Interviews from the world of sports!

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Patrick Walker – Difference Maker

Written By: Michael D. McClellan | The stifling summer heat arrives in Charleston the same time Patrick Walker does, both equally hellbent on making history at the 2019 Public Courts Tennis Tournament. Unyielding, oppressive forces each in their own right, it’s the heat that strikes first, the vast area of hot and sultry air swallowing the Kanawha Valley whole and driving all of the title matches indoors at Charleston Tennis Club. Walker, the former head pro at CTC and now the tennis el jefe at Windmill Harbour’s South Carolina Yacht Club, takes the court not long after, one win away from equaling the most Men’s Open titles in the tournament’s storied, 60-year history. That the very man standing in his way also stands across the net from him on this day is, in a word, poetic; James Kent and Patrick Walker’s dominance, much like Roger Federer and Rafael Nadal’s dominance on a grander scale, has come to define an era of tennis in a region known for producing tennis thoroughbreds. (Think Charleston’s Anne White, who reached the fourth round of both the French Open and U.S. Open in the early ‘80s, or Huntington’s Jeff Morrison, who beat future World No. 1 Juan Carlos Ferrero at Wimbledon in 2002, and you begin to get the idea.) And, like Federer and Nadal, theirs is a rivalry intertwined for the better part of two decades, one player older and in possession of the all-time Public Courts crown, the other chasing relentlessly from behind.

Beast Mode: Patrick Walker

But there’s much more to it than that. There is plenty to unpack when examining the James Kent / Patrick Walker dichotomy, their relationship running far deeper than the outcome of the match on this day, regardless of its significance. A Kent win gives him 11 titles to Walker’s nine. A Walker win squares them at 10 apiece. At 40 years old, and with a thriving financial business and three young children to raise, Kent enters the match as the clear underdog. Walker, seven years his junior and his game sharp from teaching tennis daily, is the prohibitive favorite. The 6-4, 6-1 result fulfills that prophecy, and as they shake hands at the net and reporters gather for interviews, fifteen years of shared Public Courts domination gives way to the mutual admiration each man has for the other. In a sport where love is a fundamental element, the love that truly counts is evident in the eyes of both the victor and the vanquished. You don’t get there just by blasting 130-mph serves at each other, or just by ripping forehands that explode from the string bed in a beautifully timed act of violence. Had they only measured themselves against the other’s greatness all these years, their weapons on full display but the emotional core of their rivalry removed from the equation, James Kent versus Patrick Walker still would have been compelling theatre. All of the haymakers and deft counterpunching aside, we really care because the storylines and backstories involved have everything – and nothing at all – to do with the game of tennis.

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“I have had the privilege to watch Patrick’s development as a tennis player from the age of 11 until now. When I first moved to Huntington in 2001, I coached him in the junior tennis program at Ritter Park. Patrick was obviously a very athletic kid with a nice, calm personality off of the tennis court, but he got upset with himself easily on the court. His voice was so high-pitched at the time, which was hilarious looking back. Great memories of a great friend.” – James Kent

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Wind the clock back to the pre-Y2K world that is 1997. Smartphones are primitive, app-less devices still used for – wait for it – making phone calls.  Deep Blue beats chess grandmaster Garry Kasparov at his own game. Mike Tyson takes a bite out of Evander Holyfield’s ear. A 21-year-old Tiger Woods becomes the youngest-ever golfer to win the Masters. Princess Diana dies fleeing the paparazzi.

In 1997, a preadolescent Patrick Walker is in the larva stage of his love affair with tennis, picking up a racquet at the urging of his father, a surgeon who himself had once played at the collegiate level. The game comes naturally to Patrick. Even back then his flexibility is off the charts, his torso capable of winding and unwinding like a human rubber band, a gift from God that is, for tennis players everywhere, the Holy Grail of racquet head speed.

For Patrick, tennis is fun from the jump – he starts out hitting with his father before graduating to junior tennis, clinics, and private instruction – but what’s really big at this moment in his life is basketball. When he’s not watching, he’s playing. When he’s not playing, he’s dreaming. Young Patrick is consumed with all things Michael Jordan, from the shoes to the swagger to the tongue sticking out on those drives to the rim. He’s geeked out over the movie Space Jam and believes that one day he too can be like Mike, escaping earth’s gravity long enough to throw down an array of acrobatic dunks. He can recount every second of the Chicago Bulls’ fourth quarter run against the Utah Jazz in Game 6 of the ’97 NBA Finals, a run culminating with MJ’s perfect pass to Steve Kerr for the 17-foot jumper that wins the championship. Quiz him about that Bulls team and 11-year-old Patrick Walker knows every player on it, from His Airness to Scotty Pippen to the Jordanaires who come off the bench to spark that run. He can also rattle off a good number of players from just about every other NBA team, and why not? He’s already a student of the game, a dreamer who sees himself on the same trajectory as the players currently balling in The Association.

Teacher, Rival, Friend: James Kent

Whereas basketball is his first love and the girl to whom he gives his first kiss, tennis is his steady. He’s already better than most other kids his age, and has more natural ability than nearly everyone else ahead of him. The heavy forehand, coupled with catlike reflexes and on-the-fly instincts that can’t be taught, suggest a future connected to the sport in some way. The better his game becomes, the more vested he becomes in it. Soon he can’t get enough. Working with Kent at Ritter Park fuels the fire. Kent, fresh off a successful college tennis career at West Virginia University, is the complete package, a workmanlike player who checks all the boxes and does everything well. And when he plays exhibitions at Ritter, he provides his young protégé with a glimpse of what it will take for him to go next level. His game is also built on power, but it’s far more nuanced than Walker’s: Sublime balance. Gorgeous footwork. Bombing serves. Even better returns. He focuses. He defends. He’s a master of point construction. It’s a blueprint that Walker will follow in the coming years, weaponizing it with his own breathtaking athleticism and then using it to unnerve and overcome the man he calls teacher, friend, and rival.

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“Patrick’s game jumped up several levels while he worked with a local pro, Murphy Payne. He trained maybe 6 hours a day or more for numerous years until he was about 17 or 18. At the time, I was traveling on the Futures circuit. I would hit with him from time-to-time and knew that he was going to be really good. In fact, I played him in the Ashland City Championships when I finished the Tour and beat him 6-4, 6-4. I remember thinking after the match that it might be a long time before I would beat him again.” – James Kent

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“For as long as I have known Pat he has provided a solid foundation as a friend, coach and mentor to me and my two sons. He’s always there for encouragement, support and guidance. I am forever grateful to have him in our lives; he’s family.”  – Lisa Kolb Hughes

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Patrick Walker comes from a big family. John and Peggy Margaret Walker had two children of their own before adopting seven more, including Patrick, so it’s fair to say that the Walker house is an uninterrupted blur of activity for the better part of a decade –of impromptu sleepovers, board game marathons, play rehearsals, bike rides, chase in the front yard, movies and popcorn on a Friday night. It’s hard to imagine the kitchen getting a break, or the washer and dryer for that matter. There are also plenty of lessons to be learned in a house teeming with people, universal concepts like cooperation, patience, understanding, and forgiveness. There’s laughter and hurt feelings. There are sibling rivalries, and the occasional hostility that comes along with them. There’s competition – over the bathroom, the phone, the most comfortable chair in the living room, the last candy bar in the pantry. And there’s responsibility – the trash needs to go out, the groceries need put up, and the grass needs cut. All things that shape Patrick Walker into the man that he is today.

Already Smiling: Baby Patrick Walker

Fast-forward to 2018. Walker is the head pro at CTC, his positive attitude and magnetic personality impossible to ignore, his flock of young-and-impressionable tennis campers hanging on every word. If he has a bad day it rarely if ever shows. He’s idolized for his tennis exploits and loved for the way he makes each camper feel as if they’re the very reason he teaches tennis. The charm is hardly an act: There’s a genuine warmth at work here, the kind that comes from growing up in the loving chaos of a big family. He uses these skills every day, drawing on life experiences to better relate to his students. It doesn’t matter if one kid is preternaturally suited to game, and another can barely hold a racquet. Patrick Walker treats them all the same.

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“The first thing I think of is the kind of person Patrick is inside. I respect him as a player because he’s amazing, and I consider him a great coach as well. But more important than that, he is enjoyable to be around. I am very fortunate that I got the chance to be around him as I grew up. It was also a lot of fun to work with him in the CTC summer camps as well, and getting to see how the kids enjoyed being around him and learning from him. He has an infectious personality.” – Anthony McIntosh

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“Pat is undoubtedly one of the most skillful tennis players I have ever witnessed. Pat’s groundstrokes are pure and dangerous from every corner of the court. I had an opportunity to play against Pat, and every time I returned his serve I felt like a truck had hit me. Beyond that, he is a great ambassador for tennis, both on and off the court. Pat is an excellent tennis player and coach, but more importantly, he is a great friend.” – Alek Gracin

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In 2005, James Kent equals Kevin Ball’s record by winning his seventh Public Courts Men’s Open titles. That championship also represents a changing of the guard, as Kent, still in his prime, has to deal with a young Patrick Walker in full effect. Walker proves as much by dominating Kent a year later, 6-4, 6-1, staking his claim as the best player in the region. In 2007 he beats Jacob Eddins, 6-1, 6-3, a two-time West Virginia high school state singles champion. Adam White upsets Walker in 2008, with heat and cramps playing a factor. Walker reclaims his crown in 2009, beating Kent 7-6, 6-3, and defends his title three years running, beating Chad Pierron (7-6, 6-1) in 2010; Chris Pratt (6-1, 7-5) in 2011; and Pratt again in 2012 (7-6, 6-7, 6-4). By winning the title six times in seven years, Walker is now breathing down the necks of both Ball and James for all-time Public Courts supremacy.

Patrick Walker in action during the Public Courts Tennis Tournament

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“I hated losing to Patrick, actually, but I always respected how far his game has come. He wasn’t a great junior player but he turned into a monster. I wish he could have played a couple of years full-time on the pro circuit to see his full tennis potential. However, he lets his tennis racquet do the talking on the court, much like me. We both compete hard, win some, lose some, but always show up for the battles.” – James Kent

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In 2013 it’s Kent who finally bests Walker in the final, winning 7-5 (7-6), 4-6, 7-5. The win means Kent stands alone at the Public Courts championship summit, but for how long? Walker, at 27, is in his prime; Kent, a seasoned 34, is starting a family and growing a business. The win buys Kent time, but the unyielding duality of age and responsibility conspires against him. But that’s a conversation for another day. On this day Kent is king, and the rivalry rages on.

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“I broke the all-time record for Public Courts singles titles in 2013 by beating him. Mentally, it was one of the toughest matches of my life. It wasn’t the best quality match for either of us, but we fought each other tooth and nail.” – James Kent

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Walker wins his seventh title a year later, beating Ryan Massinople, 6-3, 6-3. There is a circle of life feel to this final, given that Massinople was a long-time student under Walker, just as Walker’s future had once been shaped by Kent. That Massinople defeats Kent in the semis only adds to the intrigue. It’s also a reminder that time waits for no one; Walker, the new kid on the block not that long ago, is now being hunted by the next generation of tennis players. He’s no longer the young man striking out on his own and trying to make it on the ITF circuit, bouncing from one city to the next, grinding through the qualifiers in hopes of breaking through to the main draw. Those carefree days are long gone. He’s got that day job at CTC now, where he gives lessons to kids like Massinople, who dream of one day beating Walker at his own game, just like Walker is doing to Kent now.

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Kent enjoys a renaissance the next two years, beating Chris Pratt (6-2, 6-1) in 2015 and Walker (7-6, 3-6, 6-3) in 2016, pushing his Public Courts singles haul to 10. At age 37, Kent straddles the line between perennial contender and lion in winter, his championship days clearly numbered.

