Monroe, Earl

Earl Monroe, in full Vernon Earl Monroe, bynames the Pearl and Black Jesus, (born November 21, 1944, Philadelphia, Pennsylvania, U.S.), American basketball player who is regarded as one of the finest ball handlers in the sport’s history. In 1967 Monroe entered the National Basketball Association (NBA) an urban legend, a high-scoring virtuoso with fabled one-on-one moves. He retired 13 years later, after he sublimated his game in order to win a title with the New York Knicks. Monroe began his career as “Black Jesus” and ended up simply as “the Pearl.” Not only did his second act silence his critics; it was nearly as impressive as his first.

Monroe grew up in Philadelphia in the hotbed of East Coast hoops. His herky-jerky unpredictable court maneuvers, often capped off by a whirlwind spin move, earned him notoriety. But given the disinclination of many college coaches at the time to recruit so-called “playground” players, Monroe ended up at Winston-Salem State, a small historically black Division II school coached by the larger-than-life Clarence (“Big House”) Gaines. However, NBA scouts caught on, and in 1967 the Baltimore Bullets made Monroe the second overall pick in the draft.

In Baltimore Monroe teamed with big man Wes Unseld, who joined the Bullets in 1968. They won games, but the story was not Baltimore’s three straight play-off appearances from 1968–69 to 1970–71, including a trip to the 1971 NBA finals. Instead, it was Monroe’s offensive arsenal, one of the first times that the improvisational spirit of the city game had been fully imported into the NBA. In Monroe’s case, it worked beautifully.

As the 1970s dawned, Monroe nearly jumped to the fledgling American Basketball Association—a league that, ironically, had a style of play seemingly crafted in his image. Instead, he was traded to the Knicks in the middle of the 1971–72 season. In 1970 the Knicks had won a championship with a one-for-all, all-for-one style that stressed fluid collective play. If Monroe was the individual hoops’ soloist raised to its highest degree yet, the Knicks seemed an odd fit—they were, if anything, notable for how much the individual players’ skills were easily absorbed into the overall effort.

In New York Monroe teamed up in the backcourt with Walt Frazier, a point guard whose flare for fashion and outsized persona belied his efficient play. They were dubbed the “Rolls Royce backcourt,” but they stumbled at first. In 1972–73, however, things came together as Monroe bought into the Knicks’ way. The team won the 1973 NBA title, and Monroe made believers of those who had thought of him as little more than a glorified showboat. Monroe’s impact on popular culture was so great that filmmaker Woody Allen—a famously dedicated Knicks fan—wrote a memorable essay about how much the Baltimore-era Monroe meant to him. Monroe retired in 1980 and was inducted into the Naismith Memorial Basketball Hall of Fame in 1990.

However, as the years passed, “Black Jesus” experienced a resurgence of sorts. In the 1998 Spike Lee film He Got Game, Denzel Washington’s main character names his son Jesus Shuttlesworth as a lasting tribute to that first phase of Monroe’s career. Monroe’s Knicks teams remain some of the most beloved squads in NBA history. Yet as time has gone by, his career is now appreciated in its entirety—not as two separates careers or as a narrative of redemption but as one player with enough depth to encompass both “Black Jesus” and “the Pearl.”