Wow, Goose Gossage got old in a hurry, didn’t he? Or has he always been this way? Furthermore, does he have a point or is he fantasizing about glory days?
For what it’s worth, he provides a lot of context towards what he told Andrew Marchand.
Over at the Stacks I’ve got a fun one fuh ya–Myron Cope’s 1968 SI profile of Harry Caray:
Even before the World Series got under way Wednesday, it was shudderingly clear that one result was as predictable as bunting on the commissioner’s box: Millions of television and radio listeners, whose eardrums may have healed in the year since the Cardinals-Red Sox Series, are once again going to be exposed to a feverish clamor coming from a Cardinals delegate to the NBC broadcasting team. It was equally certain that across America the baseball public would then divide into two camps—those who exclaimed that by God! Harry Caray was almost as exciting as being at the park, and those who prayed he would be silenced by an immediate attack of laryngitis. Caray, should you be among the few who still have not heard him, is an announcer who can be heard shrieking above the roar of the crowd when a hitter puts the ultimate in wood to the ball: “There she goes…! Line drive…! It might be…it could be…it is! Home run…! Ho-lee cow!” You may not know that with a second home run his more dignified colleagues have preferred to flee the broadcasting booth before the ball has cleared the fence.
In the past decade the trend of play-by-play broadcasting has been decidedly in the direction of mellow, impassive reporting, a technique that strikes Harry Caray as being about as appropriate as having Walter Cronkite broadcast a heavyweight championship fight. “This blasé era of broadcasting!” Caray grumbles. “‘Strike one. Ball one. Strike two.’ It probably hurts the game more than anything, and this at a time when baseball is being so roundly criticized.” Never one to burden himself with restraint, Caray more or less began hoisting the 1968 pennant over Busch Stadium clear back in early July when, following a Cardinals victory, he bellowed, “The magic number is 92!”
The fact is that Harry Caray’s 24 years of broadcasting St. Louis baseball have been one long crusade for pennants, a stance that might be expected to have endeared him to all Cardinals past and present, but which, on the contrary, has left a scattered trail of athletes who would have enjoyed seeing him transferred to Ping-Pong broadcasts in Yokohama.
“What’s Caray got against you anyway, Meat?” asks Mrs. Jim Brosnan in a passage from The Long Season, a reminiscence her pitcher-husband wrote in 1960.
“To hell with Tomato-Face,” answers Brosnan. “He’s one of those emotional radio guys. All from the heart, y’know? I guess he thinks I’m letting the Cardinals down, and he’s taking it as a personal insult.”
“Well, you ought to spit tobacco juice on his shoe, or something. It’s awful the way he blames you for everything.”
[Photo Credit: The Sporting News]
I’ll never forget the number. Sports Phone. Man, I used to sneak calls as much as I could in the early-mid-Eighties. I had to sneak them because the calls were expensive and if too many showed up on the phone bill my ass was new mown grass. But still, in those days I’d do whatever I could to get an up-to-date score so the risk was worth it.
For a good time, head on over to Grantland and check out this history of Sports Phone by the talented Joe Delessio.
[Photo Via: No Mas]
I’m quoted a few times in Richard Sandomir’s article about the YES network’s declining ratings this season:
As a corporate progeny of the team, YES needs spectacular, star-driven winning as its business rationale. Fans have come to expect the same.
This season might have stripped YES’s Yankees viewership to its core viewers, without casual and fair-weather fans.
“It’s like the N.B.A. after Michael Jordan,” said Alex Belth, the founder of the Bronx Banter blog. He added: “There is an apathy that takes place when a team is so successful for so long. And this coincides with the end of the Jeter-Rivera era.”
Not to rub it in or nothing but it sure was nice to see ol’ Russell Martin hit two homers last night wasn’t it?
[Photo Via: The Redhead Riter]
Here’s Bryant Gumbel’s editorial from the latest episode of HBO’s Real Sports:
“Finally tonight, what are we supposed to do with Alex Rodriguez? Embrace him? Pity him? Scorn him? I can easily understand any or all of those reactions because I think he’s a liar and a fraud. But what I don’t understand are the expressions of shock and outrage over his alleged drug use because, frankly, this country’s crazy about drugs.
Modern Americans reach for a drug for any and everything – for problems real and imagined. It’s why we consume more pills than any nation on earth and why TV ads are relentlessly selling us Xarelto, Abilify, Stelara, Prodaxa, and dozens of other drugs we never ever guessed we supposedly needed.
Americans are only about five percent of the world’s population yet we take 80% of the world’s painkillers and a whopping 99% of the world’s Vicodin. We have four million kids on Ritalin, 22-million women on antidepressants, over 30-million adults on sleeping pills, 32 million on Statins, 45 million on another drug I can’t even begin to pronounce. The list goes on and on.
So think what you will of Alex Rodriguez but when so many moms and dads are active parts of a national drug epidemic, let’s stop crying that a ballplayer’s the one setting a bad example for kids. And let’s skip the expressions of outrage and shock because however you may choose to view A-Rod’s alleged drugs use, there’s no denying the ugly reality that that’s become the American way.”