For now, Walker has no such problem. He wins the next two – a 4-6, 6-3, 6-2 gem against Kent in 2017, and an equally tense match a year later, defeating former University of Charleston No. 1 player Alec Foote, 2-6, 7-6, 6-4. That win completes a three-peat for Walker gives him nine titles, again drawing him to one behind Kent.

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“Pat is a genuine guy that will always make you laugh. He’s a tough competitor on the court, and I wish his serve wasn’t so damned big [laughs]. It’s been a pleasure playing against him at Public Courts, it’s always been a battle.” – Alec Foote

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James Kent and Patrick Walker each have 10 Public Courts titles now. Who knows what the future holds. Kent’s family and business responsibilities aren’t slowing down anytime soon, and Walker teaches tennis in Hilton Head Island. Whether they meet again for Public Courts supremacy is anyone’s guess, but what they’ve given us over the past decade is beyond special. More importantly, what they’ve given each other is something that will last a lifetime.

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“The day of that 2019 final against Patrick, I decided that maybe it’s my last match at Public Courts because I have three little kids and things going on. I have not decided if I will play it in 2020. I owe him the opportunity to compete for the all-time Public Courts singles titles against me. Either way, I wish him nothing but the very best. I have appreciated our friendship over the years. He’s very honest and caring, and I would imagine that’s why people are drawn to his magnetic personality. I am happy for him and his family, and wish him the best of luck going forward. I’m very thankful for the time we’ve spent together, and for our friendship. Patrick Walker is a difference maker, and my life is better because of it.” – James Kent

Take me back to the beginning.

I had a great childhood. I was born at The Ohio State University, and was adopted by my parents when I was four months old. There are nine of us – two are biological and the rest are adopted – so mama’s got a big heart on her.

My mom wasn’t very athletic but she was very brainy and loved to read, so she was the bookworm in the family. She went to Michigan State University and became a math professor at Marshall University after we moved to Huntington. She’s one of six siblings, so she came from a big family, which is probably why she wanted to adopt and have a big family of her own. She’s a very creative person as well. She loves to sing and act, and she also learned how to play the harp and the piano. When I was three or four, she contracted a disease that affected her legs and limits her walking ability, so she’s been in a wheelchair almost all of my life. I admire my mom greatly because she never let her disability get her down, and never used it as an excuse. She’s a strong-willed lady in that respect. She set a great example for us to follow.

Chill Time: Peggy Margaret Walker enjoys a moment with her children

My father went to medical school at the University of Missouri and played tennis there, which is a big reason that I got into tennis in the first place. He did his residency in Columbus before moving to Huntington to practice. He’s still a general surgeon at the VA hospital in Huntington and still does surgery there, but not quite as often these days because he’s taken on a bigger role in administration. I guess you could say he’s the big guy [laughs].

You were home schooled. What are some of the memories that stand out?

Mom and dad are Lutheran, so I went to preschool at the Lutheran Church. Our mother then home schooled both me and my sister, who is four months older than I am, which I actually liked a lot because I didn’t have to wake up early, I could do schoolwork in my pajamas, and I could eat whatever I wanted without being limited. I could also live on the court, either playing basketball or tennis, which better suited my personality. All of my brothers and sisters were into acting and singing, but not this guy. This guy is active, and if he’s going to perform it’s going to be in a sports atmosphere. I did go out for acting once to make my mom happy. I was the Mayor of Munchkin City in a school play, so I did my part on stage [laughs].

All Smiles: John T. Walker and his son, Patrick

You started out playing basketball and then transitioned to tennis.

Basketball was my thing early on. There were times when I’d go outside and practice till midnight, and other times when the neighborhood kids would come over and play. Back then I was consumed with Michael Jordan and the Chicago Bulls. I grew up watching Jordan play against the guys like Karl Malone, John Stockton, Magic Johnson, and Larry Bird. I caught a glimpse of the great Dr. J, but unfortunately he wasn’t in his prime.

I eventually got into gymnastics, baseball, and tennis, but I lived and breathed basketball until I was 10 years old. Ironically, it was basketball that led me into tennis. Dad was watching me play in a game where I made a block and converted some acrobatic layups, so I think he recognized my potential. He was like, “Your flexibility is ridiculous. Let’s try tennis. Let’s see what happens.” And I was like, “Can I still play basketball?” He said, “If you play tennis then you get to play basketball,” so it became this equal sports reality where dad taught me the basics of tennis, and I continued to have fun playing basketball every chance I could. Then I got better at tennis and started to fall in love with the game, and before long it naturally started to take over my recreational time. It wasn’t long after that that I began to play the game competitively.

Do you remember your first match?

Yes [laughs]! I played my first match when I was 11 years old, against a kid named Jared Miller. He had been playing for a while, and he really kicked my butt. When it was over I looked at my dad and said, “I’m good, I don’t want to compete. I’m done with this tennis thing. I think I’ll just go back to playing basketball.” But dad didn’t let me off the hook. He explained that it was just one match, and he promised me that I would figure it out. He was like, “You will have those types of days, Patrick. You’ll actually learn more from the losses than you will from the matches you win.” Then he asked me if I’d learned anything. I thought for a minute and said, “Yeah. I learned not to play tennis ever again!” He repeated the question, and I told him that it was going to take a while to figure out this tennis thing, and that I had a lot to learn. He smiled and said, “That was the whole purpose of this first match. Patrick, you are on your way to becoming a tennis player.”

Patrick Walker

Did you jump straight from hitting with your father to private lessons?

No, the next step in my development was playing in clinics. I was 12 years old at this point. I was still hitting with dad, which was great, but the clinics allowed me to get to know the other kids that were playing. There was also a social aspect that I really enjoyed. I looked forward to the time on the court, but the time before and after was fun as well. It was also a great transition to private lessons.

Who were some of the pros that influenced your growth as a tennis player?

At about the age of 14 I started taking lessons from a guy named Tim Keegan, who taught at Ritter Park in Huntington. Tim worked with me until a guy named Billy Levi came to town. Billy was a great guy. He taught lessons at Guyan Golf & Country Club in Huntington, as well as at the Huntington Tennis Academy on Fifth Avenue near Marshall University. Billy made me love tennis a little more because he made the game fun. He was very hands on, and you could tell by his energy that he loved the game, which helped to motivate me to practice and play harder.

Eventually, Billy found a better job opportunity in Ohio and had to leave the area, and at that point I started working with a guy named Keith McCarthy. Keith wasn’t really hands on, but he was very technical and went down into the really intense parts of tennis. He was also very direct and blunt. He was like, “You gotta do this, and you gotta do this, and here is what you really need to work on.” He would propose a challenge of some kind, maybe fifty forehands down the line without an error. I’d work on it until I met the challenge, and the he’d give me another one. My game started to take on a different vibe because of Keith, and my confidence started to go through the roof. Then a guy named Murphy Payne came along. Murphy’s the one who really took my game to the next level. He helped me see the game in an entirely different way.

All of these teachers were important building blocks in my development. They helped make the game fun, and they also showed me how to compete both physically and mentally.

As a young player on the way up, what was it like to hit with James Kent?

James was teaching outdoors at Ritter Park, and during the winter months they would build the bubble so we could hit year round. I love challenges, and beating James became my next big challenge. My game kept getting bigger. My confidence was through the roof. Then I played him that first time, and I quickly learned I nowhere close to taking him down [laughs].

Patrick Walker and James Kent at the Ashland City Championships

Kent pushed you to become a better tennis player.

James is about eight years older than I am. He was fresh out of college at the time, and I was still trying to graduate from high school. It was a fun, challenging period in my tennis life, and a lot like the movie Groundhog Day; we would play and he would beat me down, then I would go off and try to improve my game, and then we would play again and he’d beat me down all over again. It really opened my eyes. I made a list because I knew that if I were going to beat him, these were the things that I needed to do. So I kept playing, kept practicing, and kept setting goals that I could achieve. One New Year’s Eve I said to myself, “This is the day. I’m going to do it right here. I’m playing too good to lose.” We warmed up and I felt really good about how I was striking the ball. Then, about 2 ½ hours later, I walked off the court having beaten him 6-4, 7-5. After being dominated by James Kent for so long, it felt really good to finally break through. I felt like I had taken a big step.”

Around this time, you played an exhibition match against Jeff Morrison.

One day I was hitting with Murphy at the Huntington Tennis Academy when Jeff Morrison and his dad walked in. Jeff was from Huntington and had played at the University of Florida, where his doubles partner was Marty Fish. I believe they won two NCAA titles together. Jeff was Top 100 in the world at one time, and in 2002 he beat Juan Carlos Ferrero to reach the quarterfinals at Wimbledon. Ferrero would go on to hold the World No. 1 ranking, so Jeff beating him at Wimbledon was a really big deal.

Being from Huntington, everyone in the tennis community knew Jeff. He’d played exhibitions with people like James Blake, Julie Ditty, and Todd Martin, so when he walked in that day the place was buzzing. I wanted to make an impression, because I was hoping Jeff might like to hit with me. I’m blasting balls at Murphy and he’s ripping them back, and for about 10 minutes I’m not missing. I’m busting my butt and pouring the sweat. Jeff hits with his dad on the next court, and then they leave without saying a word. I took that as an insult. I’m thinking to myself, “Just because you are the top guy in Huntington and you’ve made the ATP Tour, why would you walk into the Tennis Academy and blow off another local up-and-comer who wants to hit?”

A little later, Jeff’s dad comes up to me and says, “Hey, Jeff is putting on an exhibition, would you want to play against him?” I was like, “Of course!” It took about a week to set up, so I used that time to prepare, and then we played the exhibition at the Huntington Tennis Club in Barboursville. I remember walking in and a guy asking me how many games I thought I’d get. I said six. Someone else walked by and asked the same question, and I gave him the same answer. Then we played and I beat him 7-6 in a tiebreaker. Those guys couldn’t believe that I’d just beaten Jeff Morrison, a guy who’d reached No. 85 in the world. Man, it was so much fun! It also boosted my confidence because he was fresh off the Tour and I’d stepped out there and played really well against him. After that exhibition I decided to go pro, so playing and beating Jeff was a big deal.

Pool Time!

Did you go out and celebrate?

I celebrated by playing a doubles exhibition right after our match [laughs]. Scott Zent was my partner. We’d never met up to that point. Scott was so good with his hands, he could do anything he wanted to with the ball. You play tennis with someone like that and you learn things about the game that you never thought were possible.

You played 7-time Public Courts champ Kevin Ball when you were 14.

It was in the Royal Tournament at CTC, on the stadium court, and Kevin beat me 6-3, 6-2. I was convinced I’d beat him without much effort, and afterwards I was like, “Who is this guy?!” Losing to him taught me not to take anyone lightly.

Was there a rematch?

The Daymark Tournament was next. I was hoping that Kevin would play, because I wanted another crack at him. He didn’t play, but Ron Williams did. I didn’t know anything about Ron Williams, but it didn’t take me long to find out. He was from Australia, a very good athlete, and one heck of a tennis player. We met in the finals, and he really knew how to use his height. He was also very cerebral, the kind of player who always seemed to be thinking one step ahead of you. We split sets and then I beat him 6-1 in the third. I walked off the court and someone says, “Do you know who you just beat?” That’s when I learned about some of the things he’d accomplished on the tennis court. After that, I wasn’t so bummed about not getting the chance to redeem myself against Kevin Ball.

Toe-to-Toe: Alec Foote and Patrick Walker battle in the 2018 Public Courts Men’s Open Finals

You followed James Kent onto the ITF circuit.

I got my GED and graduated from high school, and then I told my dad that I wanted to go pro. He asked me if I was sure, like any good parent would do, and I promised him that I was ready and that I would attack it. That’s when I started touring with Murphy. We went to Illinois and Indiana and played the ITF Futures, which were $15,000 and $20,000 tournaments. It’s extremely competitive. You have to win four qualifier rounds just to get into the main draw. The main draw is where you get your ATP points. You have to win six matches to earn one point. If you think about that, it’s insanely difficult. It’s very cutthroat out there.

