman told ESPN this about Wesley: "No one knows what he's delivering, no one knows what he's doing, no one knows what he's got." He also said before Wesley earned Jordan's trust Wes "used to kiss more ass than anybody back in the day."

Abbott found players, team executives and others reluctant to talk about Wesley on the record. That helps Wesley fit the Winston Churchill line about Russia. A riddle wrapped in a mystery inside an enigma.

When Milt Wagner's son, DaJuan, was looking for a college, Wesley sought out Memphis head coach John Calipari because of the coach's reputation for dealing honestly with players on whether turning pro was to their benefit. DaJuan Wagner spent one year at Memphis before Calipari told him he was ready for the NBA draft.

Working for Nobody. And Everybody.

Wesley became a representative for coaches, doing their bidding for jobs behind the scenes, while building trust with players. The players Abbott contacted repeated one theme. Wesley was always there to help. He never asked for anything. Abbott concluded that in the world of the young, rich, black athlete being pulled in a thousand different directions, what Wesley offered -- friendship, trust and seemingly endless contacts -- was greatly valued.

No relationship did as much for Wesley as his friendship with Jordan. Through Jordan, Wesley met a teenage sensation already headed for the cover of Sports Illustrated under the title, "The Chosen One." LeBron James was 15 when he met Wesley. In the GQ story, James called Wesley his "role model."


A long-time friendship with sports agent Leon Rose has greatly benefited the agent in acquiring players. Wesley helped deliver James to Rose. Creative Artists Agency (CAA) of Hollywood brought Rose's business under its umbrella a few years ago and soon CAA represented James, Dwyane Wade and Chris Bosh.

Wesley, not unexpectedly, has called his role "overblown" in published interviews. He says his power is a "myth."

But agent David Falk has been quoted saying Wesley is one of the two or three most powerful people in sports. Falk told GQ, "Leon Rose doesn't have any clout. Wes has clout."

Wesley worked to get head coach Larry Brown to Detroit after the firing of Rick Carlisle. Brown was hired in a whirlwind. Wesley had the ear of Cleveland Cavaliers' owner Dan Gilbert and pushed for the hiring of head coach Mike Brown in 2005.

Wrote GQ's French, "Working for nobody allows him to work for everybody."

The Man in the Middle

In the days leading up to LeBron James' decision, Maverick Carter, a high school buddy of James and head of his marketing "team," made a point to tell the New York Times that Wesley would not influence James' decision.

The comment became evidence to some of a rift between James' camp and Wesley. But it's since been suggested that perhaps Wesley wanted to be seen as bringing Swiss neutrality to the table to protect his other interests. Somebody was bound to be upset with James' decision. Worldwide Wes didn't want the fallout to land on him.

Rift? He was in Greenwich for James' one-hour special. And there he was getting off the plane with James in Miami.

Not too many days later, a report claimed New Orleans point guard Chris Paul would tell management he wanted a trade to go pursue a title despite having two years remaining on his deal.

Yahoo sports columnist Adrian Wojnarowski calls Wesley a "full service middle man," orchestrating deals for players and coaches. He claims Wesley has been trying for months to pull the strings on a deal for Paul, who is even more determined to improve his lot now that his best friend, James, is part of a stacked team in Miami.

The NBA recently issued a strict tampering warning, specifically naming a player (Paul) for the first time.

Even if the Olympic experience is responsible for bringing James, Wade and Bosh together -- and it wasn't Wesley directly convincing James to leave Cleveland for the Heat -- no one doubts Wesley's "player" credentials.

Jordan long ago retired. Wesley is still going strong working with another generation of NBA superstars.

Lacy Banks, a Chicago sportswriter covering Jordan's Bulls, told GQ that back then he thought Wesley worked for the "Secret Service, the FBI or the CIA."

Now everybody knows it's CAA. Not that the job description is much different.

Bud Shaw is a columnist for the Cleveland Plain Dealer who has also written for the Philadelphia Daily News, San Diego Union-Tribune, Atlanta Journal-Constitution and The National. You can read his Plain Dealer columns at Cleveland.com, and read all his mental_floss articles here.

Original image
Paramount Pictures
arrow
entertainment
11 Surprising Facts About Fatal Attraction
Original image
Paramount Pictures

Written by James Dearden and directed by Adrian Lyne, 1987’s Fatal Attraction showed audiences just how dangerous sex could be. Michael Douglas plays Dan Gallagher, a married man who has a weekend-long affair with single career woman Alex Forrest, played by Glenn Close. When he breaks off their affair, Alex goes a little nuts. Despite drawing the ire of feminists and frightening men everywhere, the film grossed an impressive $320 million worldwide, earned six Oscar nominations (including one for Close), and ranks number one in the “Psycho/Stalker/Blank from Hell” genre. Here are 11 scintillating facts about the movie, which was released 30 years ago today.