Here’s a treat from Ross Wetzsteon. Originally published in the Aug. 1, 1985, issue of Sport magazine, it is reprinted here with permission of the author’s widow, Laura Ross.
Idols grow old like everybody else. Dick Young was once the patron saint, the most respected sportswriter in America, the one who changed all the rules, the guy who brought street smarts into the sports pages. He’s still the dean of American sportswriters, the most widely read and highly paid sports columnist in the country—and yet it’s not easy to find a colleague who has a good word to say about him.
When you finish reading one of his columns in the New York Post, they say, you have to take out your handkerchief and wipe the spittle off your face. “Young Ideas,” the title of his column, is “the greatest misnomer since Charley Winner.” As a baseball and football writer “he used to hang out with the players, but now all he does is suck up to the millionaire owners.” As a boxing writer “he would have no problem picking out Larry Holmes at a DAR convention.” “His values are sick and corrupt,” says a former New York Times sportswriter. And yet after saying all this—and adding that his “My America” tirades would embarrass Jerry Falwell, that his cranky obsessions are ruining his column into a one-man vigilante gang—even his sternest critics are unanimous in conceding that “the son of a bitch was still the best day-to-day writer who ever lived.” “The younger writers all loathe him,” says a veteran who’s worked with him more than 40 years, “but the thing they still have to learn from us old-timers is that you can only hate Dick Young 90 percent of the time.”
It’s partly a matter of generational style. Sitting in the front row of the press box at the World Series, the Super Bowl, the championship fight, bobbing his head up and down like a belligerent bantam, rapidly clawing out notes in his lefthanded scrawl, Dick Young, even at 67, looks like he should be in a Thirties B movie—the only thing missing is a snap-brim fedora with his press card jauntily stuck in the band. Dick Young belongs to the days when sportswriters banged out their stories on carriage-snapping typewriters, a cigarette dangling from their lips, a shot glass of bourbon at their side.
But it is his confrontational style that’s made him so many enemies. You’re drawn in by his lean, breezy, rat-tat-tat, three-dot prose, and then you realize what he’s saying (a litany of Genghis Khan causes, from anti-unionism to Red-baiting to good ol’ capital punishment), and even more clearly the tone in which he’s saying it (not just caustic but downright churlish; not just opinionated but out-and-out ranting). Is it any wonder that colleagues who began their careers by imitating his street-smart stance, his wiseass skepticism, now regard him as a doddering fossil?
People who’ve been reading Dick Young for only 10 years or so remember little more than his vicious vendettas (almost single-handedly driving Tom Seaver out of New York), or his ethnic insensitivities (advising his Spanish-speaking readers to leave their spray cans at home when visiting the reopened Yankee Stadium), or his hit-and-run blind items (“I’ve heard a rumor why the Johnny Benches split up,” he once wrote, “and I’ll never believe it”—end of item), or his mad-dog savaging of “druggies” (he could understand an athlete wanting a little on the side, he commented on the Edwin Moses prostitute/drug bust, but using those controlled substances was unforgivable). Dick Young is not a writer Hallmark would hire.
And yet if you go back more than 10 years, there’s another side to Dick Young. In the evolution of sportswriting from adolescent mythologizing to tell-it-like-it-is honesty, Dick Young was arguably the single most important transitional figure. There’s a better way to describe the arc of Dick Young’s career than to say he was a street-smart kid who rose to patron saint who degenerated into crotchety old man. And that’s to say that while his politics may be as reactionary as Louis XIV’s, his professional role has been as radical as Robespierre’s. What his detractors fail to understand is that there are many battles they don’t have to fight because Dick Young has already fought them—and won.
“What good can you say about a writer,” snips a columnist for a national newsweekly, “who thinks his greatest contribution to the English language is the word ‘horsespit’?” Well, one thing you can say is that when Dick Young began covering the Brooklyn Dodgers in the mid-Forties, baseball writing was characterized by a different kind of horsespit. One New York daily would lead off its story, “The mighty bats and nimble gloves of the visitors from St. Louis yesterday vanquished. . . .” But Dick Young was writing, “This story belongs on page three with the other axe murders.” When he’d begin his stories with fabled leads like “It was so cold out there today even the brass monkey stayed home,” he singlehandedly replaced the pompous poetry of the press box with the cynical poetry of the streets. “It may not seem that innovative today,” says Vic Ziegel, executive sports editor of New York’s Daily News, “but at the time we felt like people must have felt in the Twenties when they first heard Louis Armstrong.”
“How you going to deal with a guy whose enemies list makes Nixon look like Gandhi,” asks another young sportswriter. Well, one way you can deal with him is to remember that when Dick Young first began covering baseball, sportswriters were shameless shills for their teams, keeping the players at a heroic distance, settling for phonily alliterative nicknames like Joltin’ Joe or the Splendid Splinter. So when Young brought his cut ‘n’ slash opinions into his coverage, writing “it was a typical 400-foot Gene Hermanski drive, 200 feet up and 200 feet down,” readers were shocked. Mythic figures, bullspit; Dick Young drank in the same bars as these guys. If we take the warts-and-all closeups of today for granted, we’re neglecting to give him credit.