Tell me about your first Futures match.

I played a very close and competitive match against a young kid from the Czech Republic. He had a ton of talent, and everyone was talking about him making it on the ATP Tour. It was a confidence booster for me even though I’d come up short on the scoreboard. When you’re on the circuit, you really don’t have time to dwell on the result. As soon as you lose it’s over, and you’re on to the next city and the next tournament.

How did the next tournament go?

I won three matches and made it to the last round of the qualifier, where I end up playing a kid from Wake Forest. I was a little nervous stepping onto the court that day because I knew what was at stake. I tried to keep the moment from getting too big for me but I was really young, had never played college tennis, and had gone straight to the pro circuit. I got tight and lost the match 6-3, 6-4. It was disappointing, but I had to chalk it up as a misstep and then learn from the experience. That’s what you do when you’re trying to make it. But, in my own defense, I was learning on the fly.

Patrick Walker

You end up cutting your ITF career short. Tell me about that.

We traveled to a tournament in North Carolina, which was fun because James Kent was there and we were able to hit and socialize a little bit. I easily beat my first opponent. My second match ends when the kid I’m playing gets heat exhaustion, so now I’m into the third round and playing a kid from the University of South Carolina. He’d won the national championship that year, so I knew he would be a big challenge. I lost that match 7-5, 7-6. I was super excited about the score and the way I’d played, but dad called and said it was time to come home. I tried to convince him that I was almost there, but he said, “You might be close, but we don’t have any more time because I’m running out of money [laughs].” That’s when I came back and started teaching tennis.

Most people don’t realize how expensive it is to play on the circuit. It’s not as glamorous as one might think.

Trying to make it on the circuit is insane. It’s so expensive. If you are not Top 150 you aren’t making it. You scraping along and pinching every penny. You’ve got to pay to string your rackets. You’ve got to pay for your hotel, your gas, your food, your clothes, the whole shebang. It is expensive in a hurry, especially if you’re not cracking the main draw and winning matches. If you’re going to do it, you’d better have a lot of financial backing, otherwise you’d better have a heck of a lot of talent.

At least you have no regrets.

Absolutely. It was expensive, but it was also eye-opening in other ways. It made me appreciate how hard it is for even the most talented players to make it at that level. I had beaten Jeff Morrison and I was competing against some really good players, but I couldn’t get there. That’s how competitive it is. But I’m thankful. If it wasn’t for my parents adopting me, I probably never would have had the opportunity to try in the first place.

Did you ever think about giving the circuit one more try?

My plan was to earn money by teaching, and then go back out on the circuit. Well, the problem with that plan was that I didn’t have a car [laughs]. Dad took me out and together we found a 2000 Chevy Cavalier. It had high mileage, the air-conditioning didn’t work, and it had roll-down windows, so it wasn’t the best, but it got me from point A to point B. From there I was able to start working at Bellefonte Country Club in Ashland, Kentucky. That’s where I met Todd Wise. He helped me get started with my teaching gig and from there I was on my own. I picked up a few lessons, and suddenly I’m like, “All right, I’m making some money!” Dad was like, “Okay, but know you’ve got to pay for your own gas.” At that point I realized I needed to focus on my teaching career [laughs].

I’d say it worked about pretty good. You’re a natural teacher.

When I was sixteen, my dad told me that tennis was a sport I could play and enjoy my whole life. As a tennis instructor, there’s really no limit to your earning potential, but there’s more to it than that. You can be a role model and a mentor. It’s really cool when you see young kids who are struggling, and you are able to step into their lives and help pick them up. It’s about helping someone, no matter what the skill level. If you approach it the right way they will look up to you, and the lessons that you share will stay with them forever. Making a difference in someone’s life is what I love to do.

Patrick Walker Photo-Op at Charleston Tennis Club

Let’s talk Public Courts. When did you first hear about it?

Actually, it was James Kent who came up to me and said, “Man, you gotta play Public Courts. It’s really cool. There’s nothing like the Charleston tennis community. When you win, there is a banquet, and you get your name in the paper. It’s a big deal.” So I told him I’d check it out. James had won seven Public Courts titles before I started playing in the tournament.

Take me back to your first Public Courts.

My first appearance in Public Courts was 2006. I played John Prokity in the quarters, and at the time I didn’t realize how many Public Courts championships he had won. I beat him and he says, “Good luck with James, you guys will be one hell of a match. Everyone in Charleston is going to come watch.” Well, I rolled through the semis, beating a kid from the University of Charleston two-and-two, and then I get to James. He was the defending champion, and he was playing some phenomenal tennis. His game was so smooth and clean. His serve was a big. His returns were unbelievable…ridiculous. The first set was a tight battle in the heat, but I won it, 6-4. I caught fire in the second set and beat him, 6-1. I remember shaking hands at the net and him saying, “Welcome to Public Courts.”

And your first Public Courts banquet?

I took my mom. This was the era of my Ben Wallace hairdo, the giant Afro. Ben was a great NBA player who rocked that look, and that was behind my inspiration. I wanted to bring basketball to the tennis court. It was my absolute favorite look. It was awesome.

Patrick Walker, sporting his Ben Wallace Afro, shares a moment with his close friend, Matt Hughes

Did you ever cross paths with Kevin Ball in the tournament?

One year I ended up playing Kevin Ball in the semis. I wore an all-white outfit and beat him 6-3, 6-4. I finally got my revenge [laughs].

You’ve had many memorable battles with James Kent. Any that stand out?

There are so many moments, it’s hard to pick one. One year I’m playing James, and he is battling a case of the yips. We’re talking about a guy who cranks out 130 mile-per-hour serves, and then, all of a sudden, nothing. I remember waiting to return, and his serve hits the service line before it ever gets to the net. I’m thinking that maybe there’s something in his eyes, but then he does it again. And I’m like, “What in the world is going on?” Later on I learned that he wasn’t used to someone beating the ball back to him like I was, and he sort of lost confidence in his serve. I mean, this guy had one of the biggest serves in Charleston, but it got to the point where he had to serve underhand to get the ball into the service box on the other side of the net. It’s one of those wacky memories for sure.

The James Kent / Patrick Walker rivalry has blossomed into a great friendship.

We stay in touch all of the time. We are great friends. I tell kids today that you can have a great rivalry, but you can still be friends off the court. To use a basketball analogy, it’s like Larry Bird and Magic Johnson. Both wanted to win, and both tried their very best to beat the other’s brains out, and in the process that competition brought out the best in both of them. That’s how it has been with me and James. And just like with Larry and Magic, our friendship goes far beyond the tennis court. We will always be friends.

What has been your most disappointing result at Public Courts?

In 2008, when I lost to Adam White. That was the first time I had ever cramped before. It was so hot. The cramping started with my forearm, then my calf cramped, and then both hips and both arms. I couldn’t move. I went home, pounded some pickle juice, and promised myself that would never happen again. Then I came back in 2009 and won four in a row.

Another disappointment was when James broke the all-time record the in 2013. That was a rough one. I don’t know where my backhand went. I had a forehand and a serve. That was it. It was weird – it was like my backhand had completely deserted me. James won 7-5 in the third set and broke Ball’s record.

Most surreal moment at Public Courts?

In 2014, when Ryan Massinople beat James in the semifinals after James was up 5-2, 40-15 in the second set. Ryan came back and shocked everyone by winning in the third set. I beat Chris Pratt in the semifinals that year, and then beat Ryan in the finals. That’s when I started to feel old, because I’d taught Ryan when he was younger.

The James Kent / Patrick Walker rivalry has come to define the Public Courts tournament.

We’ve had an amazing run. From 2005 to 2019, James and I have won all of the titles except for one, so we’ve pretty much had it locked up. This year I wasn’t sure if I would be able to play Public Courts. Thankfully my boss let me come back to Charleston to play, and I was able to beat James and tie him with ten titles.

You have a beautiful wife, Mary Carol Liberatore Walker – or, as we all know her, MC.

When I met MC, I didn’t know where it was going. We played Public Courts and we kind of hung out, we even went out to dinner a couple of times. I remember her calling me and saying, “Hey, I’m going to play singles, can you hit?” So we hit, and I asked her if she’d ever considered changing her forehand grip. She looked at me and said, “Are you crazy? I’ve got a match coming up.” Then she thought about it and said, “What would you change it to?” I said I would change it to a Semi-Western grip. We started getting together and hitting more often after that. From there we started hanging out afterwards, and before long we started seeing each other. I felt like I had a real chance after I’d survived the forehand grip debate [laughs].

Patrick Walker and his better half, Mary Carol Liberatore Walker

Like James Kent, you now have a daughter in your life.

MC is a natural mother and is doing great with it, but in some ways I was more ready for parenthood than she was. It started with my little brother, Jordan. We adopted him when he was two and I was fifteen. I learned how to wipe a butt, I learned how to change a diaper, and I learned how to entertain a human being younger than the age of three [laughs]. He was my little Mini-Me. As he got a little older, he pretty much went with me everywhere that I went. We did everything together. We played miniature golf three days a week, we went to the driving range twice a week, we went bowling, we played basketball, we jumped on the trampoline. So I helped raise Jordan, which gave me experience for what I’m doing today raising Vivienne.

You’re now the head pro at Windmill Harbour’s South Carolina Yacht Club. What’s the move been like for you?

I was excited to move to Hilton Head. I am the head pro at Windmill Harbour. I am also the head of the junior tennis camp. I have a new clinic, which is called Patrick’s Power Zone. I’ve never moved this far away before, but I have always been independent and I’ve always been able to fight through adversity and learn how to survive. Now that I have a family, it’s all about the challenge of getting settled in down here. MC is teaching. Vivienne is three, and she doesn’t really have a set group of friends yet. So things have worked about pretty well so far. I’m excited about the opportunity, because I want to give Vivienne the life that she deserves.

Final Thought: You are missed in Charleston.

Huntington and Charleston will always be home. I have so many friends and family back there, and a lot of them are either already visiting us or planning visits to Hilton Head in the near future. And we’ll always be back. Hopefully James and I can renew our rivalry next summer. We’re both getting older, and we’ve each got a lot going on. I just hope we both can play in 2020, and we both make it back to the finals. It would be the best way to break the tie. By the way, as much as it hurt losing to James, I am happy for him and what he has achieved. Me as a competitive person, I was obviously disappointed whenever I was the one he beat [laughs].

EPILOGUE

Mark Cassis on Patrick Walker
Pat has been a role model, coach, and friend to me over the past 10+ years. I’ve been fortunate enough to not only be a student of his, but also an opponent on the opposite side of the net – which usually was not so fortunate for me.  There’s no denying how incredible Pat is as a tennis player, but it’s who he is as a person that makes him all the more impressive.  Both on and off the court you can see that Pat loves life and what he does.  He has a positive attitude about everything and that energy rubs off on everyone around him.  He’s done so much for the tennis community in Charleston, especially the youth, and I know he’ll have the same impact anywhere he goes.

Ryan Massinople on Patrick Walker
Pat was what took my tennis game to the next level. I was always a competitive junior player in the area, but it was training with and being coached by Pat that elevated my game to be able to play Division 1 tennis. As we began to train together daily by my senior year in high school, I became much closer with Pat. I saw him not just as a coach and training partner, but as an incredible friend.

Pat has been and always will be one of the most influential people in my life. He never let the circumstances surrounding him sway his passion or positivity for tennis and life in general. Once we stepped on the court and started playing, it was as if nothing else mattered. He was there to help me get better in any way he could.

