Hitting through the Unglaub Arc

Forty-five years after purchasing a pack, I finally completed the 1974 Fleer “Baseball’s Wildest Days and Plays” set.  This is one of several sets in which artist Robert Laughlin used cartoons to illustrate some aspect of baseball history. This set is often listed as having been issued in 1973-which is printed on the backs as the copyright date-but the packs didn’t appear in stores until 1974.

By the way, several other SABR Baseball Cards posts have examined Laughlin creations, including “Fleer Funnies,” “Laughlin to Keep from Crying,” and “What if Robert Laughlin made his 300/400/500 set today?

The cards are of the “tall boy” style, measuring 2-1/2” x 4”.  The set is comprised of 42 cards, which were distributed five cards to a pack, along with a slab of gum. Interestingly, Laughlin had a mail order business in which he “hawked his wares,” as evidenced by this advertisement in a 1974 “The Trader Speaks.” This ad clearly shows that the “Baseball’s Wildest Days and Plays” cards were new for 1974.

Card #1 in the numerical sequence provides a feel for Laughlin’s concept and art style.  A cartoon is used to symbolize the event.  The accompanying tagline helps set the stage and provides context. Finally, the narrative on the back fleshes out the whole story. Essentially, each card offers a baseball history lesson.

By all rights, the following confession should get me drummed out of SABR. Until I acquired this card a few weeks ago, I was unaware of the “Unglaub Arc.” In 1907, Red Sox first baseman Bob Unglaub proposed a rule designed to increase scoring.  He advocated for an arc to be painted in the outfield 240 feet from home plate.  The outfielders had to stay to the infield side of the arc before the ball was hit.  Thus, the sluggers of the day would have a better chance of reaching base. Of course, today’s speedy athletes routinely play at a shallow depth and run back once the ball is airborne.

Action on the diamond isn’t the only subject matter.  Senators catcher Gabby Street’s famous catch of a ball dropped from the Washington Monument in 1908 is an example. After several attempts, Gabby was able to snag a ball dropped from the height of 555 feet.  According to the SABR Bio Project piece by Joseph Wancho, the ball fell with 300 pounds of force. Although Street is depicted in uniform, he was in street clothes when he made the “monumental” snag.

The murky legends of baseball get a turn with William “Dummy” Hoy and the origin of umpire signals.  According to esteemed SABR researcher Bill Deane in a July 24, 2010 New York Times article, no contemporaneous evidence exists of hand signals being added by umpires to communicate balls and strikes to the deaf Hoy.  As with many baseball innovations, the evolution is nuanced and not centered on a definitive moment in history.

My favorite “Wildest Days and Plays” cards use the actual likenesses instead of just a generic player.  An excellent rendering of Jimmie Foxx is used to tell the story of the “Beast” being walked six consecutive times in a game.  Also, a very recognizable Babe Ruth was drawn by Laughlin for another card.

The card for the Eddie Gaedel stunt is an excellent example of Laughlin using imagery to enhance the story.  A little guy perched on a giant baseball automatically conveys Gaedel’ s diminutive size.

Likewise, a towering Jim Thorpe conveys the outsized status of the great athlete.  Besides, hitting home runs in three different states in the same game is an “outsized” accomplishment.

Even owners show up in this set. Pirates mogul, Barney Dreyfuss, is depicted firing Bill Abstein for striking out 10 times in the 1909 World Series.

I will exit with the card that tells the tale of the rise and fall of Joe Borden.  In 1875, Borden (playing under the name Josephs) recorded the first no-hitter in professional baseball history with Philadelphia of the National Association.  In 1876 he joined the newly formed National League with Boston where he proceeded to win the first game in league history.  Sadly, Joe’s status as a “phenom” came crashing down with each subsequent, poor performance.  By the end of 1876 season, Borden was fulfilling his contract by serving as the Red Caps groundskeeper.  Charlie Weatherby’s SABR Bio Project entry provides the full scoop on “Flash-in-the-Pan” Borden.

A Trip Down Trader Lane

Mark Armour (the “Founding Father” of our illustrious committee) and I recently consummated a transaction in which we exchanged autographed 8” x 10” photos.  “Trader Mark” sent George “Boomer” Scott my way in exchange for Lou Brock.  Although this trade may seem to be in the same vain as Brock for Broglio, we both had two autographed photos of the players in the trade. Mark tried to get Brock for Lee Stange, but I held out for more.

Acquiring the Scott photo reminded me of the blockbuster deal that sent “Boomer” to the Brewers from the Red Sox before the 1972 season.  Seattle Pilots General Manager, Marvin Milkes, accompanied the club to Milwaukee in 1970.  He was dismissed after the season and surprisingly replaced by the legendary Frank “Trader” Lane, who lived up to his nickname.