Dick Young, they say, has broken so many stories because he’s a mouthpiece of management. Come again? When Dick Young first began covering baseball, writers routinely showed up in the press box five minutes before the game and only visited the lockerroom if the press box toilet was broken. “I had to stop by the clubhouse at 11:00 one morning,” says a colleague from those day, “and Dick Young was already there, sitting on his haunches beside the trainer and a ballplayer, taking notes. That was the first time I ever saw a writer in the lockerroom at anytime, so don’t tell me he got handouts from the front office.”
Then they say Dick Young is contemptuous of his colleagues, a competitive son of a bitch who’ll knee you in the gut for a beat. But his critics don’t know this story—it’s never been printed until now. Joe Trimble, Dick Young’s colleague at the Daily News, is sitting at his typewriter in the press box at Yankee Stadium, staring at a blank piece of paper. An hour ago Don Larsen pitched a perfect game in the World Series and now the press room downtown is freaking out—where’s Joe Trimble’s story? “I’m blank,” Joe Trimble says to Dick Young in a cold-sweat panic. “I can’t write a word.” Dick Young calmly rolls a piece of paper in his own typewriter, types out a sentence, takes out the paper and hands it to Joe Trimble. “The imperfect man pitched a perfect game.” Forty-five minutes later, Joe Trimble’s story is finished, it’s the best story of his career, he wins awards for that story—and Dick Young never says a word.
Brash, vulgar, pushy—that’s yet another count in the indictment. But hey, the man is a reporter, not a hired gun. Dick Young walks into the press conference where it will be announced that Doug Flutie has signed with the USFL. He sees a row of chairs occupied by TV people, celebrities, Donald Trump favorites and flunkies, sees the newspapermen standing three and four deep at the back. So he walks up the steps to the stage, sits down on a wall in front of the podium and takes out his notepad. Donald Trump’s security goons politely ask him to move. Choosing his words with the care if not the vocabulary of Flaubert, he informs them that this is a press conference, that he’s press and goddamned if he’s going to budge. They find him a chair near the podium. Christie Brinkley may be there to get her picture in the paper, but Dick Young is there to get his story.
“Gimme a beer,” says Dick Young. “Whadda ya wanna know?”
Some of your younger colleagues think. . .
“Shit, those young guys. They don’t work hard enough, they don’t work the phones, they don’t have any respect for themselves as professionals. I remember when the New York Times started giving days off in spring training! They’re in Florida, for Christ’s sake, and they want a day off! Me? I only write five columns a week these days. Piece of cake.”
Mike Lupica of the New York Daily News says. . .
“Mike Lupica? He’s a newspaper version of a spoiled-brat ballplayer,” Dick Young snaps. “He writes bullshit based on his lack of experience.”
Dick Young’s not an off-the-record guy. Skipping all over the place, talking just like his Friday column, “Clubhouse Confidential,” a sentence, three dots, on to something else, three dots, on to something else. Next question?
Murray Chass of the New York Times? “He’d sell his soul for access.” Maury Allen of the New York Post? “Careless with facts and quotes.” Jim Murray of the Los Angeles Times? “Just a gagster.” Dick Young is the same with nearly all his colleagues. Not angry, not even sarcastic, just matter-of-fact rat-tat-tat. Next question.
Howard Cosell? “Howie the Shill? A fraud. An ass. A pompous ass. Those are the good things I can say about him. Now what about the other side?” Dick Young leans back in his chair and grins from sideburn to sideburn. He’s feeling almost benevolent. Lucky you didn’t catch him in a bad mood. “Cosell gets more and more obnoxious over the years, but people who say I go after him too much don’t realize that I’ve never written a whole column about him. He’s not worth it. Just a little shot here and there.”
(For his part, Howard Cosell declined to comment, but he once told an interviewer, “He’s a sick, troubled person. He’s a hate merchant, crazed, who’s been writing trash and abuses the First Amendment.”)
You were saying how you used to steal papers when you. . .
“Not steal, borrow,” says Dick Young sharply. “We used to borrow paper from the candy store, check out the box scores, then put them back.” A law-and-order kid. “I had a wonderful childhood. Sure, my parents were divorced when I was three, but it pisses me off when I hear about some guy who sobs his way to the electric chair because he came from ‘a broken home.’ Icame from a broken home, and I always felt I was one of the luckiest guys alive.”
Dick Young’s mother was an American Jew of German descent, his father a Russian Jew. From age 6 to 12, he was boarded out with an Italian Catholic family. Talking about growing up in Washington Heights (a lower-middle-class neighborhood in upper Manhattan), about getting an 87.5 average in high school (“and a better education than lots of colleges give you these days”), about playing stickball in the streets (“I was one of the best around”), about going to the old Madison Square Garden or the Polo Grounds (“I was always a Giants fan”), he’ll sometimes go three sentences in a row without bursting into an angry denunciation of the hoods and druggies who’ve desecrated his idyllic past. The Depression Thirties? Idyllic? There’s no nostalgia quite as proud as that of a man who survived hard times.