Patrick Walker and Ryan Massinople: Rivals for a day, friends for life

After sharing many highs and lows throughout my tennis career with Pat, I think my favorite one probably would have to be the year I played in Public Courts. When I was playing James Kent in the semifinals, Pat was playing on the court beside me. I remember not playing very well at one point and looking over at Pat, where he was standing a few feet from me in between a point. I remember all he said was, “Just loosen up bro, you look like you’re not having any fun out here! Look at this crowd, have some fun man!” It was advice like this that I always received from Pat, which helped much more than advice about point structure or match specific tactics. Pat always reminded me to relax and enjoy the moment. Looking back, I couldn’t be more thankful for this and all of his advice along the way.

I am so lucky to have had Pat in Charleston when I was playing junior tennis. He is much more than my former coach, he is and always will be one of my greatest friends.

Marshall Dagostine on Patrick Walker
I have been fortunate enough to have Pat as a coach for most of my tennis career and I would not have become the player or person I am today without Patrick Walker and his family. Pat worked with me and was able to help me develop the skills needed on and off the court to pursue my dream of going to IMG Academy. Then, after coming back home to West Virginia, Pat helped me further develop my skills to achieve my dream of being a Division 1 tennis player at Clemson University. Pat even came down to see me at Clemson while I was playing there. He instilled discipline, hard work, but ALWAYS having fun. Pat was able to make things enjoyable for me when times got really hard. He was always pushing me to be better on and off the court. I am so thankful for everything he was able to teach me through the years and Pat, MC, Viv, and I now have a friendship that will last a lifetime. It is impossible to look back at all of the time we spent together and not smile. I miss them very much in West Virginia, but at the same time, I am so happy that they are able to spread their tennis and life knowledge to more people. Patrick is truly an amazing person and tennis coach, but more importantly, he is my brother forever.

George Bsharah on Patrick Walker
Patrick played a large role in the growth and success that we had at The Charleston Tennis Club during my tenure there. Pat not only grew as a teaching pro, but I enjoyed watching him grow into the family man and father he has become. Not only is he a special teacher and player, but he has become a special friend.

Scott Zent on Patrick Walker
I remember the first time I heard the sound of the ball being struck by one of Patrick’s forehands. It was different – heavy, powerful – the ball seemed to explode off his racquet. I’ve also enjoyed watching Patrick and James play at Public Courts through the years, because Patrick Walker and James Kent are two of the best tennis players to play in Charleston. I’m glad I can call both of these guys my friends!

Tim and Mona Dagostine on Patrick Walker
Pat is truly a special person and someone who means so much to our family. He has devoted an incredible amount of time on and off the court to assist in the development of our son, Marshall, both as a tennis player and a person. Pat took a good player and created someone who could compete at a high level. He developed skills that lead our son to train at the IMG Academy for 2 years. When Marshall came home to Charleston, Pat continued to help him develop as a person and a player, training him daily, traveling with him to tournaments, and being the mentor every parent prays their children will have. Pat’s role as our son’s coach enabled him to sign to play Division I tennis at Clemson University.

Former George Washington standout Marshall Dagostine would go on to become a four-star recruit, attend the IMG Academy, and play Division I college tennis for Clemson University. The Dagostines credit Patrick Walker for helping lay the foundation for the player their son has become.

A coach’s relationship with a player and his family is unique, it brings that person inside the family and makes them a critical part of all that happens. You have so many good and tough situations to deal with and work through, but we could not have asked for better person than Pat to play that role. He is truly part of our family, and now so is MC and Vivienne. We are so very grateful for all that he has done. We have a bond that will always remain. We know that they will have great success in their new roles, and he will continue to impact people’s lives in an incredible way, just like he has here in West Virginia. We wish Pat, MC and Vivienne the best and give them all our love. – Tim and Mona Dagostine

,

Bill Walton – Grateful Red

Written By:  Michael D. McClellan | Bill Walton wins an NBA championship, an NBA Finals MVP Award, and an NBA Most Valuable Player Award before vanishing into rumor, missing three full seasons and playing only 14 games in another, the one-time “Next Great Thing” undone by feet not designed to support a man his size, the pain taking him on a decades-long journey that includes 37 orthopedic operations and an inner-dialog dominated by thoughts of suicide. In his darkest moments, Walton lay prone on the floor, unable to move, his spine having collapsed, wishing only that he had a bottle of pills, or a bottle of whiskey, or a gun. He can think of nothing else but the radiating nerve pain, pain so severe that no life is the better alternative to the one in which he finds himself trapped. This is a side of Bill Walton the public never sees, at least not until he pulls the curtain back in his 2016 memoir, Back from the Dead, giving readers a backstage pass to three hellish years spent on the floor of his house, eating his meals flat on his stomach, crawling to the bathroom, barely able to hoist himself into bed.

“I’m getting back into the game of life,” Walton says, smiling. “Before I had my spine surgery, it got to the point where my life wasn’t worth living. I was useless. I can’t describe the pain—people who haven’t experienced nerve pain can’t relate. It’s debilitating, excruciating, unrelenting. Today, I’m pain-free.”

Walton’s story unfolds with an idyllic childhood in La Mesa, California, transitions to a counterculture lifestyle that’s alien to mid-70s NBA, and descends into an injury-ravaged abyss that undercuts his vast potential. It’s a long, strange voyage filled with contradictions.

“I had the most wonderful childhood,” Walton begins. “We had nothing, but I had everything. My mom was our town librarian, so I had an endless supply of books. That was my life. I’ve never been a television watcher—I’m not really much of a spectator, I like doing things. I had a transistor radio and a basketball. I also had a bike and a skateboard, so I could go places on my own. But that was nothing compared to the places I could visit through the books that my mom brought home daily. The mental travels from those books, and from reading the LA Times in those days, were my form of escape.”

It’s his mother who sets Walton on his path to basketball greatness.

“In 1964, my mom brought home the first sports book that I ever read, which was Go Up For Glory, written by the incomparable Bill Russell. She said, ‘Billy, this book just came into the library, and I know that you have been outside playing basketball, whatever that is, so I thought this might be of interest to you.’ I devoured every aspect of that book, and I never gave it back to her. I read it over and over and over again. When I joined the NBA, one of the first checks that I ever wrote was to the San Diego library for the book that I never returned.”

Walton’s passion for basketball begins not at the playground with other children but as a solitary endeavor.

“I loved playing basketball by myself. I was very awkward and shy, so I was by myself all of the time. There was Little Billy with his red hair, and his freckles, and his big nose, and his goofy, nerdy looking face, and this horrendous speech impediment—I couldn’t speak at all without stuttering horribly. But I could play basketball, and I could practice by myself. I would be playing these imaginary basketball games out in the backyard, with legendary Laker broadcaster Chick Hearn transporting me to the NBA where I’d play games as a member of the Boston Celtics. I was 12 at the time and never in my wildest dreams thought that I might one day be doing it for real.”

Walton pauses, his mind on constant fast-forward and rewind.

“It is impossible to understate the importance of the Boston Celtics in my life. They were my favorite team as a young boy chasing the dream of being part of the NBA. I’m from San Diego, but I developed my love for the Boston Celtics because of Chick, who spoke with such awe and respect for the Celtics. He was so complimentary of Red Auerbach, Bill Russell, and of all of the players on those great championship teams of the ’60s, even though his job was to sell everything Lakers. So here was Little Billy in San Diego, with his transistor radio under the covers, listening to Chick talk about the incredible accomplishments of the Celtics. That’s what I wanted to be a part of, so it was the perfect situation.

Bill Walton, Sports Illustrated cover boy: Two-time NCAA Champion. Two-time NCAA Final Four Most Outstanding Player. Three-time national college player of the year. Three-time consensus first-team All-American. Two-time NBA champion. NBA Finals MVP. NBA Most Valuable Player. NBA Sixth Man of the Year. NBA 50th Anniversary Team.

“I love all things Boston.”

Little Billy continues to grow, and it’s hard not to notice his potential. Walton attends Helix High School, where he grows into the most coveted basketball player on the planet. Helix captures the California Interscholastic Federation High School title two years running, all while winning its final 49 games. He’s 6–10 when he graduates in 1970, setting the national record for field goal percentage (79 percent), but some of Walton’s favorite high school memories are created away from the court.

“I went to my first Grateful Dead concert when I was 15 years old and immediately fell in love with them. There’s this great community and tribal spirit that comes with being a Dead Head. Going to the concerts was the most fun in the world. Everybody’s happy, everybody’s dancing, and everybody’s jumping up and down. The music is phenomenal. The whole experience is one of joy and love.”

Walton enrolls at UCLA in 1970, following in the sizable wake of Lew Alcindor (Kareem Abdul-Jabbar). It’s an impossibly high bar to clear, but Walton matches Abdul-Jabbar as a three-time Consensus First Team All-American, and as a three-time recipient of the NCAA Player of the Year Award. It’s during Walton’s freshman season that UCLA starts a mind-boggling win streak that spans four seasons. It begins on January 30, 1971, with a victory over UC Santa Barbara. He joins it 15 games later, his brilliance helping stretch the streak to 88 straight, including two consecutive 30–0 seasons and three national championships.

Bill Walton: A three-time Consensus First Team All-American, and a three-time recipient of the NCAA Player of the Year Award

“January 19, 1974,” he says, when asked what he remembers most about the streak. “The loss at Notre Dame. We wanted a third undefeated season, but it didn’t happen. That loss was a punch to the gut.”

The disappointment is easy to understand. As a sophomore, a Walton-led UCLA rolls to a 30–0 season by outscoring its opponents by 30.3 points a game, an NCAA record that still stands. A year later, Walton and the 1972–73 Bruins again go undefeated and again cut down the nets. By his senior season, the streak and the chase for perfection becomes a national preoccupation.

“The loss to Notre Dame was a harbinger of things to come,” Walton says. “At any other program, finishing 26–4 and reaching the Final Four would be a cause for celebration. But, like those great Celtics teams, we wanted to win every game we played, and we wanted to go out on top.”

Doesn’t happen. The Bruins lose two more regular season games, and then, on March 23, 1974, North Carolina State beats UCLA 80–77 in double-overtime in the National Semifinal at the Greensboro (NC) Coliseum, in what is widely regarded as one of the greatest NCAA tournament games ever. The loss marks the end of the Bruins’ seven-year national championship run.

“Coach Wooden never talked about the streak,” Walton says. “He never mentioned winning, period, because that was a byproduct of everything else that went into preparing to play the game. He kept us focused on doing things the right way. That’s why losing to North Carolina State in the Final Four was so difficult for me to overcome.”

Bill Walton and his legendary head coach, John Wooden

Along the way, Walton becomes not only one of Wooden’s favorite pupils, but also one of his biggest challenges.

“I knew I was Coach Wooden’s worst nightmare because I fought him on everything. I always wanted to know why,” says Walton, who finishes his college career as a three-time Academic All-American. “Why were we in Vietnam? Why did I have to cut my hair? Why did I have to shave? Why was Nixon president? I was never satisfied.”

Walton has countless stories like these. Some have morphed into urban legend.

“John Wooden used to place a lucky penny in the corner of the locker room each year and pretend to find it as he was giving a pregame speech,” he says, smiling. “Well, I ended up stealing John Wooden’s lucky penny. One day I received an anonymous letter stating that there was a curse on me, and that the only way to break the curse was to go to the Philippines and see this witch doctor. Trust me, when you’re the most injured athlete in the history of sports, you can’t say it doesn’t cross your mind.”

The Next Great Thing’s fairytale ride starts hitting potholes in Portland. Selected by the Trail Blazers with the first overall pick of the 1974 NBA Draft, Walton’s first two years are marred by a constant string of injuries, causing him to miss 78 of 164 games.

Bill Walton, Portland Trail Blazers

Walton misses time with a broken nose and then follows that indignity with injuries to his wrist, leg, and foot. When healthy, he redefines the center position with his vision and passing. In his third season, Walton plays in a career-high 65 games, spearheading the Blazers’ run through the playoffs. He refuses to be singled out for his greatness, instead crediting everyone else as the difference makers against Philadelphia in the 1977 NBA Finals.

