Be Sure to Wear … Some Jet Black Caps Over Your Hair

Almost from the moment Charlie Finley purchased the Kansas City Athletics prior to the 1961 season, the Chicago-based insurance magnate sought greener pastures. Like so many other cities in the post-war era, Kansas City experienced “white flight” to the suburbs–meaning that many fans had to drive to the ballpark. Since Municipal Stadium was located in an impoverished part of the city with limited parking, attendance suffered accordingly. Of course, abysmal teams and the pre-Finley perception that the A’s were merely a “farm team” of the Yankees didn’t help. Despite Finley’s promotions and gimmicks, the fan base continued to dwindle.

Finley feuded constantly with government officials over ballpark improvements and ultimately the construction of a new stadium. He threatened a move to Dallas-Ft. Worth, but the scheme was quickly squelched by the American League. In early 1964 Charlie tried to relocate to Louisville, but the AL put the kibosh on this plan as well. With the construction of the Coliseum in Oakland and “Finley fatigue” in KC, Charlie finally found a landing place that was acceptable to the American League. The team moved prior to the ’68 season.

As far as cards are concerned, Topps followed its formula of eliminating the previous city’s insignia from the caps or using bare head shots. A’s cards in the first five series featured caps and helmets with completely “blacked out” crowns, leaving only green on the bill. In the 6^th and 7^th series, Topps took a different approach, as we shall see.

The first Oakland A’s card depicts a bareheaded Mike Hershberger (#18 in the numerical sequence). The design necessitates turning the card over to see that the player is indeed on Oakland.

The ‘68s include Sal Bando’s first solo card and two later Hall-of-Fame inductees: Jim “Catfish” Hunter and Tony LaRussa.

Jim Gosger — who will later be the opening day center fielder for the 1969 Seattle Pilots — has an intriguing card. The reflection of the obliterated “KC” on the front cap panel can be seen on the green bill.

Perhaps inspired by the psychedelic color explosion of the ‘60s, Topps designers decide to ditch the black and go with green airbrushing for the 6^th and 7^th series.   This results in a “hypnotic splattered mist” of two-toned green. The bill is left alone but the crown is doctored in a “lighter shade of pale” green. (Pilot-in-waiting) Diego Segui and Lou Krausse model the “mod” lids.

 

Bay area fans had to wait until ’69 to get the first card of a player with the Oakland lettering on the vest jersey and the old English “A” on the cap. Paul Lindblad has the honor of first representing the new East Bay entry, with card #449 in the 5^th series. With the Major League Baseball Players’ Association boycott of Topps no longer in effect, several other A’s had card photos taken at ’69 spring training, including this great shot of three A’s Stars. The boycott had also led Topps to purchase several photos from third parties, including this famous Reggie Jackson rookie card.

Though I may have to down a whole bottle of Zoloft to ward off severe depression, my next installment in this series will look at the first cards of the Brewers- which include some awesome ’70 Pilots spring training photos.

 

To learn more about Charlie Finley and the A’s, I highly recommend Jeff Katz’s book: The Kansas City A’s and the Wrong Half of the Yankees https://www.amazon.com/Kansas-City-Wrong-Half-Yankees/dp/0977743659