After graduating from high school, Dick Young went to California to stay with his father, a cameraman in Hollywood. Didn’t work out. Los Angeles Junior College; kicked out when he couldn’t afford the non-resident fee. Joined the CCC; shipped to upstate New York, helped build a state park, still proud of that. Heard the Daily News was hiring, $15 a week. Hitchhiked to New York, turned out they wanted college graduates. Said he’d go to college at night. Took classes at NYU, worked his way up at the News. Finally, after five years, covered his first game, at the Polo Grounds, then given his first beat, the ’46 Dodgers, and before long another big promotion, this time to patron saint.
“I didn’t even want to be a sportswriter,” he says. “I wanted to be a hot-shot newspaperman like Walter Winchell. I wanted to be a stop-the-presses guy, competing with the other paper for the scoop and for the girl. I didn’t go for that fancy writing—still don’t. Some guys think they can fool sports fans with, quote, good writing, unquote, but the fan knows when he’s being bullshitted by a cute line. If you’ve got the story you report it, if you don’t you write it. A newspaper isn’t like a book, for Christ’s sake. When you’re through with it you throw it out and buy a new one.”
Dick Young writes over 4,000 words a week—which adds up to nearly 10 million words in his career, 100 books or so, give or take a War and Peace. For nearly four decades Dick Young wasthe Daily News, the most popular feature in the country’s largest-selling newspaper—a survey once showed that he was singlehandedly responsible for over 50,000 sales a day. But then, in 1981, rumors began to circulate that the Daily News might fold, and suddenly there’s Dick Young, the man who chastised Tom Seaver (“Be a man and honor your contract”) breaking hiscontract and jumping to the New York Post. Hypocrisy was the kindest word they used. Loyalty. Horsespit.
“People think they see an analogy, right?” Dick Young uses the word scornfully, like an epithet. Suddenly his anger seems less genial. “Just for openers,” he says, “there’s a helluva difference between a guy who works 45 years for an organization and a guy who works five years. And as for the money, the difference wasn’t that great. I only got a raise from $115,000, to $125,000 [he makes $155,000 now]. My dream situation was to work for 50 years at the News and then have a goodbye party when I reached 69. But there I was, 63½ years old, they’re talking about closing down the world’s greatest newspaper and how many places will give a job to a guy 63½ years old?”
A lot of people feel Dick Young has lost his pop in the Post, that the Goetz-for-President tabloid has encouraged his pugnacity at the expense of his populism, turning him into a knee-jerk Neanderthal. Drugs, for instance.
“Nothing is as bad as drugs,” Dick Young says furiously. “Nothing. I get so angry when I see our country threatened by drugs. Ballclubs used to punish a guy for the slightest moral deficiency, but nowadays they welcome him back with open arms. I’ll get out of this business before I’ll beg a druggie to talk to me.”
Where does this rage come from, a bad experience? “Me? I only take one aspirin, for Christ’s sake.” The Dick Young segue—even in his fury he retains his humor. “I even gave up Camels—that was the closest thing to heroin in my time.”
Race? That’s a bit more complicated. Dick Young was one of Jackie Robinson’s earliest champions, but according to one of his colleagues on the Dodgers beat he once confided, “I can never forget he’s black” (to which Robinson responded, “I never want him to”), and was always closer to the nonmilitant Roy Campanella.
“I was all for Jackie,” says Dick Young, “but he thought everything that happened to him was because of his color. Racism was sometimes a crutch for Jackie. I can understand it, but that doesn’t make it right. And don’t give me any crap, racism is a two-edged sword. Blacks are as racist as anyone these days‚ maybe more so.”
This isn’t the kind of speech that’s going to win Dick Young any Brotherhood of Man awards. But while this kind of insensitivity appalls his white colleagues, his “I won’t bullshit you” stance has won him the grudging respect of many black athletes. Take Ali, for example.
“I was down on Ali at first,” Dick Young admits. “I felt he was exploited by the Muslims. He was a commercial racist, he didn’t hate white people, he just pretended he did in order to sell tickets. Anyway, one day Bundini Brown came over to me and said, ‘You guys should talk,’ and I said, ‘I’d be glad to.’ We had long discussions after that—politics, religion, everything. I still disagree with him, but we respect each other now. In his dressing room after his last fight, down in the Bahamas, we even kissed each other on the lips.”
Okay, that answers the question: Does Dick Young ever change his mind about anything? Still, one wonders if Ali really belongs in Dick Young’s America. “My America,” he calls it, President Young addressing his constituency, a land of afternoon ballgames, hardworking newspapermen, respect for Mom—and electric chairs.
“I know it bugs people. That’s why I do it. I use ‘My America’ almost facetiously now, just to needle people. But look, I was brought up in the greatest country in the world. To me, patriotism isn’t a matter of flag-waving but of the work ethic and respect for authority—those are the values I was brought up on.”
In Dick Young’s America, drugs are evil, unions are ruining sports and black athletes use racism as a “crutch.” But it’s revealing that he’d even suggest he’s only kidding. Dick Young’s politics are in the grand old tradition of American populism, of the little guy, of the boys in the bar, of the blue-collar, of the hardhat—of democratic bigotry.
“To me, there’s no such thing as a liberal or a conservative. It’s only this case, this case, this case—whose side deserves to be attacked at a particular time.” In Dick Young’s defense, it has to be pointed out that he’s led the fight for access to lockerrooms for women sportswriters. “They’re just doing their jobs,” he says, “they deserve to be treated like professionals. Why do the so-called liberals always lay claim to what’s right?”