“It was a total team concept,” Walton says of Portland winning the championship. “We trusted each other, and we trusted the system. I played my part, and I tried to play it well, but the truth is, we had Maurice Lucas, and nobody else did. We had Jack Ramsey, and nobody else did. And, just as importantly, we had the Blazermaniacs, and nobody else did.”

An avid biker, Walton endears himself to those Blazermaniacs by biking to Memorial Coliseum on game days. His counterculture lifestyle, seen by many around the country as strange and off-putting, is right at home in Portland.

Bill Walton’s counterculture lifestyle fit perfectly in Portland

“The crowd made me better; the crowd made me high,” says Walton. “They knew they made us better, and that drove them to give us even higher levels to delirious celebration and support.”

It’s in Portland that Walton’s love affair with the Grateful Dead reaches new heights when he’s recognized at a concert. It’s a memorable affair for all involved.

Walton wins the NBA MVP Award following the 1977–78 season, even though he only plays in 58 games. By the All-Star Break the Blazers are 40–8, and winners of 44 straight at home, but on March 5, Walton has surgery on the nerves in his right foot. That foot heals, but now something is wrong with the left. He misses 22 straight games, returning to play 34 gutsy minutes in the playoff opener against Seattle, scoring 17 points and grabbing 16 rebounds in a losing effort. It’s clear to anyone watching that Walton is not healthy.

“The beginning of the end in Portland,” he says.

Walton’s recurring foot injuries cut years off his career and derailed a potential dynasty in Portland.

Still in pain, Walton faces a dilemma; rule himself out for a must-win Game 2, or take an injection of Xylocaine, an anesthetic. Walton takes the shot. He plays. And while the Blazers win to even the series, Walton’s season, and his career in Portland, is over.

“I played on a broken foot,” Walton says. “I didn’t want to let my coaches down, or let my teammates down. It turned out to be the wrong decision, because it was based on immediacy. We needed to win that game to avoid a 2–0 hole against the SuperSonics. I wasn’t thinking about my long-term health.”

The injury leads to legal action and finger-pointing, with Walton sitting out the entire 1978–79 season in protest. After the season he signs with the San Diego Clippers, returning home but playing in just 102 games over five years.

And then, just when he considers walking away for good, Red Auerbach and the Boston Celtics come calling.

The Trade goes down during the summer of ’85.

Auerbach, unhappy with Cedric Maxwell’s injury rehab, swings a blockbuster deal that delivers Bill Walton to Boston. The feud between Auerbach and Maxwell goes public, with both sides taking the low road; Auerbach strikes mention of Maxwell in an upcoming book, while Max leaves town throwing shade.

Rebirth: Walton joins the Celtics in the Summer of ’85, the final piece in one of the greatest teams of all-time.

“With Red, loyalty was a two-way deal,” Walton says. “Red created a culture of trust, family, loyalty, pride, all the things that we love and mean so much to us. He expected us to be wholly vested in his vision, and the temporary falling out with Cedric Maxwell was, in Red’s mind, a violation of that trust. He felt that Cornbread hadn’t worked hard enough at rehabbing his knee injury, and Red considered it an affront to the Celtic Way. I’m just glad that they were able to get past their differences because Cedric was a special player who helped the Celtics win two championships.”

For Walton, who grows up idolizing Bill Russell, The Trade is a dream come true.

“The Celtics didn’t give me my career back, they gave me my life back,” he continues. “To be able to go from the bottom to the top in one plane ride was just staggering. I had early success in my career, but the endless string of injuries destroyed everything. The Celtics gave me a chance to be a part of something special, which has always been my dream in life.”

Walton’s medical history is of prime concern, but it isn’t the only concern; the media and the fans immediately wonder whether Walton and starting center Robert Parish can coexist.

Walton battles Kareem Abdul-Jabbar

“Meeting with Robert Parish was the very first thing that I did when I arrived in Boston,” Walton explains. “When I got off of the airplane, M. L. Carr was there to pick me up. M. L. wasn’t going to be on the team that season because he’d transitioned to something else, but he was still part of the Celtic family. We hadn’t left the airport yet. I said, ‘M. L., take me over to Chief’s house, I’ve got to talk to him.’

“I went over to his house, and I looked at him, and I said, ‘Robert, I just want you to know that I’m only here to help you. I’m not here to take anything from you. I’m here to add to what you’ve already done, to what you’re currently doing, and to what you are going to do.’ I’m a team guy. That’s what I’m all about. I needed Robert to hear that come from me personally because that’s the way a team is supposed to work. And Robert could not have been nicer. It was so fun to play with him. I love that guy so much.”

Once training camp starts, a healthy and reinvigorated Bill Walton falls in love with his sport all over again.

“I had played against Robert Parish, and I knew he was excellent. I had played against Dennis Johnson, and I knew that he was fantastic. I didn’t know how good Larry Bird and Kevin McHale truly were. Larry was the best player that I ever played with. Kevin was the second greatest low-post player that I ever played against, after Kareem Abdul-Jabbar. It was just so much fun. I’m sitting here today, 30-plus years later, and I’ve got this big, giant grin on my face thinking about how fun it was to get up every day, and to go and spend the day with those guys. It was that way with everybody on the team. Danny Ainge—who should be in the Hall of Fame: Scott Wedman, Jerry Sichting, Rick Carlisle, Greg Kite, Sam Vincent, David Thirdkill . . . KC Jones and the assistant coaches, Chris Ford, Jimmy Rodgers, and Ray Melchiorre. It was an incredible experience. It was better than perfect.”

Mutual Admiration Society: Bill Walton and Larry Bird celebrate, while Kevin McHale looks on.

For the first time in his career, Walton doesn’t feel the burden of carrying a team on his shoulders. In Boston, he can simply fit in.

“It was a championship team before I ever got there,” he says. “I was just lucky to be in a Celtics uniform. My job was to remind the guys of what the schedule was [laughs]. KC Jones would put a variety of combinations out there. Sometimes he would have Larry, Kevin, and Chief on the court doing their thing. And then it might be Larry, Kevin, and me…or Robert, Kevin, and me. He also had Scott Wedman, who was a fantastic talent coming off the bench. Everybody could do everything, including think. There were a lot of interchangeable parts.”

In Portland, Walton becomes famous for riding that bike to games. In Boston, he relies on another mode of transportation.

“I hate traffic, and I hate to wait,” he says. “The T was the fastest way to get to the games; I remember riding the Red Line and the Green Line to get to the Boston Garden because the traffic was just so awful. The fans would be rocking the cars, just like they did in the Garden, with chants of ‘Here we go Celtics, here we go!’ And then you’d get there, and the fans were so fired up. They were the best fans in the world. People would buy tickets just to be in the arena, even though they could even see the game. I don’t know how many people actually bought tickets because if you knew anybody, you could get in for free. They had that backdoor on the Causeway Street entrance, where some guy was just standing there waving people through. It was just so fun, it was a dream come true. The world as it could be and as it should be. What could be better than that?”

The most famous Dead Head in the world wastes little time evangelizing his favorite group to his new teammates.

Standing Tall: Bill Walton attends a Grateful Dead show at the Greek Theatre in 1985 – photo courtesy Susana Millman

“When I came to Boston, my love for the Grateful Dead was well-known,” Walton says. “Larry and Kevin came up and asked me if they could go to the show, because they’d never been and didn’t know any of the songs. And my reaction was one of immediate excitement. I was like, ‘Yeah, okay, let’s go!’ And so we put together a road trip, and we all went—well, everybody except for Danny Ainge because his wife wouldn’t let him go with us [laughs]. It was a fantastic time! When the show was over, they looked at me with the Kaleidoscope eyes of somebody who’s just seen something for the very first time. I don’t know that they ever embraced the Grateful Dead. I can’t speak for them. But afterward, they said, ‘Wow! Can we come back tomorrow?’ So we went back again the next night.”

With Walton finally healthy and Bird at the top of his game, the Celtics roll to a 67–15 record, best in the NBA. The players are alike in many ways—consummate teammates, brilliant passers, intense competitors. The friendship that develops is immediate.

“Spending time with Larry Bird is like being on a tropical island,” Walton says. “There is so much heat, and so much life, and everything is happening at warp speed. I don’t know if you have ever been to Maui, but you can sit there in a chair and see the plants get bigger because everything is happening at such an extreme level. That’s what life with Larry Bird was like. There was so much fun, and so many things going on. I’m the luckiest guy in the world to have been a part of that.”

The connection with Robert Parish is equally rich.

Dave Cowens, Robert Parish, and Bill Walton

“I love Robert Parish. Away from the spotlight, Robert is very funny. That’s the way that he is. On the bus rides, in the locker room, in the hotels, in the airports . . . he was just so much fun. Imagine the honor that I had when Chief went into the Hall of Fame, and he called me up and said, ‘Bill, would you be my presenter?’ Are you kidding me? I am the luckiest guy on earth. Playing behind Robert Parish, that is akin to following a Brinks truck down a bumpy road and they forgot to close the back door.”

Walton anchors the second unit, and the Celtics roll to the ’86 NBA championship. For a student of the game, following in the footsteps of the great Bill Russell is the ultimate “pinch me” moment.

“Bill Russell became my favorite player ever, on and off the court. The way he always carried himself epitomized everything that I wanted to be. The way he stands up for a better world. To see someone like Russell stand up to the nonsense, to the indignities, to the injustices . . . he’s a beacon of hope, he’s a shining star. He’s who I aspire to be, knowing full well that I could only hope to be but a tiny fraction of the towering pillar of humanity that he has always been. Bill Russell is a towering giant in a world of shriveling midgets.

“There is this incredible moment in Bill Russell’s last game,” Walton begins. “It’s Game 7 of the 1969 NBA Finals, and the Celtics are playing the Lakers in Los Angeles. The game’s on national TV, the Celtics are huge underdogs, it’s being played in the Forum. Jack Twyman, who is one of the announcers, goes into the Celtics’ locker room before the game. Russell is sitting there. He’s got this scowl on his face, and he’s ready to go. Sam Jones has already shown him the letter that Jack Kent Cooke wrote to all of the Laker season ticket holders, about how the championship would be celebrated at the end of the game. Russell has also heard about the purple and gold balloons suspended in the rafters and how the Lakers will be releasing them when the final horn sounds. He knows about the champagne chilled in the Lakers’ locker room. Jack Twyman says to Bill Russell on camera, ‘What’s going to happen tonight, Russ?’ Russell just glares at Jack, and he says simply, ‘We’re going to win.’ Jack is taken aback, and he asks how he knows that the Celtics are going to win. Russell looks at him and says, ‘Because we’ve done this before.’ I was so pumped up when I heard him say that. I was sitting there, watching Russell on TV, and I was like, ‘Yeah! Let’s go!’ And we all know what happened. Russell played the entire 48 minutes and walked into the sunset a champion.”

Steer the conversation in any direction, and all roads eventually lead back to the Grateful Dead. Walton has jammed with the Dead, toured with them, and seen more of their concerts than just about anyone. He’s so close to the band that they often stay at his home, rather than a hotel, when visiting San Diego. He even met his wife, Lori, through friends of the band.

“She’s a fan of the Grateful Dead, and she went to UCLA, which were two very important attributes,” he says, laughing.

Walton, who keeps count of his concert tally, certainly doesn’t see himself scaling back anytime soon.

Still standing: Walton attends another Grateful Dead concert, one of 889 shows (and counting) that he’s seen since the ’70s

“I didn’t count the first 12 years that I went to Grateful Dead concerts—nobody ever thought of counting back then, we just went all of the time. It was during the late ’70s or early ’80s that I started to count my concerts. Today the count is 889, but it’s not important how many. It’s important that we were there, that we are there now, and that we hope to be there tomorrow. I used to care where they played and what they played, now the only thing that I care about is that they play at all, and how they play. I want more shows.”