1. THE MOVIE IS BASED ON THE SCREENWRITER’S SHORT FILM.

In 1980, Fatal Attraction screenwriter James Dearden wrote and directed a short film called Diversion. “I was sitting at home thinking, ‘What is a minimalist story that I can do?’ My wife was out of town for the weekend, and I thought what would happen if a man who has just dropped his wife at the railroad station rings this girl who he's met at a party and says, ‘Would you like to have dinner?’” he told The New York Times. “It’s a little fable about the perils of adultery. It is something that men and women get away with 99 percent of the time, and I just thought, ‘Why not explore the one time out of 100 when it goes wrong?’”

Fatal Attraction producers Sherry Lansing and Stanley Jaffe saw the short and asked Dearden to elaborate on the story. “To turn it into a mass-audience film, I knew there would have to be an escalation of the psychological violence, which in the end becomes physical,” Dearden explained. He says he wasn’t trying to make a social statement about AIDS, but he was trying to say “we can have the most intimate sexual relationships with somebody we know nothing about.”

2. GLENN CLOSE WANTED TO PLAY AGAINST TYPE.

By the time Fatal Attraction came around, Glenn Close was a three-time Oscar nominee who had never been asked to play a sexy role. “When Glenn made it known she was prepared to test, I became fascinated with the idea of using her,” Adrian Lyne told People. “She’s a person you’d least expect to have this passion and irrational obsession. When she and Michael tested, an extraordinary erotic transformation took place. She was this tragic, bewildering mix of sexuality and rage—I watched Alex come to life.” 

Close recalled her nerve-racking audition to Entertainment Weekly: “My hair was long and crazy. I’m very bad at doing my hair. I got so nervous, I took a little bit of a Valium. I walked in and the first thing I saw was a video camera, which is terrifying, and behind the video camera in the corner was Michael Douglas. I just said, ‘Well, just let it all go wild.”’

A year after Fatal Attraction’s release, Close kept the sexiness going in Dangerous Liaisons, which garnered her yet another Oscar nod.

3. ADRIAN LYNE WANTED TO DO A DIFFERENT TYPE OF SEX SCENE.

According to Lyne, the only thing audiences remember about the movie is the spontaneous and somewhat goofy kitchen sink sex scene. “But what people take away from the movie is not Glenn Close putting acid on the car or even the last 10 minutes when they are flailing around in the bathroom,” he told MovieMaker Magazine. “What they remember is Michael f*cking her over the sink early on—which was like 30 seconds—and another 30 seconds of them making out in the elevator … but there’s another two hours and five minutes! And I guess it worked or they wouldn’t have gone to the movie.”

In John Andrew Gallagher’s book Film Directors on Directing, Lyne said he didn’t want the love scene to take place in a bed “because it’s so dreary, and I thought about the sink because I remembered I had once had sex with a girl over a sink, way back. The plates clank around and you’ll have a laugh. You always need to have a laugh in a sex scene.” During filming he yelled at the couple, praising them. “If they know that they’re turning you on, it builds their confidence.” He used a handheld camera to film it “so there was no problem with the heat going out of the scene.”

4. CLOSE HAD A HUGE PROBLEM WITH THE NEW ENDING.

Paramount Pictures

Two endings of the film were shot: The first had Alex planting Dan’s fingerprints on a knife and then killing herself while Madama Butterfly played in the background. Test audiences felt unsatisfied, so Paramount decided to re-shoot the ending and make it more violent. They had Dan’s wife, Beth (Anne Archer)—the only untainted character—shockingly shoot and kill Alex as a statement on preserving the American family.

“When I heard that they wanted to make me into basically a psychopath, where I go after someone with a knife rather than somebody who was self-destructive and basically tragic, it was a profound problem for me because I did a lot of research about the character,” Close told Oprah. “So to be brought back six months later and told, ‘You’re going to totally change that character,’ it was very hard. I think I fought against it for three weeks. I remember we had meetings. I was so mad.”

In Entertainment Weekly, Close said she thought Alex was a deeply disturbed woman, but not a psychopath. “Once you put a knife in somebody’s hand, I thought that was a betrayal of the character,” she explained. The main reason the ending was changed was because moviegoers wanted revenge. “The audience wanted somebody to kill her,” Michael Douglas told Entertainment Weekly. “Otherwise the picture was left—for lack of a better expression—with blue balls.” Though audiences wanted Alex dead, Douglas saw that as a compliment. “You were so good in the part that everybody wanted you to be killed,” he told Close on Oprah.

In hindsight, Close thinks they did the right thing in changing the ending. “Bloodshed in a dramatic sense brings catharsis,” she told Entertainment Weekly. “Shakespeare did it. The Greeks did it. That’s what we did. We gave the audience my blood. It worked.”