Wiseass, sarcastic, swaggering—with a gutter wit, a toe-to-toe combativeness and most of all a tabloid cynicism that’s been elevated to the status of a political philosophy—never forget, Dick Young comes from the Thirties of The Front Page, not Norman Rockwell; he grew up in the Depression of Our Gang, not Eleanor Roosevelt. At times he seems less interested in changing your mind than in getting your goat.
“Today’s writers don’t have enough guts,” he says. “They let themselves be pushed around. The players give them all that crap and they accept it”—it’s hard to tell who ticks him off the most, the players or the press. “They even have ropes around the batting cage in spring training! Jesus Christ, how’m I supposed to do my job?” Three dots later and he’s off on druggies again, then three dots and he’s after the goddamned unions, then three dots and he’s dumping on a lazy colleague or a spoiled-brat player or even his own paper. “‘Today is Friday, the Post learned exclusively’—what the hell’s happened to our profession?”
When you read this stuff in his column you’re reminded of the obstinate dogmatism of the self-educated, but when you hear it it almost has a certain. . . charm. Even in his most vitriolic tirades there is a spark of wit, a flash of style. Dick Young may be the most opinionated, abusive, foul-mouthed bastard in an opinionated, abusive, foul-mouthed business, but still. . .
At the press conference after the first Ali-Frazier fight, Ali went into one of his harangues, berating the judges’ decision and announcing that be was going to organize a nationwide vote to let the people decide who won the fight. Everyone’s furiously scribbling notes when Dick Young’s voice suddenly pipes up. “You’ll lose,” he tells Ali. “Most of the brothers are in the slam and are ineligible to vote.” The reporters are aghast. Ali is speechless. But then suddenly he leans back and roars with laughter, the reporters join in and the harangue is history.
So what if he sometimes dresses like a cross between a senile hippy and a linoleum salesman—plaid pants, Day-Glo jackets, even, for a time in the Seventies, a medallion on his chest with a Miami Beach sport shirt open to his waist. What really keeps him young is the sharp one-sentence comeback, the snappy put-down. Dick Young, an embittered old man? No way. He’s still a brash, cocksure, pugnacious, candy-store kid who happens to be 67 years old.
In the meantime, the beat goes on—”in the sweatshop conditions of his Florida spring training camp,” Dick Young will write on a typical day, “where he works two-to-three hours a day and spends the rest of the time around the pool or on the golf course, Kent Tekulve has warned the plantation owners of baseball that the players are running out of patience. They aren’t going to put up with their terrible lives much longer. ‘We don’t want a strike, but if our backs are to the wall we’ll do it’ . . . a wall that most people wouldn’t mind being backed up against . . . . The players want to strike? Let ’em.”
“A repugnant person,” says a writer who used to be on Dick Young’s staff at the Daily News.“He’d always try to graft his sensibility onto your work. At the Montreal Olympics, for instance, he’d even change my leads, adding phrases like ‘the dreaded Russians and their Red sisters. . .’ He somehow managed to be both corny and vile at the same time!”
Dick Young’s going to retire a year from January—at 69—50 years on the beat, the last of the great tabloid newspapermen. “Me and my wife, we own a piece of sand in Arizona. I like to cook, raise flowers. I think l’ll even try a novel.” A novel? “Sure, I’ll keep writing my crap as long as someone is willing to pay for it. The same stuff, only I’ll fictionalize it!’ Dick Young breaks into a malicious smile. “All those bastards, they’ll have a helluva time trying to figure out who the hell I’m talking about! Hah, I’d love to see their faces!”
Ross Wetzsteon was a journalist, critic, and editor in New York City for 35 years. From 1966 until his death in 1998, he worked at the the Village Voice as a contributor and editor, and for several years as its editor-in-chief. During his tenure at the Voice, Wetzsteon oversaw coverage of everything from politics to sports, but his abiding interest was the theater. For 28 years, he was the chairman of the Village Voice Obie Committee, responsible for bestowing awards for excellence on Off- and Off-Off Broadway artists and writers. Wetzsteon also contributed articles to New York Magazine, Men’s Journal, Playboy, The New York Times,Inside Sports, Conde Nast Traveler, Mademoiselle, and many other publications. He edited several anthologies, including The Obie Winners in 1980 and The Best of Off Broadway in 1984. He also wrote the preface to a collection of playwright Sam Shepard’s works, Fool for Love and Other Plays, and he was the author of Republic of Dreams: Greenwich Village: The American Bohemia, 1910-1960. He died in 1998.
J.S. Thuuuh pitch. And Gardner hits a fly ball deep to right-center field, Victorino back, back — home run! A Yardy! For Gardy!
S.W. Brett certainly got all of tha —
J.S. A Yardy! For Gardy! And the Yankees take a 1-0 lead.
Now Robbie Cano, the second baseman, settles into the batter’s box. A .294 batting average, with 20 home runs and 59 runs batted in. Robbie’s been struggling a little at the plate, but Suzyn, I ask you: how do you predict baseball?