Walton sees endless parallels between basketball and the Grateful Dead and moves seamlessly between his two favorite subjects.

“From the very beginning with the Grateful Dead, I looked up on that stage and shouted from the top of the highest mountain, ‘I am with those guys!’ From the earliest days listening to Chick Hearn, I said the same thing about the Boston Celtics: ‘I’m with those guys!’ I’m with Red Auerbach. I’m with KC Jones. I’m with Bill Russell. I’m with John Havlicek. And then the ’70s came, and the love affair never stopped, because then I’m with Dave Cowens. I’m with Jo Jo White. I’m with Paul Westphal. I’m with Paul Silas. I’m with Don Nelson. And then I’m traded to Boston, and my dream comes true. I’m with Larry, Kevin, Robert, DJ, Danny, Rick, Scotty, Jerry, and all of the guys. I’m with those guys.”

Winners of 15 world championships before he arrives, ‘those guys’ now includes this guy, the oft-injured redhead who resurrects his career in a Boston Celtics uniform.

“I was drawn to those great Celtics teams by the way that they played,” Walton says. “Those great teams in the ’60s were so fast, and the ball never seemed to touch the floor. You had Sam Jones with his patented bank shot, KC Jones with the great defensive steal leading to transition offense. You had Bill Russell blocking a shot or grabbing a rebound to ignite the fast break. You had Tommy Heinsohn with the running hook shot, John Havlicek doing everything imaginable on earth and never getting tired. And then you had Dave Cowens, who was so fabulous in the early ’70s and who was just so fun to watch. And then later you had Larry Bird, Kevin McHale, Robert Parish, and DJ doing their thing . . . To be an admirer of that tradition, and then to be a part of it, you couldn’t possibly hope for anything else.”

Unfortunately, Walton’s injury woes return. He plays in a career-high 80 regular season games during the championship run but appears in only 10 during the 1986–87 season. He’s on the bench when Larry Bird makes his famous steal during Game 5 of the Eastern Conference Finals, and he retires shortly after the Celtics fall to the Lakers in the ’87 NBA Finals.

Mission Accomplished: Bill Walton is interviewed following the Celtics’ 1986 NBA Championship

“Being part of a band is the same as being a part of a team,” Walton says. “That spirit of, ‘Yeah, we’re going to get this done,’ or ‘Let’s go, we’ve got a show to put on,’ or ‘We’ve got a game to play.’ It all translates into the same thing: ‘We get to go do this today, and we get to go do it together.’ The teamwork, creativity, improvisation, and imagination that goes into being a great musician also goes into being a great basketball player. Those are the things that I knew I was going to miss when I decided it was time to retire from basketball.”

Walton has long ago accepted his lot in life.

“My story is one of a meteoric rise to the top, and then immediately followed by catastrophic orthopedic health problems. I’m the most injured player ever. I missed more than nine full seasons of my 14-year NBA career. I could never sustain. I’m on Bill Walton 17 right now.

“I wanted to be the best, but my body would not carry me where I needed to go or where I wanted to go. I spent half of my adult life in the hospital, endured 37 operations, and never achieved the ultimate dream of being the best. I’ve learned to appreciate the things that I’ve accomplished, like being a part of two of the greatest basketball teams in the world, the Bruins and the Celtics. It doesn’t get much better than that.”

One thing is clear: Bill Walton 17 is happy to be back.

“When you are old like I am, the driving emotions in your life are pride, loyalty, and gratitude. Pride: The satisfaction with your choices. Loyalty: Do we care, and is this worth it? Gratitude: The appreciation and the respect and the acknowledgment of the sacrifice that has gone for you to create what we have today.”

Walton pauses. His smile releases a row of perfect teeth, thoughts of suicide nowhere to be found.

“I try to learn from the past, dream and hope for a better tomorrow, and live for today. Today is what I can go for, and that sense of going for it is what excites and motivates me. There’s a song by the Grateful Dead, called Saint of Circumstance. Listening to it reminds me that when you have dreams, and then the dreams come true, and then the reality is better than a dream, there’s nothing like that in life. That’s happened a lot in my life. The Boston Celtics are such a big part of who I am, and a big part of the life that I have today.”

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Stephanie Peterson – Inner Beauty

Written By: Michael D. McClellan | Stephanie Peterson has arrived, and in more ways than one. The model, represented by the prestigious Wilhelmina modeling agency, has splashed down in Miami for Swim Week 2019, the annual 6-day event that showcases the latest in swim and resort wear. Jam-packed with runway shows, trade shows, pop-up shops, and pageants at select venues throughout Miami, Swim Week is the Super Bowl of aquatic fashion, drawing designers and models from around the globe, creating a swimwear tour de force unmatched in the industry.  Peterson, from Brainerd, Minnesota, brings a unique blend of radiance, mystery and allure to both the runway and her photo shoots, turning designer swimwear into pieces of art that draw the eye and tug at the heart as if inspired by the brush of French master Henri Matisse.  There’s also a hint of danger involved when soaking in Stephanie Peterson at work: Stare too long and risk getting lost in some Inception­-like dreamscape where time seems to stand still; dare look away and risk a case of whiplash, the gravitational pull of her beauty impossible to escape.

Spend any time at all with Peterson and you realize that, as beautiful as she is, her real super power lies within. Friendly and funny, she places great value in relationships – her family, her friends, associates in the modeling community – and she is quick to give credit where credit is due, from those at Wilhelmina who protect her image and lovingly guide her career, to the photographers who transform Peterson from Upper Midwest beauty to Instagram goddess.  Peterson also eschews the superficial in favor of good, old-fashioned substance, drawing strength on the positive energy of others and then paying it back with interest.

“I enjoy the company of genuine, kind people,” she says without the slightest hesitation. “It’s important to surround yourself with people who focus on the positive, even when faced with trying times or difficult circumstances.  Optimism is the only way to go.”

Minnesotan Stephanie Peterson at work, Miami Beach, Florida

Swim Week is the premier event in the world for the swimwear industry, and the resulting images an important part of any model’s book. Peterson thrives on the energy as easily as she soaks up the South Beach sun.

“There’s not another event like it,” she says. “It truly is the epicenter of swimwear-related fashion. It’s a great opportunity network, reconnect, and grow your brand as a model. It’s a whirlwind week.”

While modeling keeps Peterson on the go, she balances a hectic business schedule with an uncomplicated approach to her personal life.  She’s just as apt to lounge in comfy clothes like the rest of us, throwing on her favorite sweatpants and sweatshirt and curling up with a good book.  Her approach to diet and exercise is also refreshingly straightforward, as is her hair and makeup routines. And while she emotes a smoldering, high-fashion vibe in front of the camera, she is equally quick with a smile away from it.

“I’m a pretty chill person,” Peterson says. “Modeling keeps me busy, so I like to keep things as simple as possible, whenever possible. It’s all about being balanced.”

Let’s talk about Miami Swim Week 2019!

Swim Week starts on Monday with the castings, and then I believe the shows start on Thursday. It’s a jam-packed experience. You have castings, fittings, and fit-to-confirms that run through much of the week, and even on Saturday for some shows. The clients can also request certain models directly. There’s never a dull moment!

It sounds like a lot of work, but in a good way.

Very much so!  We are basically running all over South Beach in Miami all week, so you really don’t have a reason to complain. It’s like a big reunion, honestly, if you’ve worked in the Miami market. Girls fly in from Los Angeles and New York, while some are flying in from Europe and Australia. You get to see a lot of familiar faces and renew friendships with people you haven’t seen in a while. It’s very busy, and it’s also stressful at times, but it’s super fun, too. Everyone just wants to have a good time. Swim Week is a great experience.

Stephanie Peterson – Swim Week 2019

Are you ready?

I’m doing a lot of castings, and I have a few fit-to-confirms scheduled. I’m also walking in a few shows, so there is a lot of preparation involved.  There’s also a lot of networking that goes on during the week as well, which is almost equally important in terms of building your career.  This is my second Swim Week – last year was my first – so I know what to expect a little bit better now.  I’m very excited and ready for the week to start!

Please take me back to the beginning – how did you get your start in modeling?

I grew up in Brainerd, Minnesota. A lot of people back home encouraged me to get into modeling, but I wasn’t convinced that I wanted a modeling career at that time. I went to college with aspirations to be a doctor instead, but, after completing my first year of school, I realized that chemistry really wasn’t my thing. That’s when I took some time to reassess my goals and decided that I would look into the modeling thing.

How long before you realized you were on the right career path?

That summer, actually. Too Faced Cosmetics and Wilhelmina were conducting a model search as part of the Too Faced 20th-Anniversary Celebration Campaign. I knew that Too Faced was a super big player in the cosmetics market, and my friends were encouraging me to apply, so that’s how it all came together. I entered the competition not really expecting anything from it, but I made the Top 10 and ended up getting flown out to Los Angeles with nine other girls. I didn’t win the competition, but Wilhelmina signed me apart from the competitions being conducted in New York, Miami, and Los Angeles. That was a magical feeling, because all I ever wanted to do was to get a modeling contract.

Stephanie Peterson

Wilhelmina Models is one of the premiere modeling and talent agencies in the world  What’s it like to be part of the Wilhelmina family?

Being in the modeling business is pretty intense, but my agents are amazing people who’ve made the process very smooth for me. They are like my family, honestly. I’ve only worked in the Miami and L.A. markets, so I haven’t met the agents in New York yet, but I’m super-stoked to get up there and meet them soon.

For me, Wilhelmina is the perfect fit because everyone has been so sweet and they are genuinely good people. It’s unique in that respect. I feel like, in this industry, it is very hard to find agents that care about you as a person, and the agents at Wilhelmina really mother you in a big way. They develop you, they care about you, and they want the best for you, so I feel very fortunate to be with Wilhelmina. They have been absolutely amazing.

I’ve heard that not all agencies subscribe to that same culture.

When I was in high school I dabbled in modeling a little bit, and was briefly engaged with an agency based in New York. It was primarily a men’s agency at the time, but they were trying to get their women’s ward up and going. I remember meeting with them…they were talking about all of these wonderful clients that they had, which was true because they did have good clients, and their girls were working. It looked very promising, but, before I went to New York, they said they weren’t going to market me to clients until I lost ten pounds. I was already pretty slim at the time, so it was an eye-opener for me in terms of the modeling industry. I learned very quickly that there are agencies that don’t really care about your well-being, that don’t want you to be healthy, that don’t really want the best for you. At that point I decided that I wasn’t going to sacrifice my own health for this industry. And with Wilhelmina, I’ve never had problems when it comes to stuff like that. I feel very fortunate to be a part of the Wilhelmina family.

Let’s talk healthy lifestyle.  Please tell me a little about your diet.

I really love food, and I try to be health conscious about it, so my diet secret is that I basically do everything in moderation. My mom taught me that growing up. She stressed that you can’t be too restrictive in your diet, otherwise it just leads to unhealthier habits elsewhere, so from an early age I’ve eaten what I’ve wanted, as long as I do so in moderation. I don’t really consume a lot of dairy products, and I don’t consume a lot of meat products, just because it’s not the best for me.

Stephanie Peterson

What about your exercise regimen?

As far as working out, I like a little bit of everything.  I like to switch it up, otherwise I get bored. I do a lot of Pilates and weightlifting, and that’s what I’ve really found that transforms my body. And I also like to walk everywhere, just to get some miles in.

How important is water to your beauty regimen?  And what about sleep?

Water is super important, although I must admit that I’m not the best at drinking a lot of it. But for skin and over all energy levels, and just flushing out toxins, staying hydrated is a vital part of a healthy lifestyle, and not just as it relates to beauty. I sleep all of the time, so I don’t have a shortage on that [laughs].

Are you a wine drinker?

Yes, I love a good rosé wine. I’m not big on red wine, because it ends up giving me a headache.

What is your definition of beauty?

I think that beauty is the love that comes from within a person. To me, it’s all about the positive energy that they have, and how magnifying they are because of it, so it doesn’t really matter what someone looks like. I don’t judge people on external beauty when it comes to making friends. I’m able to admire external beauty, but internal beauty is 100% way more important to me. It’s all about how someone makes you feel. Are they a good friend? Do they give you something that makes you want to keep coming back? Can they change the mood in a good way, just by walking into the room? I think that’s what makes someone truly beautiful.

I recently interviewed Pharrell Williams, who has his own unique fashion sense.  How has your style evolved over the years, and what are you wearing in 2019?

My style in 2019 is pretty much comfort-based. I’m not super into designer labels or anything like that. My style actually leans more to the boho side, but I like to switch it up for sure, it just depends on my mood that day and how I like to look. I’m like a lot of other models you might see but not recognize on the street, because I’m not wearing designer labels when I walk past you – I’m wearing sweatpants and a sweatshirt [laughs].

Stephanie Peterson

Your hair is always beautiful, and is shot in so many different and interesting styles.  What’s your secret to great hair care, and what’s your go-to style when you hit the town?

For hair care, I’m pretty simple. I use Herbal Essence because I think it smells the best and it works really well with my hair. I always use a hair oil after I shower, so I use Kérastase or anything by IGK. I always wear my hair curled if I’m going out. I discovered a really cool way that the makeup artists and hairstylists do my hair, and I’ve tried to copy them.

Makeup is a big part of any female model’s utility belt.  What are your makeup dos and don’ts, and do you have any makeup advice for other aspiring models?

My makeup don’t is non-negotiable: Don’t underline the eyes in black eyeliner. I absolutely avoid that at all costs. To me it’s not a good look. When makeup artists do that to me, I’m like, “Oh my gosh, you just made me so ugly [laughs].”

To me, a do is to always have fresh, glowing skin. I think the skin 100% makes or breaks the look. And so, for aspiring models, I think that figuring out what is best for your skin and your facial type is so important. And to me, less is more. When you go in to see an agency, they don’t want to see you caked up with makeup. They want to see you and what they can do with you.

Your Instagram feed is amazing.  How hard is it to get the right shot, and how much of it depends on the photographer that you’re working with?

Honestly, the photographer is everything. It’s important to note that they can really make or break the shoot. They know the best angles, how to work with the background, how to leverage the lighting, things like that. Post-editing is critical. If they are not good at that, it can definitely ruin the images. I’ve seen some images, and I was like, “Oh my God, I’m the ugliest human alive.” And others make me feel like a goddess. There’s a crazy range out there, and the quality varies from photographer to photographer.  You quickly learn the ones you can trust on a shoot, and you try to work with them every chance you get.

Stephanie Peterson

Have you ever felt self-conscious in front of a camera?

Absolutely. Especially if my skin isn’t doing the best, or if I had maybe too much risotto that week then yeah, I do get self-conscious.

Do you ever get nervous when you walk the runway?

I do get butterflies. It’s a little bit nerve-racking right before you go out, but everyone is feeling the same energy. You are mostly stoked and you’re thinking, “Don’t trip out there, just work it.” The runways are usually pretty short, so you get in, you get out, and when it’s over you realize that that it wasn’t so bad. The rush you feel is incredible, because when you first walk out there because everyone is looking at you. If you let your eyes drift to the audience you’ll see some people smiling, or some sitting straight-faced, or whatever the case may be, but all eyes are on you in that moment. It’s a really cool feeling. It’s hard for me not to smile when I’m going down the runway.

Which are your favorite brands of swimwear, and why?

Luli Fama. I’d worked with them a few times, and although I had never purchased their swimwear, whenever I was shooting it I’d fall in love with the brand. You get to try on something like twenty pieces of swimwear for a shoot, so you really get the feel for how they fit, as well as the styles and the colors. Luli Fama just fits so well with my body. The quality is amazing, the prints are beautiful. I love Luli Fama.

You’re part of the first generation of models for whom social media is a key part of the job. Could you ever imagine a career in fashion without social media?

I really can’t imagine having a career without social media. When I starting modeling, everyone was providing the same advice – work on building my Instagram presence. At the time I had about 4,000 followers, and I didn’t really know what to do. There was a lot pressure to grow my base, but I’ve been able to do that and it’s created a lot of opportunities for me as well.

In what ways can social help or hurt a modeling career?

I’d say you definitely have to be really careful about what you say on social media, because, even if you mean it to be completely innocent, it can be misconstrued and turned into something that can be really harmful to your career. Because people interpret things a lot of different ways, I’m always really very careful about what I say. I always try to send out a positive, uplifting message, and I don’t really get into anything that could be too opinionated, just because I don’t think my opinions are part of my career at this point. I don’t really have the platform to truly speak out yet.

Does Wilhelmina help you navigate the social media world?

Yes, Wilhelmina guides me a lot in terms of my social media. I might post a caption that may be too personal, and if it’s work-related they might advise me to take it down. I’m cautious not to go too deep into my own personal life, but it’s hard to find the balance between wanting to show people that I’m a real person and just showing them my book.  Wilhelmina provides me with a lot of guidance in this arena. I respect them and I trust them.

Modeling seems to foster both close bonds and intense competition among those in the profession.  Is this an accurate assessment?

Yeah, I would say that’s pretty accurate, I’ve only really bonded with some of the best girls, and you can definitely pick up on the energy of other models. I think that the only reason you would feel super competitive against someone is if it comes from within, and you feel that there’s something missing. That’s not how I approach it. For me, I’ve developed a mindset that there are plenty of jobs out there, and that there is a job for every single girl. That thought of abundance helps keep me grounded and keeps me from becoming insecure. That’s why I really don’t feel like that the other girls are my competition. I see them as my friends. We’ve gone through the same things, and they understand my life better than anybody ever could. So you really develop a special bond with them. With that said, the industry as a whole is definitely competitive. I just try to tune that out.

Every model is different in their ability to project certain feelings or emotions. How would you compare and contrast yourself with someone like Australian model Natalie Roser?

I’ve met Natalie in person, and she projects super good vibes. She’s smiling all of the time, and she’s always super happy, and I think that comes across a lot in her images. By contrast, I’m someone who is very laid back, very chill. I know how to have a good time, but I wouldn’t say that I’m stoked all of the time. I’d rather do more high-fashion shots where I’m not really smiling, and that comes across a lot easier for me in the images that I shoot. Emotion is hard to get on camera. If you have the right photographer, the right team, and you are in the right heads pace, then you can really capture the mood.

What do you like to do for fun?

I’m into reading and writing, but I’m super outdoorsy since I grew up in Minnesota. I love the ocean, and just being out on the water – boating, swimming, and snorkeling.

Stephanie Peterson

What are your secrets to healthy skin?

That’s hard. It took me a while to figure out what works for me, and I think that that’s what everyone deals with. I’ve found that the Jan Marini skin care system works the best for me, but it’s hard being a girl because your hormones are always changing, and I’m dealing with hormonal breakouts right now. So I think drinking a lot of water, having a balanced diet, and taking care of your skin the way you feel best about it is so important.

What’s the one quality that matters most to Stephanie Peterson?

Kindness. It’s all about the energy that someone has – how kind they are, how they treat people, how they respond to situations of stress or negativity. I really admire that quality and I look for it in my friends and my relationships. It helps determine who I want in my life.

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Pharrell Williams – Star Power

Written By: Michael D. McClellan | Pharrell Williams never sleeps. How can he? The multi-hyphenate superstar is insatiably inquisitive, his interests ranging from the mysteries of deep space to the provocative genius of artists as varied as Daniel Arsham and Marina Abramovic, his mind in a constant state of restless exploration.  That Williams can move seamlessly across the spectrum of art, fashion, film and music, all while collaborating with a Who’s Who of pop culture as only Pharrell can, proves that the man on the other end of this interview isn’t quite human but something more, Hu2.0 maybe, a Next Gen creative with alien DNA coursing through his veins. What other explanation can there be?

“No sir, there’s no truth to that rumor,” Williams says with a laugh.  And then, when pressed for a plausible explanation: “I’m indebted to God and the universe for giving me the time to do what I do, and for putting me in position to make the most of my opportunities. From there I follow my instincts.”

Williams’s creative universe is as diverse – and damn near as infinite – as the physical one in which we all exist, heavenly constellations populated with a dozen Grammy Awards (and counting), two Academy Award nominations, and an impressive dossier of hit songs, designer collections, art exhibitions, and eclectic collaborations.  Exactly where Skateboard P gets the drive is anybody’s guess. How he does it while looking younger than he did twenty years ago only fuels speculation that Williams is not of this Earth. Never mind that this hardworking N.E.R.D. was once fired from three different McDonald’s in Virginia Beach, or that he didn’t have career goals growing up. Williams plunged headlong into keyboards and drums at an early age, laid the groundwork for The Neptunes during a seventh-grade band camp, and parlayed an audience with Teddy Riley into a lucrative career as a singer, songwriter, rapper, producer, fashion designer and much, much more.

Pharrell Williams and Chad Hugo: The Neptunes

So, which is it? God’s plan? The universe? Alien DNA? The only certainty is that a young Pharrell Lanscilo Williams stood out at Princess Anne High School mostly for being different. He loved music but didn’t gravitate to any particular clique. He didn’t try to fit in. He was a black kid hooked on Star Trek and hanging with white kids mostly, riding his skateboard at Mount Trashmore and listening to groups like Suicidal Tendencies and Dead Kennedys. In 1990, Williams and Chad Hugo formed The Neptunes, dissecting A Tribe Called Quest records and trying to figure out why their beats gripped them and refused to let go.  And then, as if by divine intervention or some otherworldly encounter, the duo was discovered by Riley, the Harlem-born record producer who’d had enough of New York City and decided to relocate his studio to, of all places, Virginia Beach – a five minute walk from Princess Anne.

“Who really knows why he moved into my back yard,” says Williams. “I used to think it was pure luck, but now I think there’s more to it than that. I don’t believe these things don’t happen by chance. The timing of the move lined up perfectly with where I was on my journey. A year or two later, a few years earlier, and who knows? Everything changes. We wouldn’t have had the same opportunity.”

Williams and Hugo, the shy Filipino boy who attended nearby Kempsville High School and shared Pharrell’s love for Eric B. & Rakim and the Red Hot Chili Peppers, didn’t just seize the opportunity presented by Riley. They used it as a springboard to dominate the music scene, their work earning a string of Grammys and garnering walls of gold and platinum records. Consider: The Neptunes racked up 24 Top 10 hits in the late 1990s and early 2000s, becoming one of the most successful production teams in pop. At one point in 2003, The Neptunes were responsible for a whopping 43% of the music being played on US radio, and 20% in the UK. Among the hits: Drop It Like It’s Hot, the classic 2004 production for Snoop Dogg, which sported skittering beats and swishing, pulsing synths, reminiscent of the music heard on ‘80s Atari video games.

Pharrell with Snoop Dogg

“We wanted a different sound, so we went with something that sounded like a can of spray paint,” Williams explains. “That ‘ssss’ sound is what we ended up placing on top of the song, it was different, like us.”

Different can also be applied to N.E.R.D (No-One Ever Really Dies), the band formed by Williams and Hugo, along with Tidewater-area pal Shay Haley. Flavored with funk and hip-hop, the experimental rock band released its second album in 2004, Fly or Die, which reached Number 6 on the charts and stamped Williams as a gifted singer in his own right.

The Neptunes continued its hot streak over the next several years, producing for everyone from Gwen Stefani to Kanye West to Beyoncé and Britney Spears.  And that’s just the music. Through Rizzoli, Williams released a lavish coffee-table book filled with images of the many products he has designed in collaboration with other artists and fashion designers. He hosted ARTIST TLK on YouTube’s Reserve Channel, interviewing some of the world’s most creative and interesting people (think Spike Lee, Usher and Tony Hawk, the show topped off with naked women serving drinks, and you begin to get the idea). He opened boutiques on West Broadway in New York. He co-founded apparel brands Ice Cream Clothing and Billionaire Boys Club. He’s curated art shows like This Is Not a Toy at the Toronto Design Exchange. All while pouring time, energy and money into his charity foundation, From One Hand To Another, which supports young people living in communities at risk around the country.