5. THE MOVIE CAUSED THE PHRASE “BUNNY BOILER” TO BECOME A PART OF THE LEXICON.

In probably the most disturbing scene in the movie, Alex boils Dan’s kid’s pet bunny. The phrase is listed in Urban Dictionary and on the U.K. site Phrases.org. Urban defines it as “after a relationship break-up, the person who wants some kind of revenge, like stalking, or harassment,” and Phrases says, “an obsessive and dangerous female, in pursuit of a lover who has spurned her.” Close herself was uneasy about the scene. “The only thing that bothered me was the rabbit,” she said on Oprah. “I thought it was over the top.”

6. CLOSE HAD THE KNIFE SHE TRIED TO KILL MICHAEL DOUGLAS WITH FRAMED.

In the theatrical ending of the movie, Alex comes after Dan with a knife but doesn’t succeed in getting away with murder. Close told Vanity Fair that she framed the fake knife, and that it’s hanging in her kitchen. “It’s all an illusion. It’s a cardboard prop!” she said. It’s also a rather creepy reminder of the film.

7. THE MOVIE SAVED MORE THAN A FEW MARRIAGES.

The film shows what happens when a married man lets his guard down and embarks on an affair, only to have it destroy his life. “That movie struck a very, very raw nerve,” Close told Daily Mail. “Feminists hated the movie and that was shocking to me. They felt they'd been betrayed because it was a single, working woman who was supposed to be the source of all evil. But now Alex is considered a heroine. Men still come up to me and say, ‘You scared the s**t outta me.’ Sometimes they say, ‘You saved my marriage.’”

8. CLOSE WOULD PLAY ALEX DIFFERENTLY TODAY.

One of the reasons the film was so controversial is the negative way it depicted mental illness. Psychiatrists have said Alex suffered from erotomania, a condition in which a person wrongly believes a person is in love with them. Close spoke to two psychiatrists in preparation for her role, and neither said Alex’s behavior—especially the bunny-boiling—was because of mental illness. “Never did a mental disorder come up. Never did the possibility of that come up,” Close told CBS News. “That, of course, would be the first thing I would think of now.” She also said, “I would have a different outlook on that character. I would read that script totally differently.”

9. DEARDEN ADAPTED FATAL ATTRACTION INTO A PLAY, WITH THE ORIGINAL ENDING INTACT.

In 2014 a stage version of the movie went up in London, starring Natascha McElhone as Alex and Kristin Davis as the long-suffering wife, Beth. Dearden reimagined the script in making Alex more sympathetic, Dan more blameworthy, and returning to the original ending.

“[I] wanted to return to my original conception of the characters in a sense to set the record straight,” Dearden told The Atlantic. “Because while Alex is undeniably borderline psychotic, she is also a tragic figure, worn down by a series of disappointments in love and the sheer brutality of living in New York as a single woman in a demanding career. So whilst remaining faithful to the storyline, I have introduced the ambivalence of my earlier drafts … nobody is entirely right and nobody entirely wrong.”

10. DEARDEN AND CLOSE DON’T BELIEVE ALEX IS A MONSTER.

“Alex is emphatically not a monster,” Dearden wrote in The Guardian. “She is a sad, tragic, lonely woman, holding down a tough job in an unforgiving city. Alex is not a study in madness. She is a study in loneliness and desperation.” He goes on to write that he regrets “that audiences shouted ‘Kill the bitch!’ at the screen … Did Fatal Attraction really set back feminism and career women? I honestly don’t believe so. I think that, arguably, it encouraged a vigorous debate from which feminism emerged, if anything, far stronger.”

Close doesn’t see Alex as monstrous either. “I never thought of her as the villain, ever,” she said on Oprah.

11. A TV VERSION OF FATAL ATTRACTION WAS KILLED.

In 2015 it was reported that Paramount would be bringing the film to the small screen in what was described as “a one-hour event TV series.” Mad Men producers Maria and André Jacquemetton were set to write and executive produce the show, with Deadline writing that the TV version would show how “a married man’s indiscretion comes back to haunt him,” just like in the movie. The show was set to air on Fox. But in early 2017, it was announced that the project was being killed—at least by Fox—after the producers encountered troubles with both the title and casting (The Hollywood Reporter wrote that both Megan Fox and Jenna Dewan Tatum were both said to have passed on the project.)