S.W. You can’t really, it’s —
J.S. Exactly. You can throw the numbers out the window.
J.S. Thuuuh pitch. High and outside, a hanging curve that never broke. That hanging curve brought to you by the State of Texas. We don’t hang ’em anymore, but we do the next best thing. Texas.
S.W. Actually, Jawn, I think that was a changeup that —
J.S. And Cano rockets one to right field. It is high, it is far, it is — gone! Home run! Robbie Cano, doncha know! It’s a back to back! And a belly to belly!
S.W. You know, Jawn, I’ve always wondered what that phrase means.
[Illustration by Chris Morris]
The Knicks, essentially, not only took a contract albatross off Toronto’s hands — new GM Masai Ujiri was desperate to rid himself of the failed first overall pick — they paid the Raptors for the privilege. If the trade were just Camby and Novak for Bargnani, it would be a wash, two teams handing over each other’s soiled linens. But the Knicks threw in three draft picks because … well, because in New York, the future isn’t just something that doesn’t matter, it’s something to be actively avoided.
This has always been a thing in New York. For whatever reason, there is this sense among sports owners in New York City that rebuilding — or, rather to say, the process of compiling and amassing talent and resources that can be used to sustain perpetual success — is something that the fanbase will just not stand for. If your team is not competing for a championship that very year, obviously your franchise is a failure and unworthy to wear the words “New York” on the front of your jersey/uniform/sweater/hot pants.
This mindset leads to lunacy like just about every free agent acquisition the Mets have ever made — with the ironic exception of Carlos Beltran, the one many fans were the most angry about — or the Yankees giving Alex Rodriguez a 10-year contract or the Knicks trading for someone like Andrea freaking Bargnani. The logic behind the Bargnani trade, behind so many New York sports teams’ moves, is that if the move makes the team even slightly better today, it’s worth mortgaging whatever possible future there might be. Is having Bargnani on the team for the 2013-14 season better than having Camby and Novak? I find that an arguable point, but if the Knicks think so, and they do, then why not throw in three draft picks do make sure the deal goes down? We weren’t using them anyway! They’re draft picks!
So should the Yankees trade Robinson Cano, or what? They won’t but it’d be the ballsy move.
[Photo Credit: Jonathan Daniel/Getty Images]
Nice piece by Jim Dwyer in the Times on Louis Requena, a fixture of the New York sports scene for decades:
“When I met Pop at the old stadium, he had a booth in the back of my pizza station, Main 11,” Alva Robinson said. “We got to be friends — swapping pizza and pictures. I do popcorn now. I’m the popcorn lady. But I always made sure Pop had his ice water, soda.”
Pop went by other names at the stadiums where he took pictures for most of the last 55 years. Señor. Magic (Lens). Or simply, Lou. In the backstages of the city’s ballparks, which run on a barter economy of small favors and easy smiles, scores of people who didn’t know what else to call him were part of his everyday life for decades.
Many of them turned out at the Greenwich Village Funeral Home on Tuesday where his full name and the dates that staked out the 93-year span of his life were listed on a digital display: Louis Requena, Dec. 12, 1919 – June 20, 2013.
“Eleven years ago, first day I’m shooting a game for The A.P., and I’m pretty anxious, and my editor says, ‘find this older guy,’ ” said Frank Franklin, a photographer for The Associated Press. “He showed me around, made everything smooth. First inning, there was a play at the plate, runner sliding under the tag. That was the picture, and he nailed it. He was in his 80s.”
[Photo Credit: N.Y. Times]
Over at Sports on Earth, Joe DeLessio writes about how he learned to love John Sterling:
But over the past few years, my appreciation for Sterling has grown more sincere. I’ve written this before, but I’ll admit that I giggle at his silly catchphrases, even as I roll my eyes. I now look at Sterling the way I look at the New York Post ‘s front page: The more the headline makes your roll your eyes, the better it is. The Post is ridiculous, sure, but I’d hate for them to start using straightforward headlines on the front page, free of puns and sexual innuendo. Similarly, I’d miss Sterling if the Yankees replaced him with a professional, boring play-by-play man. I want him to introduce terrible, amazing home calls every season, forever. Too many Sterlings—like too many New York Posts—wouldn’t be a good thing. But there’s a place for silly, even in a profession with a long history of no-nonsense (or at least, little-nonsense) icons.
Once upon a time, I laughed at Sterling when he broke out his crazy home run calls. But now I think I’m both laughing at him and with him. He seems to be in on the joke—crafting increasingly complex, absurd home run calls, for the entertainment of people like me. And I eat them up. After all, if the main purpose of a baseball broadcast is to inform the listener (which Sterling does, at least when he’s not jumping the gun on an ump’s call or failing to properly follow the ball once it’s put into play), then there’s no reason the secondary purpose can’t be to entertain. It’s like a “Big Show”-era edition of SportsCenter, but with more Broadway references.
[Photo Credit: Béatrice de Géa for The New York Times]
Over at Deadspin, here’s Jim Windolf on how Daily News writer Frank Isola became the most hated man at MSG.
Here’s Glenn Stout on Race, Jackie Robinson and the Red Sox:
At approximately 10:30 in the morning on Monday, April 16, 1945, Boston city Councilman Isadore Muchnick and sportswriter Wendell Smith and three African-American baseball players from the Negro leagues arrived at Boston’s Fenway Park. One month earlier the Red Sox reluctantly agreed to hold a tryout for African American ballplayers. Shortstop Jackie Robinson of the Kansas City Monarchs, second baseman Marvin Williams of the Philadelphia Stars and outfielder Sam Jethroe of the Cleveland Buckeyes came to Boston nearly a week earlier in anticipation of the tryout.
The audition of the three players took a little over one year to arrange and lasted only ninety minutes. Yet the fallout from that day echoes through Red Sox history almost to the present as an example of the institutional racism practiced by the ballclub under the tenure of Red Sox owner Tom Yawkey. Only in the last few seasons, at the conclusion of the Yawkey era, did the ballclub begin to shed a reputation for racism that many trace to that April morning.
Still shrouded by significant misconceptions and errors of fact, that day deserves examination. Not only do the facts of the tryout deserve explication, but the manner in which both the press and the ballclub reacted to the episode and portrayed it since then is telling. By calling into question the details of the event the defenders of Yawkey and the Red Sox attempted to use it to absolve the ballclub, the owner, and by extension, the city of Boston for any racial liability, perverting the significance of the tryout.
The Boston Phoenix, the once-great alternative newspaper is gone. Over at Grantland, Charlie Pierce remembers the old days:
I mean. Jesus Mary, where do you start with the newspaper at which you grew so much, and learned so much, and came to respect the craft of journalism with a fervor that edged pretty damn close to the religious? What memories have pride of place now? The fact that T.A. Frail, now at Smithsonian, suggested you might just like Dos Passos’s U.S.A. trilogy and it wound up changing your life? The day that Doug Simmons, now at Bloomberg News, snuck up behind you and stuck a pair of earphones on your head, cranked Black Flag’s “Six Pack” up to 11, and taught you that rock and roll had not calcified when you graduated from college? What’s the song that plays when you realize that you’re young when you thought you were growing old? What’s the prayer of thanksgiving for a hundred days of fellowship, drunk on words, all of us, as though there were nothing more beyond the next word, the next sentence, the next paragraph locked into place? Please say that the muse is something beyond the balance sheet, something beyond technology. Tell me that she’s alive the way she once was when you’d feel her on your shoulder as one word slammed into the other, and the story got itself told, and you came to end and realized, with wonderment and awe, that the story existed out beyond you, and that it had chosen you, and you were its vehicle, and the grinning muse had the last laugh after all.
God, it was a carnival. I saw the publisher twice get into punch-ups, once with a staffer and the next time with a janitor. And, in both cases, it was at a Christmas party. We never got paid much, but we did get paid, and we were able to write about what we wanted to write the way we wanted to write it. We were a legitimate institution of Boston eccentricity, and we were proud of the fact that we were recognized for being that very thing. In 1982, when the 76ers beat the Celtics, and the Garden erupted into a chant of “Beat L.A.!,” the great Bob Ryan interviewed Darryl Dawkins and found Michael Gee, then covering the game for us. You have to have this quote, Ryan told him, because we can’t use it. Ryan had asked Dawkins what he felt like when he heard that chant from a Boston crowd.
“Man,” Dawkins said, “when I heard that, my dick got stiff.”
If I recall correctly, that was Gee’s lead.
When Merchant was 50 years younger, he was sports editor of the Philadelphia Daily News. He was taking names and kicking ass, surrounded by a posse he had hired, hard-driving guys with similar inclinations.
He’d yanked me out of San Bernardino, Calif., and told me where to park near Connie Mack Stadium so I’d find my hubcaps intact after games. And then he told me what we owed our readers.
“Inform ’em, entertain ’em, and every so often surprise ’em,” Merchant said. He wrote incisive essays about pro football. He called his column “Fun and Games” as a stark contrast to life and death. And he’d open his occasional notes columns with “Some questions answered, some answers questioned.”
Merchant informed, entertained, shocked. We were tabloid and proud of it. Not that everyone loved our swagger, our persistence.
There was that night in 1962 on the Phillies’ charter flight, Merchant in an aisle seat, typing away. The catcher, Sammy White, peered over Larry’s shoulder, unhappy with what he read.
“He yanked at the copy paper,” Merchant recalled, “and it stuck. He wound up throwing my Olivetti [typewriter] down the aisle. I went to get it and some of the keys were twisted and some vital parts scattered.
“That night, I dictated a story that said it was the best throw he’d made all season. About a month later, the Phillies sent me an invoice, paying for a replacement and indicating it had been deducted from White’s salary.”
Here’s another sure shot from our pal Dexter.
This one is from August 16, 2002 when he remembered his mentor and friend, Jack McKinney. (The piece appears here with the author’s permission.)
“Pete Dexter Recalls Jack McKinney”
By Pete Dexter
There are a thousand stories about Jack McKinney, and as it happens I was there for a few of them, enough at least to know that the rest are probably true.
I will tell you one no one has ever heard before in a minute, but first let me just make the observation that when you think of the people Jack McKinney knew over the years, the things he saw and did, the chances he took, you realize that even if you were McKinney’s friend, you probably never glimpsed a tenth of the whole picture.
A trusted friend of Sonny Liston, attacked physically by Norman Mailer for ironing Mailer’s wife’s hair in the kitchen during a party–what boundaries could there be?
He was also for years the best boxing writer in America and the loudest tenor in the history of late-night Center City. He fought for his cause in Northern Ireland, at least helped to invent modern talk radio, read four and five newspapers a day, and often ate a gallon of ice cream at a sitting. I could go on like this for an hour. The legend is endless.
But let me push all that aside for the moment and start with this: Jack McKinney, it seems to me, was led his whole life by three driving, and occasionally competing, forces. His intellect, his compassion and, of course, testosterone. These were not whims, blowing him gently from one place to another, they were gales. Huge impulses that he seemed helpless to resist, even when he knew there would be consequences. Jackpots, he called them.
The last time I spoke to him, I’d been sitting around thinking about one of my own jackpots, the very public thumping I took in Devil’s Pocket 20 years ago, something that I suppose I will always find myself sitting around thinking about. In the aftermath I was lying in the hospital when McKinney walked in and stood for a while at the end of the bed, looking me over.
“Well,” he said, “the first thing is, it was stupid to go over there.”
I guess that I ought to explain that when I came to Philadelphia I didn’t know anything or anybody, and Jack took me under his arm as much as anyone ever has and educated me in the ways of night life and the city. For a long time, I considered myself Jack’s apprentice.
I was lying on my pillow that day, trying not to move anything, 150 stitches in my head, a broken femur, a broken vertebra, nerve damage and half my teeth sheared to the gum line by a crowbar.
I said, “You think so, Jack?”
He closed the door and had a seat and talked to me for most of an hour, lecturing, I guess, but not scolding, just someone who had been in a few spots of his own, who had also been hurt. He told me that what had happened was going to follow me around a long time, which it did, and that I was in the process of finding out some things I needed to know. Which I was. He said these things in a kind way, somehow acknowledging that I was still someone he took seriously. It was always important to me, what Jack thought.
So the last time I spoke to him, it was a spur of the moment thing, I wanted to thank him for that hospital visit 20 years ago, for that kindness, to say that I didn’t think he ever knew how much it meant to me when he did it. And once the awkward silence that declaration provoked was out of the way, we talked about our families and kids. About the old days, the Daily News and the jackpots we got into, about the night he lent a company car to a woman with tattoos who told him she had to go buy baby formula. The woman, as I remember, did not return the car. Another night, the police stopped us at 2 o’clock on Walnut Street because Jack was singing too loud, and Jack spent 20 minutes trying to explain the beauty and passion of opera to these two very patient officers, making them promise finally that they would give it a try. Earlier that same night a drunk had pulled a knife on us and Jack, enjoying it hugely, told me to fan out, and I did everything but crawl into his back pocket.
The night I want to tell you about, though, never came up between us. I never talked about it to anybody. We’d been at the Pen and Pencil Club until 3 o’clock in the morning, Jack ranking all the tenors since Caruso between rounds of head-butting with an infamous Irish burglar who had a head the size of a mailbox. Jack was losing his toupee, and so he took it off – something he would never do in public – and handed it to me each time he went back to butt heads again. He also wanted me to stand in back of him in case the infamous Irish burglar butted him unconscious. “Just don’t let me drop,” he said. “Just stand there and catch me if I drop.”
I woke up the next morning still hearing the deep, hollow sound of heads colliding, wondering how McKinney’s was feeling. My own head wasn’t anything to brag about, and things did not improve when I got in the car to drive into work. How do I put this? There was a dead squirrel in the front seat. At least I thought so for a long moment, and then I leaned over and saw it more clearly, and in that same instant saw the complications lying out there ahead of me like 200 hundred miles of Mexican Highway.
First of all, I could not imagine myself walking into the office holding Jack McKinney’s hair. I could also not imagine sticking it in my pocket. I couldn’t imagine calling him at home, telling him I’d found it in my front seat. I couldn’t imagine approaching him with it in the office. I didn’t even know to a certainty–and still don’t–that it was Jack’s hair. The color seemed a little off, and stranger things than finding a toupee in the company car happened in those days on a fairly regular basis.
So I put it off, sticking the hair in the glove compartment, waiting for the right place and time to give it back, but it never came. I could never pull the trigger. And I could never quite throw it away. Jack was sensitive about his hair. The next time I saw him, up in the office, he was sitting beneath some hair that looked like his regular hair, working on his column. So, who knows?
But even if I can’t say definitively that it was Jack’s hair in my glove compartment, I can tell you the reason I never offered to give it back. I could never figure out how to do it without embarrassing him.
The truth is, this man who climbed in the ring as Bobo McKinney and knocked out a professional middleweight boxer, who would get into screaming political arguments and didn’t care who was there to hear it; this iconoclast, this idealist, this very bad tenor and legendary brawler, this friend of mine, I wouldn’t have hurt his feelings for the world.
It’s hard to imagine Jack’s candle burned out so fast, it feels like a whole species went extinct overnight. I stagger to think of the archives he took with him.