And all while still professing to be human, just like the rest of us.

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When it comes to the music biz, 2013 was The Year of Pharrell. The hit maker figured prominently in 2013’s most massive (and seemingly unavoidable) gangbuster singles: Daft Punk’s Get Lucky and Robin Thicke’s Blurred Lines, with both competing against each other for the coveted Record of the Year Grammy. (Get Lucky walked away with the hardware.) And then there was the ubiquitous cherry on top: Happy. The song, originally written for CeeLo and part of the Despicable Me 2 soundtrack, blew up after Williams came up with a brilliant marketing idea – a twenty-four hour video for the song, featuring a diverse cast of characters, including the artist and some famous friends, dancing along to the track. Happy peaked at No. 1 in the United States, United Kingdom, Canada, Ireland, New Zealand, and 19 other countries. It became the best-selling song of 2014 in the United States with 6.45 million copies, and was nominated for an Academy Award for Best Original Song. That it took Williams ten tries to get it right is lost on nearly everyone but the artist himself.

“I got in my own way,” he says. “It wasn’t until I relaxed that everything opened up and the right song presented itself. As soon as it did, I knew it was the right fit.”

Pharrell Williams accepts the award for best pop solo performance for Happy at the 57th annual Grammy Awards on Sunday, Feb. 8, 2015, in Los Angeles. (Photo by John Shearer/Invision/AP)

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Yes, Pharrell Williams has collaborated with music’s biggest stars – from Miley Cyrus to Mariah Carey, from Jay-Z to Justin Timberlake – while earning a reputation as a hit-making mystic, his finger fully on the pulse of a fickle music landscape, his instincts helping him stay one step ahead of stale. That he can do it while remaining disarmingly approachable and unfailingly polite is, in its own way, disorienting.

“My parents raised me to be respectful. It’s who I am.”

Southern hospitality aside, scoring an interview with Pharrell was far harder than I’d ever imagined. One minute he’s focused on Rules of the Game, his multidisciplinary stage collaboration with Arsham and choreographer Jonah Bokaer, and the next he’s replacing CeeLo Green as a celebrity coach on The Voice. Blink and he’s collaborating with Hans Zimmer on the soundtrack for the film Despicable Me, or penning that monster hit, Happy, for the sequel. That the stars somehow aligned only supports the prevailing theory that Williams is not one of us. Who says aliens have to come from outer space hellbent on waging war and destroying mankind? Maybe they arrive in flat-brimmed hats, possessing the regal air of an ancient pharaoh and the vitality of a creature defying the onset of middle age. Maybe they come equipped with indefatigable drive and prodigious talent. And maybe, after two years of cancellations, postponements and reboots, they agree to sit down and tell you how it’s all done.

Thank you for this opportunity. Please tell me about your songwriting. Do you have a certain method that works best for you?

I follow something that speaks to me, something that just feels good and puts me in a creative mood. Typically, the beat comes first. As an artist, my job is just to listen to it and let it tell me what should be fed lyrically, where the drums should go, where the melodies should go, how everything fits together. The music sets the framework for the words. The feeling and the emotion directs all creativity. It’s the overarching guide. It’s all by feel.

What is your idea of creativity?

Creativity is a gift in the truest essence. It’s a gift from all that is, all that was and all that ever will be – the creator. So when we create, we’re essentially co-creators.

When you sit down to work on a song, do you sense beforehand that it’s going to be a hit?

No sir, I don’t know when a song is going to be huge, I don’t think you can ever predict or manufacture that sort of outcome. It’s really up to the people to make that decision. They do that by buying the records, streaming the music online, voting on it, generating buzz on social media. Those things are out of my control. The only thing you can do as an artist is be loyal to your creativity, and follow it wherever it takes you. If you’ve poured the very best of you into your work, and you’ve done it in a way that’s new and fresh, then you can walk away from it satisfied with the outcome.

Pharrell Williams performs at Coachella

Your 2003 debut single, Frontin’, features vocals from Jay-Z. Do you enjoy collaborating with other artists?

Collaboration has always been part of my DNA. Most of the songs that I ended up putting out by myself were actually songs that I wrote for other people. And collaboration goes beyond just music. I know you’ve interviewed Daniel Arsham and Jonah Bokaer, and my collaboration with them on Rules of the Game was a new frontier.

Was there a specific point in you career when you realized that you’d become a star?

No, I’ve never approached what I do in that way. I don’t believe you can ever assume that you’ve “made it,” because that’s too much of an arbitrary assumption. And I think that mentality has a limiting effect on your creativity – when you start buying into that mindset, you’ve instantly put a ceiling on what you create and where you can take yourself. That mindset can also chip away at your edge, the thing that drives you to create in the first place. For me, I always looked at it like, “Wow, I get to do it again.”

Chad Hugo is a childhood friend and a big part of your musical past and present. How did the two of you get started writing songs?

We started breaking down Tribe [A Tribe Called Quest] records, and then we started making our own tracks. We were still in high school at the time.

The two of you formed The Neptunes, and you’ve won three Grammys producing music for some amazing artists like Snoop Dogg, Justin Timberlake, and Jay-Z. Tell me a little about your approach.

When we work with an artist, it’s about understanding how to bring out the best in them at that particular point in time – how to draw attention to the gifts that are already there. We don’t give the artist anything, because we didn’t create the artist. The artist is co-created with God and formed by a unique set of life experiences. Our job is to do the things on the periphery that accentuate the artist’s gifts. And if we’re doing our job, we’re providing the frame to fit the artist into, then adding interesting colors and creating the backdrop. The artist is subject matter. We’re just the framers.

The legendary Teddy Riley discovered you. Tell me about that.

We were discovered at a talent show because Teddy Riley had a couple of A&Rs check us out. A&Rs are people who represent music companies, and they are always on the lookout for talent. It was one of those amazing circumstances, and a mysterious chain of events, really – Teddy Riley decides to leave New York City, and of all the places he could have built a recording studio, he decides to build in Virginia Beach, literally a five-minute walk from our high school.

Let’s go back to 2013, which was a pretty good year for you. Happy was a monster hit.

That period, 2012-2013, was a real pivot point for me. I just felt like something was happening around me that I couldn’t explain. I’ve compared it to seeing the wind blow on the trees; you see the leaves move and you know what’s causing them to move. You don’t question whether there’s a wind, even though you can’t see it. You can feel it and you know it. Back then I could feel it. There were all of these things going on in my life, and the song Happy was part of that.

What was the inspiration behind the song?

The inspiration for the song Happy came from the movie Despicable Me 2.  Gru was a character who was often seen as mean, with very dry humor, and definitely on the evil side. I was tasked with how to make a song for him that expressed his elation after meeting this woman. That was a tough thing for me, because Gru was mean and not someone who would fall in love.

You’ve been known to pen hits in minutes. I hear it took some time to come up with Happy.

I worked on song after song, but nothing was really working. I thought every song I wrote for the movie was going to it, because of reasons X-Y-Z, but then it wouldn’t work out and I’d write another, and the same thing would happen. Nothing really worked until I had exhausted all of my ideas from an egotistical standpoint. And then, I finally asked myself how do I make a song about a guy who’s just happy, and nothing can bring him down. That’s when everything clicked.

The video for Happy ran for twenty-four hours.  Twenty-four hours!  That was the genius move that put the song into a different stratosphere.

Basically, I would perform for four minutes at the top of every hour.  Then, after me, someone else would perform, and that would happen fifteen times an hour for twenty-four hours. The intention was to make the video feel as alive as possible, and the video’s imperfections, the funny bloopers and mess-ups, are what give it character. I’m not interested in perfection. It’s boring. Some of my favorite moments are accidental. There’s one where I’m underground. I was turning a corner just as a train was coming in our direction, and it stopped right on cue! It was weird. The universe gave us great moments that day.

In addition to Happy, you killed it with two collaborations that were massive successes – Daft Punk’s Get Lucky and Robin Thicke’s Blurred Lines. Did you sense how big these songs were going to be?

No sir. As an artist, you only have a sense of what feels good to you personally. The commercial success of the song is predicated on how everybody else feels when they hear it. If they feel something strongly enough to say they like it, great. If they feel something enough to say, “I like it and I want to tell somebody else about it,” then that is magical. The vote with the likes, the views, the shares. That’s where all of this comes from. It comes from the idea that people are connecting and sharing the things they feel sentiment about.

Pharrell Williams and Daft Punk

Daft Punk has a unique vibe. What’s it like working with them?

It’s always fun working with the robots. They did Hypnotize on the last N.E.R.D album and we remixed Harder Faster Stronger more than 10 years ago with them. So we always had a great relationship with the robots and all of their crew. There’s always been love there for us.

Your collaboration goes well beyond the recording studio. Tell me about your work with multidisciplinary artist Daniel Arsham.

Daniel is a genius artist across so many disciplines. We’ve worked on projects as varied as recreating the first instrument I ever made music on, the Casio MT-500, to producing the multidisciplinary performance Rules of the Game. Rules was big for me because of the talented people that I worked with on that journey – the amazing Jonah Bokaer, who provided the choreography, and the composer, David Campbell, who is an absolute music industry legend.

Let’s talk about Rules of the Game.  What led you to becoming involved and writing the original score for this amazing stage performance?

Daniel’s work is such a magnet for brilliant, interesting people. I’m lucky to call him friend, and to have worked with him on other projects. With Rules, it was a case of me being persistent, and asking him the fundamental question, “What can we do now?”  Rules was the next step in the evolution. We’d worked together on beautiful objects that didn’t move, like the Casio MT-500, but this was something completely different. This was a new frontier, a brand new medium where movement is not only an additional element, it’s absolutely essential to communicating the point. To be able to come into a project like that, and to work with such talented people, is a privilege.


Daniel Arsham, Pharrell Williams and Jonah Bokaer – The creative geniuses behind the multidisciplinary stage performance, Rules of the Game.

Tell me about the film Hidden Figures. What attracted you to this project?

You have three African-American female protagonists who were scientists, engineers, and mathematicians…technologically advanced. So that blew my mind. It involved NASA, and it involved space, which is a subject that I’ve been obsessed with since childhood. And all of this happened where I’m from – Hampton Roads, Virginia, in the 1960s. So, getting involved with this film was an easy decision to make.

You love fashion, and you have a keen fashion sense.

Fashion is great. I love the way fashion helps people express their individuality – when they take things and make it themselves. So fashion and style go hand-in-hand. It’s indicative of who you are and what you’re feeling. I’ve developed my own look by following my instincts and acting on what I feel connected to at a given point in time. There’s a certain power and excitement that comes into play when and you see people creating their own distinctive style and identity.  But do I love fashion?  I love life. I love the opportunities that I’ve been given, and the support that I’ve been getting, and the reaction that I’ve been getting to the work that produce, those are the things that I love. Those things are irreplaceable. Fashion comes and goes.

I play a lot of tennis. Several years ago you launched the adidas Tennis Collection. The collection’s roots are in the ‘70s Golden Era of tennis – Bjorn Borg, Billie Jean King, Arthur Ashe, Chris Evert.

The players back then just had a great swagger, both on and off the court. They were super confident. There was a sexiness that they all carried – the men and women – because they just knew they were killing it. They knew what they were doing and what they were wearing was sick. Next level. We need that. Not that today’s players don’t have that kind of confidence, but the ‘70s was so effervescent and vivid.

Final Question: If you could share a piece of life advice with others, what would that be?

Remember to show appreciation, and to be grateful. You’ve gotta give things to something bigger than you.