Original image
Getty Images (Johnson) / iStock (ghosts)
arrow
History
When Lexicographer Samuel Johnson Became a Ghostbuster
Original image
Getty Images (Johnson) / iStock (ghosts)

Dr. Samuel Johnson is today best known for his Dictionary of the English Language (1755), which remained the foremost authority on the English language until the Oxford English Dictionary appeared more than a century later. The dictionary took Johnson nine years to complete, for which he was paid the princely sum of 1500 guineas—equivalent to $300,000 (or £210,000) today. Although it wasn’t quite the commercial success its publishers hoped it would be, it allowed Johnson the freedom to explore his own interests and endeavors: He spent several years editing and annotating his own editions of all of Shakespeare’s plays, and traveled extensively around Britain with his friend (and eventual biographer) James Boswell—and, in 1762, helped to investigate a haunted house.

Johnson—who was born on this day in 1709 and is the subject of today's Google Doodle—had a lifelong interest in the paranormal, once commenting that he thought it was “wonderful” that it was still “undecided whether or not there has ever been an instance of the spirit of any person appearing after death. All argument is against it, but all belief is for it.” According to Boswell, however, he was more of a skeptic than an out-and-out believer, and refused to accept anything without seeing the evidence for himself. So when the news broke of an apparently haunted house just a few streets away from his own home in central London, Johnson jumped at the chance to perhaps see a ghost with his own eyes.

The haunting began in the early 1760s, when a young couple, William and Fanny Kent, began renting a room from a local landlord, Richard (or William—sources disagree, but for clarity, we'll use Richard) Parsons, at 25 Cock Lane in Smithfield, London. Soon after the Kents moved in, Richard’s daughter, Betty, began to hear strange knocking and scratching sounds all around the house, and eventually claimed to have seen a ghost in her bedroom.

Richard soon discovered that William was a widower and that Fanny was in fact his deceased wife's sister; under canon law, the pair couldn't be married, and Richard became convinced that the ghost must be that of William's deceased first wife, Elizabeth, blaming William’s presence in the house for all of the strange occurrences. He promptly evicted the Kents and the noises soon subsided—but when Fanny also died just a few weeks later, they immediately resumed and again seemed to center around Betty. In desperation, a series of séances were held at the Cock Lane house, and finally Fanny’s ghost supposedly confirmed her presence by knocking on the table. When questioned, Fanny claimed that William had killed her by poisoning her food with arsenic—an accusation William understandably denied.

By now, news of the Cock Lane Ghost had spread all across the city, and when the story broke in the press, dozens of curious Londoners began turning up at the house, queuing for hours outside in the street hoping to see any sign of supernatural activity. According to some accounts, Parsons even charged visitors to come in and “talk” to the ghost, who would communicate with knocks and other disembodied noises.

But with the suspicion of murder now in the air, the Cock Lane haunting changed from a local curiosity into a full-blown criminal investigation. A committee was formed to examine the case, and Johnson was brought in to record their findings and investigate the case for himself.

On February 1, 1762, one final séance was held with all members of the committee—Johnson included—in attendance. He recorded that:

About 10 at night the gentlemen met in the chamber in which the girl [Betty] supposed to be disturbed by a spirit had, with proper caution, been put to bed by several ladies. They sat rather more than an hour, and hearing nothing, went down stairs, when they interrogated the father of the girl, who denied, in the strongest terms, any knowledge or belief of fraud … While they were enquiring and deliberating, they were summoned into the girl’s chamber by some ladies who were near her bed, and who had heard knocks and scratches. When the gentlemen entered, the girl declared that she felt the spirit like a mouse upon her back.

But the committee were suspicious. Betty was asked to hold out her hands in front of her, in sight of everyone in the room:

From that time—though the spirit was very solemnly required to manifest its existence by appearance, by impression on the hand or body of any present, by scratches, knocks, or any other agency—no evidence of any preternatural power was exhibited.

Johnson ultimately concluded that it was “the opinion of the whole assembly that the child has some art of making or counterfeiting a particular noise, and that there is no agency of any higher cause.” And he was right.

As the investigation continued, it was eventually discovered that Richard Parsons had earlier borrowed a considerable amount of money from William Kent that he had no means (nor apparently any intention) of repaying. The two men had a falling out, and Parsons set about elaborately framing Kent for both Fanny and Elizabeth's deaths. The ghostly scratching and knocking noises had all been Betty’s work; she hidden a small wooden board into the hem of her clothing with which to tap or scratch on the walls or furniture when prompted.

The Parsons—along with a servant and a preacher, who were also in on the scam—were all prosecuted, and Richard was sentenced to two years in prison.

Although the Cock Lane haunting turned out to be a hoax, Johnson remained open minded about the supernatural. “If a form should appear,” he later told Boswell, “and a voice tell me that a particular man had died at a particular place, and a particular hour, a fact which I had no apprehension of, nor any means of knowing, and this fact, with all its circumstances, should afterwards be unquestionably proved, I should, in that case, be persuaded that I had supernatural intelligence imparted to me.”

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios