Daily Archives: September 21, 2008

I’ve never been to Yankee Stadium. Oh sure, I’ve seen the Yankees play in the Bronx more than one hundred times over the past 20 years, but Yankee Stadium, the limestone behemoth that was home to Yankee greats from Babe Ruth to Mickey Mantle is something I’ve only seen in books, grainy film footage, and in the background of old baseball cards. That cavernous coliseum, with its copper frieze trimming the roof that hung over the upper deck and its career-altering death valley in left center, was destroyed following the 1973 season. Its last game was a forgettable 8-5 Yankee loss to the Tigers that concluded an equally forgettable 80-82 fourth-place season for the home team.

Two and a half years later, in its place, sat a different Yankee Stadium. A modernized, yet instantly-dated, grey, concrete bowl filled with royal blue seats and orange light bulbs that relayed information from a flat-black scoreboard. The copper frieze had been melted down and replaced with a concrete replica that sat on a lower perch atop the outfield scoreboard, like an artifact on one’s mantle. The roof had been largely removed. The wall in left center was now 27 feet closer to home plate and would come in another 31 feet before I ever got to see it in person. Behind that wall, the three marble-and-bronze monuments that had formed a half circle around the flag pole in the grass of center field sat in concrete and were surrounded by a black chain-link fence that separated the two bullpens.

Still, though the structure had been changed, and the field which had played host to 27 World Series and two All-Star Games had been torn up and replaced, there remained a connection between the remodeled Yankee Stadium, as it would become unofficially known, and the original. Just as the Yankees inaugurated Yankee Stadium with the franchise’s first World Championship in 1923, the team inaugurated the remodeled Stadium in 1976 with their first World Series appearance in 12 years and followed that up with championships in 1977 and 1978. In its 33 years of existence, the remodeled Stadium hosted 10 World Series and two All-Star Games. Unless the Dodgers reach the World Series this year, no other stadium will have hosted more than four Fall Classics over that same span. The remodeled Stadium quickly established itself as a worthy successor to the original not because of its own grandeur, which was lacking, but because of the grandeur of the games which took place there.

When the last out at Yankee Stadium is recorded tonight, baseball won’t be losing a great piece of architecture; the remodeled Stadium is no beauty. What it will lose is the living memory of some of the game’s greatest moments. What makes Yankee Stadium great is not the concrete replica of the frieze in center field or the relocated monuments beyond the wall in left field. It’s not even the great views from the upper deck or the camaraderie and passion of the bleacher creatures. It’s the history that was made there.

One can look around the current park and see where legendary home runs by Aaron Boone and Scott Brosius fell into the left field box seats, Reggie’s moon-shot off Charlie Hough clanged off the black batter’s eye, homers by Tino Martinez, Derek Jeter, and Chris Chambliss made post-season history by clearing the wall in right, with and without help. One can envision Mariano Rivera and Goose Gossage appearing through the bullpen gate in left center, Derek Jeter diving into the stands behind third base, David Wells punching the air and David Cone falling to his knees after the final outs of their perfect games. One can see Dave Righetti, Jim Abbott, and Dwight Gooden celebrating no-hitters, Thurman Munson crouching behind home plate as Ron Guidry strikes out 18 Angels, Don Mattingly bringing down the house with a home run into the right-field bleachers, Dave Winfield ripping bullets down the left field line, Rickey Henderson and Mickey Rivers burning up the bases, Willie Randolph turning two, Tom Seaver, Phil Neikro, and Roger Clemens winning 300, Alex Rodriguez hitting 500, and George Brett storming out of the visitor’s dugout, a victim of Billy Martin’s chicanery. One can also see Paul O’Neill meekly slumping his shoudlers as an entire Stadium chants his name, Reggie doffing his batting helmet to the crowd in front of the home dugout, Charley Hayes squeezing the final out of the 1996 World Series, Wade Boggs riding a police horse around the warning track, and both Jackson and Chambliss plowing their way through the swarms of celebrating fans toward the safety of the clubhouse.

Though the field has been torn up, replaced, moved, and lowered, it doesn’t take much imagination to envision the old park. In fact, that has been one of my favorite things to do when visiting the Stadium. I’d squint at the left-handed batters box and imagine Babe Ruth taking a mighty swing and christening the new park with a home run or Lou Gehrig, hat in hand, addressing the crowd. Looking around, I could see Joe DiMaggio kicking the dirt near second base, Mickey Mantle launching a ball off the frieze, Jackie Robinson breaking for home, Yogi Berra leaping into Don Larson’s arms, the Dodgers celebrating Brooklyn’s first and only championship, Roger Maris circling the bases after number 61, and Bobby Murcer chasing a ball around the monuments in center. Because the Yankees were in the World Series with such regularity, all but a select few of the game’s greats (most of them Cubs) played there, from Ty Cobb, to Ted Williams, to Tony Gwynn, Walter Johnson, to Sandy Koufax, to Pedro Martinez, Jackie Robinson, to Curt Flood, and Roberto Clemente, and so on. In 1928, Knute Rockne implored his team to “win one for the Gipper” there. In 1938, Joe Luis beat Max Schmeling there. In 1958, Johnny Unitas beat the New York Football Giants in the NFL Championship Game there.

That is what will be lost. Not the building, but the place and the tangible connection to what happened there. The Yankees may only be moving a few hundred feet to the north to play on a field of similar dimensions in a ballpark with an identical name, but Yankee Stadium, the real Yankee Stadium, in both its incarnations, will soon be resigned to the page, the screen, and the memory of those who were fortunate enough to have seen a ballgame there, whether they witnessed a great moment, or simply gazed out at the field and imagined all the great moments that had come before.

By Ed Alstrom

I’ve been to a lot of great and wacky games at the Stadium, like everyone else: the Chambliss home run, several other playoff and World Series games, some crazed comebacks, and some of those insane asylum games from the early 90s with people running onto the field at random (one game against the Red Sox, there were seven of them at different intervals, in the rain).

And, of course, auditioning for the organist position at the Stadium (with Eddie Layton himself standing in the doorway requesting song snippets!) was priceless, and fulfilling my childhood dream of playing the organ there is very special, every single time I do it.

But for my part, I’d have to say that my lasting memory of the Stadium after it’s gone will be a little different from most, and that is having gotten to hang out with Bob Sheppard.

Mr. Sheppard (that’s what all of us in the Press Box call him) has his public address booth right next to mine at the organ. Only a pane of Plexiglas separates us. Sometimes I’ll knock on his door, sometimes he’ll tap on my window and motion me in, and we chat, sometimes during the game. He’ll be talking, and then point his index finger in the air mid-sentence, to say ‘wait a minute,’ step on a pedal to activate the mike, announce the next player (in the same exact tone of voice he’s speaking to me in), and then continue where he left off. When a Yankee makes an error or a bad play, he’ll look at me and very slowly point his palms skyward and shrug his shoulders.

His end of game routine is really beautiful: with 2 out in the ninth and Mariano on the hill, he’ll slowly don his cap and coat, salute me, lock his door, and wait in the runway. If the game ends then and there, he is off like a shot, walking so briskly I can barely keep up with him (and I’ve tried it!). If that batter reaches base, though, he’ll unlock the door, come back in, give me that same shrug, step on the pedal, announce the next batter, and repeat the procedure. His determination to beat that traffic (and his success rate, I’m sure) is admirable indeed.

Several times, I’ve gone down to the press lunch room and broken bread with him at ‘his table,’ which is the one in the corner of the room with a cardboard handwritten sign with his name on it. He surely deserves a gold plaque or something more dignified (well, he does have a Monument in the Park), but everyone knows anyway that that’s his domain.

You’ve probably heard what a class act he is, and he exceeds all expectations on that count. I’ve spoken to him many, many times, but oddly it’s almost never about baseball: usually music and theater. In fact, he usually changes the subject to music when I try to engage him about baseball.

He loves the music of the 40s, and the big bands. He told me once he was especially fond of the great singer Jo Stafford, so I went home and found a bunch of her recordings and put them on CD for him, and he was delighted and talked about her at length, and about how he was stationed in Aruba during World War II, and they used to get her 78s shipped to them, and play them at their bar in the ‘Quonset hut’ (you can just hear Shep saying ‘Quonset hut,’ right?).

He loves poetry, so he is quite enamored of the lyrics of Hart, Hammerstein, Gershwin, Porter, et al., and we’ve spent quite a bit of precious pre-game time analyzing those. And I’ve spent some time (at his behest) trying to explain the merits of rock and roll, or any music recorded after 1955 (with limited success, I think).

At times, he’ll approach me with some handwritten poetry he’s composed, which is invariably literate, funny, and sometimes biting. He once wrote a concise and venomous little masterpiece about Kevin Brown’s bout with a cinderblock wall, and showed it to me; I am not at liberty to disclose it, but lemme tell you, it’s incredible. I said to him, "You must have a lot of these." He said, "Oh, hundreds." I said, "You should get these published," to which he replied, "Oh, no, Mr. Steinbrenner would fire me!"

One Saturday afternoon, it was Military Day at the Stadium, and the formalities were to begin with the Golden Knights parachuting onto the field. It was about two minutes before the ceremony was to begin, and Mr. Sheppard was nowhere in sight.

I knocked on the control room window, got the director’s attention, and pointed to myself and then to Shep’s booth. He said, "Yeah, go ahead." So, I gave the script a speed read, got the cue, stepped on the pedal to activate the mike, and very deliberately said… "Good afternoon, ladies and gentlemen; welcome to Yankee Stadium!"

Now, I didn’t have time to think about it, but my instinct was to not attempt my Shep imitation, because I felt it would be disrespectful somehow, but I did try to phrase it as he might have, veer a course somewhere down the middle vocally, and create the illusion that it was him.

It was a very long script, about two pages, and it was a real roller coaster moment. Toward the end of it, I noticed out of the corner of my eye that Mr. Sheppard was standing behind me! I finished with the read, released the pedal, and looked at him gingerly, feeling somewhat like a child about to be scolded. Instead, he grinned broadly, and said very slowly, "Were you trying to imitate me?" Imagine that thrill!

But the best of all was when he approached me one day, and said, "You know, I wrote a song many years ago." Of course, I wanted to hear it, so he showed me the lyrics and sang it to me. I told him the next day I was coming back with a recorder, and he sang it again for me, acapella, and then I got him to talk into the recorder for about 15 minutes about it. I then went home and created a musical track for his melody, chopped his vocal track into pieces and flew it in over the accompaniment, and presented him with a finished product worthy of Sinatra. He was very touched, and I was touched to be able to do that for him. He wrote a handwritten note of thanks, which is more valuable to me than any piece of memorabilia could be. Believe me, Mr. Sheppard, the pleasure was all mine.

Whatever our collective vignettes are of Yankee Stadium, Bob Sheppard’s narration to that soundtrack is a thread that runs through all of them, and an essential component of it. His humanity, wit, and warmth are every bit as momentous as that voice, and I am honored to have shared some time on this Earth with him. He is Yankee Stadium, in a lot of ways.

Ed Alstrom will be playing the organ from the early afternoon until late tonight at Yankee Stadium.

It’s Hanky Time for Yankee Stadium today.  The tributes just keep a comin.  Yesterday, Paul Simon had a piece about the old place in the New York Times, today, it’s Henry Kissinger’s turn.  Also in the Times, comes memories from Billy Crystal, Robert Creamer, Jane Heller, and B-Girl Penny Marshall.

Here is Maury Brown’s ode to the cathedral, as well as Alan Sepinwall’s memories.   

Read em and weep.