In the 1950s, Lane was known for his multi-player trades which often seemed to be done just to shake things up.  Thus, Lane decided to shed some of the last vestiges of the Pilots to remake the “Brew Crew.”

The trade involved nine major league players and one minor leaguer. The Red Sox sent Scott, Ken Brett, Joe Lahoud, Dan Pavletich, Billy Conigliaro, and Jim Lonborg to the Brewers in return for Tommy Harper, Marty Pattin, Lew Krausse and AAA player Patrick Skrable.

In the 1972 card set, Topps responded to the deal in two ways: upturned head shots and airbrushed logos.  Apparently, Topps had a stash of Red Sox photos featuring players looking skyward. Only Jim Lonborg received an airbrushed Brewers cap. On the other hand, the three players sent to Boston have airbrushed cap insignia. 

The crack airbrush team at Topps did an excellent job on Marty Pattin.  His cap is either navy blue or black with the Boston “B” rendered expertly.  Of course, you must ignore the royal blue seats at Tempe Diablo Stadium in the background.

Tommy Harper’s photo, taken at Tiger Stadium, is less convincing.  The powder blue uniform and cap just don’t scream Bosox.

Lew Krausse has some strange stuff going on around his collar.  Odds are, he had on a Pilots/Brewers warm up jacket with gold piping.  Thus, he gets a blue and grey combo to cover up the gold.

Though his 1967 season is immortalized in the hearts and minds of all Red Sox fans, Jim Lonborg’s 1972 card will not be remember as fondly.  The sideways turn of the head complicated the formation of the “M” logo.  One “leg” appears shorter than the other.

As mentioned earlier, the airbrush was put away for the rest of new Brewers in favor of the “nostril” shot.  George Scott’s gaze into the Winter Haven sun or the Fenway press box is not a thing of beauty.  His cap is tilted so far back that the #5 inked on to the bill is visible.

Billy Conigliaro and Ken Brett both suffered the misfortune of having brothers who were better players.  Billy probably welcomed a chance to shed Tony’s shadow in Boston.  This trade would start Brett on a vagabond odyssey that would produce some true airbrushed gems.  Here is a link to a previous post on this topic.

With the leather-lined padding exposed under his batting helmet and a slight smile, Joe Lahoud’s card is a bit more interesting than the others.  Perhaps Joe is smiling over the prospect of more playing time outside of Beantown.

By far, the worst photo is that of journeyman catcher Don Pavletich.  He was apparently very surly at the prospect of another trade, having been dispatched by the Reds to the White Sox in 1969 and on to the Red Sox in 1970.

I would be remiss if I didn’t show a card (postcard with the Reading Phillies) of Patrick Skrable, the veteran minor league player the Brewers tossed into the trade mix.  Although Pat never made it to the big leagues, he was a master of placing the “Q” on a triple-letter space.

Which team came out on top of this deal?  Harper had good years with Boston, but George Scott developed into one of the most feared power hitters in the American League. Plus, when the Red Sox reacquired him from Milwaukee, they gave up Cecil Cooper.  So, advantage Brewers.

Endless stream of cards and magazines

Picking up a Street and Smith Yearbook from the newsstand or drug store was an annual rite of spring for many baseball fans.  Since ESPN and the internet were nowhere in sight, annuals were one way to obtain updated rosters and prognostications for the upcoming season.  Of course, the information was several months old by the time it reached the magazine rack. However, those of us in a non-Major League markets or rural areas especially relied on these publications to set the stage for the season.

In the 1970s, Street and Smith produced regional covers designed to attract fans of the local team.  Prior to the Mariners arrival in 1977, Washington State baseball fans received covers featuring California teams.  For instance, I bought this 1976 edition with Davey Lopes on the cover.  But New England fans would find the same content covered with the photo of 1975 Rookie of the Year and MVP, Fred Lynn.

While looking through both versions, I was drawn to the advertisements for sports card dealers. Obviously, sports magazines were an excellent method of reaching the customer base.  The 1976 Street and Smith Yearbook has numerous ads for dealers across the nation.

For example, mail order stalwart (still going strong in 2019) Larry Fritsch Cards in Stevens Point, WI, has an ad. The 1976 Fritsch ad is filled with tempting choices including the complete 1976 Topps baseball set for $12.95 plus postage.  This is on the expensive side, since most of the other ads offer the set for less.  Incidentally, $12.95 in 1976 dollars has the buying power of $58.44 today.  Thus, a kid had to mow several lawns or, in my case, return a huge number of beer bottles to the recycler to afford the complete set.

I distinctly remember ordering my 1976 complete set from G. S. Gallery in Coopersburg, PA.  The set was $7.95, plus a dollar postage.  I remember the postal worker (Mr. Copeland-it’s a small town) at the Selah, WA, post office having to redo the money order after accidentally putting “Cooperstown” on it instead of Coopersburg.  By the way, $8.95 has the 2019 buying power of $40.39 when adjusted for inflation.

Two other dealers in the magazine offer examples of the price range for the complete set.  Stan Martucci of Staten Island-who urges buyers to “Go with Experience” based on his 22 years in the business-priced his set at a whopping $14.  Meanwhile, collectors could shell out $9.99 to obtain the same cards from the only West Coast dealer in the magazine, Will Davis of Fairfield, CA.

In addition to new sets, the dealers offered sets from previous years.  Wholesale Cards of Georgetown, CT, offered complete sets from the 1970s in all four major sports.  Plus, you could pick up Topps Civil War, 1966 English Soccer or the 1959 Fleer Ted Williams set.

Another merchant with a tantalizing selection of cards was Paul E. Marchant of Charleston, IL. The 1964 Topps “Giant” set was available for only $3.00. Also, SSPC sets could be had along with an address list for autograph seekers.

This ad uses the card of Glenn Abbott as an example for the 1976 set.  An odd choice since Glenn was just starting out.  I must point out that he would be the “ace” of the original Seattle Mariners in 1977, winning 13 games.  At the time, his win total tied the record for most wins on an expansion team.  The first to do it was Seattle Pilots hurler, Gene “Lerch” Brabender.

The Sports Hobbyist in Detroit offered a different way for collectors to obtain a complete set of 660 Topps cards in 1976.  For $10, they sent 1,000 cards and guaranteed that “just about” a complete set could be assembled.  A 50-cent coupon was included to purchase up to 40 cards to help complete the set.

Once a complete set was obtained, the collector needed some place to store the cards.  A nifty tote box, divided into 26 compartments, was one solution.  It was available for a mere $4.00 from ATC Sports Products of Duluth, MN.

Along the same lines, a Major League Baseball card locker could be had from the Royal Advertising Corp. for $2.95, plus 36 cents postage.  You could even send cash!  Note that Seattle Pilots outfielder Steve Whitaker’s 1967 card on the Yankees is front and center in the ad.

Although cards are not offered, there is an ad for the hobby publication, “The Trader Speaks.” I never subscribed to this trade paper but went with “Sports Collectors’ Digest” instead.

One negative feature of all these offers was the fact you had to wait four to six weeks to receive the merchandize in 1976.  There was no expectation for faster service, and no reason given for the protracted processing time.  My recollection was that it always seemed to take closer to six weeks than four.  This process explains why I am such a patient man to this day.

I will close with two advertisements that were ubiquitous in magazines of this era:  Manny’s Baseball Land and Charles Atlas.  Manny’s had the same format for years with many of the same products offered as well.  Of course, Charles Atlas offered to “make a man out of Mac” for decades.  I’m still trying to get his body building method to work, and I’m damned tired of bullies kicking sand in my face at the beach!

Scratch ‘n Play

The 2019 Topps Heritage set is based on the 1970 design.  As with past sets, there are limited number of bonus products that match the wax pack inserts from the featured year.  Thus, collectors might find a poster, a story booklet or a scratch-off, baseball game folio. The “Scratch-Offs” are one of Topps most unique inserts. Since you are itching to find out more, here is the balm for your “Scratch-Off fever.”

The 1970 Scratch-Offs are 2-1/2” × 3-3/8” bi-folds with a small “Team Captain” headshot on the front, 44 black scratch boxes in the middle, and the rules and a scoreboard on the back. When unfolded, the cards measure 3-3/8” × 5”. Teams names were not printed in conjunction with the players’ photos.  The fronts were printed in blue, yellow or red, but each player only has one color.

The game is played by scratching off the black surface with a coin, revealing hits or outs.  My recollection is that you never had enough boxes to complete nine innings.

By 1970, most teams did not designate a player to be the team captain.  Therefore, Topps simply selected a player for each of the 24 teams to be the “captain.”  By the way, Topps selected a different player for each of its three insert sets, all of which came in sets of 24.  (If memory serves me, posters were issued first, Scratch-Offs second, and finally the story books. If this is not the case, please let me know.)

Some of Topps “captain” selections are curious.  For example, Richie Allen and Tim McCarver, who were traded for one another prior to the 1969 World Series, show up as captains. Most likely, McCarver was originally selected as the Cardinals representative and Allen as the Phillies.  Based on the drama surrounding Richie Allen at the time, there is some irony in labeling him team captain.  

The most interesting of the small headshots is that of Boog Powell.  The negative is flipped, which is made obvious by the comic Oriole emblem facing the opposite direction.  Also, the reverse image makes Boog look as if he is ready to “toss his cookies.”

Most collectors remember that Topps didn’t attempt, even in the later series, to relabel the Seattle Pilots cards as Milwaukee Brewers.  The franchise shift (sob!) occurred a week before the season started, meaning that most of the cards, posters etc. were already printed. This means that Mike Hegan is depicted wearing a Pilots cap from spring training of 1969.

Fresh off his American League Rookie of the Year award in 1969, Lou Piniella got the nod to be the Royals team captain.  However, Topps didn’t reward him with a new picture.  No, “Sweet Lou” is saddled with the same squinty-eyed photo used on his 1968 and 1969 Rookie Stars cards.

Nine Hall of Famers are included in the set: Henry Aaron, Harmon Killebrew, Yastrzemski, Tom Seaver, Luis Aparicio, Juan Marichal, Willie Stargell, Al Kaline, and Tony Perez.

Strangely, Topps reissued the same 24 Scratch-Off cards in 1971 but with a significant difference; the scratch off sections are printed in red instead of white. They were distributed with the later series after the coin inserts. Thus, the Mike Hegan Scratch-Off means the Pilots lasted in “Topps World” until 1971.  Also, Richie Allen was traded to the Dodgers, resulting in a dual captainship with Claude Osteen and no Cardinals captain.

Checklists and dealer offerings don’t always make a distinction between the two issues.  Completing sets can be difficult if the description does not include the booklet’s interior color.

Surprisingly, to me at least, the Scratch-Offs were also issued in packs as a stand-alone product at the end of year in 1970 and 1971 in order to get rid of excess inventory.  I couldn’t find information on the number of cards per pack, price or distribution.

So, if you get the itch to scratch off a game, pick up a Mack Jones, grab a penny and go to it.  This game was cutting edge technology back in “my day.” We didn’t need no stinkin’ video games!

Sources:

http://www.oldbaseball.com/refs/topps.html

A Curmudgeon’s Guide to the New Millennium

Starting in the late 1980s, I can no longer remember the year of Topps base card sets from simply eyeballing the design.  For the most part, I can only give you a ballpark estimation of the year based on the player.  This stems from buying the factory sets, sorting, putting them in binders, and immediately archiving them in the card closet.

Contributing to this “one and done” approach to collecting modern cards is my curmudgeonly insistence that current designs are either lame or too similar from one year to the next.  To try and break from my “old school” mindset, I took a fresh look at each of the sets from the first decade of the 2000s.  What follows is one old curmudgeon’s ranking of the cards based solely on design.

Bringing up the rear of the decade rankings is 2007.  This one falls in my pet peeve wheelhouse by using foil lettering. The letters are very difficult to read, due to insufficient contrast, which renders the whole purpose of identifying players and teams moot.  Also, what is with the corner dots?  They remind me of the test pattern from the field of vision test I routinely take as part of my glaucoma treatment. The black borders are acceptable but not the “day-glow” green statistics box on the back.  The entirety of design is a complete “excrement show.”

2001 falls into awful category as well.  First off, this is the 50th Anniversary year for Topps. A design that paid homage to Topps past glories seems like a logical approach.  Instead we get teal borders and gold foil lettering!  Teal?  You’ve got to be kidding me!  Sy Berger would have turned over in his grave had he been dead at the time.

At number eight I present 2002 in all its “puke” gold glory.  This is not an attractive color.  It reminds me of the color of my first car, a 1972 four-door Plymouth Valiant with a black vinyl top. Also, are the ribbons supposed to be “gonfalons” floating in the stadium breeze?  Well, the gonfalon bubble burst, and the design is weighty with nothing but trouble. “Stinky (Davis)-to-Stanky-to-Sauer”

2000 and 2006 both suffer from the foil legibility issue, but 2006 gets props for including a cartoon on the back instead of a photo.  Do we really need photos on the back?  This generally means fewer statistics and limited or no biographical information.  How are kids supposed to who led the Sally League in triples in 1998?

Topps stepped up its game in 2005 by introducing white borders and team names, utilizing team word marks. But, why did they put only the player’s last name in bold letters at the top? The vertical placement of the players position is weird as well.  Kudos for having lengthy biographical material.

2009 has some positive elements such white borders and logo placement, but the hard to read foil “foils” the overall aesthetic.

Because it harkens back to past sets, I like the 2003 set with the picture-in-picture look.  If only Topps had used black and white photos with poorly airbrushed logos like 1963, it would be the winner.  The back has most of the good elements, apart from a cartoon.

I must admit that 2004 is a great look.  The team name in foil is very visible against the white background.  I love the drawing of a player representing the position of the person on the card.

As nice as the design is in 2004, it must take runner up status to the “Curmudgeon Cup” winning 2008 design.  The alternating color balls at the top-forming the team name-is simultaneously innovative and retro.  The white borders help draw the eye to the team name as well.  Also, the facsimile signature warms the soil of the vintage collector.  The biggest downside is the lack of the player’s position on the front.

Before you fill up the comments section with vitriol and torch me on Twitter, there is a strong “tongue-in-check” element to this post.  I am not inclined to defend my choices, since I have no strong attachment to this era’s cards.  I will leave you with this though: “Get off my lawn, Topps, and bring back burlap and wood paneled borders!”

A True Value or hardware disorder?

In 1986, one could head to the local True Value hardware store to buy a box of nails or a toilet plunger and emerge with a folded, sealed, four-card panel featuring three players from the “True Value Super Stars Collector Series.”

The oddly packaged set features a fourth card on the panel that serves as a sweepstakes entry form with a picture of a True Value product on the opposite side. This advertisement card forms the back of the pack while one of the player cards comprises the front.

The cards are perforated to allow for each card to be individually detached. Of course, the panel could be kept intact, but one of the cards would be separated by the advertisement.  Furthermore, the panel size is too big for a three-pocket, Hostess style page. An obsessive purist could leave the cards sealed, content in knowing two more cards reside inside, but the most logical thing to do is detach the cards.

This is exactly what I did this summer after purchasing the 10 different card folios at a local card shop.  After 33 years, the adhesive beneath the back flaps was firmly set.  I needed to use a putty knife to detach the flaps.  Once opened, the 2-1/2″ x 3-1/2″ cards had to be carefully separated to prevent tears. The front card must be at least 1/32 of an inch wider than the cards from the inside, since it fits very snugly in a standard 9-pocket page.

It goes without saying that once you have the 30 cards separated you are left with a crappy set.  These cards were produced by Michael Schechter Associates (MSA), who only had a MLBPA licensing agreement.  If MSA sounds familiar to you, you may know the name from these ubiquitous discs of the mid-1970s.

The lack of an MLB license results in mostly “head and shoulder” shots without cap logos. (Andre Dawson is shown from the waist up.)  The same images are used on numerous odd ball sets of the era.  The photos are small and the red, white and blue framing is overwrought.

The set does contain many all-time greats. There are 15 Hall of Famers including Tom Seaver on the White Sox, Reggie Jackson on the Angels, and Gary Carter with the Mets (but wearing an Expos cap). Fans of the Indians, Rangers, and Giants will not find a home team hero in the set. 

My collection of “junk wax” era, odd ball sets continues to grow, which begs the question: Why do I continue to add these unattractive cards with recycled images?  Perhaps I’m genetically predisposed to own every known image of “Mr. Mariner,” Alvin Davis.  Or, perhaps my essential cheapness won’t let me turn down bargain priced cards.  Both could be true, but I believe the answer lies in my slow but steady descent into hoarding syndrome. 

The Great Candlestick Derrière Dilemma

Recently, a post on Twitter included Willie Montanez’s 1973 Topps card.  This “in action” shot taken during the 1972 season has always intrigued me, primarily due to half of the photo being comprised of the Giants’ pitcher’s butt.  Inquiring minds want to know whose derriere filled the camera lens. Through the miracle of “Retrosheet” via “Baseball Reference,” I was able to pin down three possibilities, one stronger than the others.

In 1972, the 12-team National League played 18 games against divisional opponents and 12 against teams from the other division.  Thus, the Phillies and the Giants each had six home games broken into two series. (The work stoppage at the beginning of 1972 season did alter this scheduling formula; however, the Giants versus Phillies games were not affected.)

During the Phillies’ initial trip to Candlestick in April 1972, the clubs met twice in day games.  However, Willie Montanez was not involved in a play at the plate in either game.  So, his slide into home had to happen during the second set of games in July.

On Saturday, July 16 and Sunday, July 17 the squads squared off under a bright sun beating down on the rock-hard AstroTurf. Montanez scored a run in the Saturday game after being walked by Don McMahon in the second inning. He moved to second on a single by Don Money and went to third after Oscar Gamble walked.  Catcher John Bateman singled, scoring Montanez. 

This could be the play at the plate, provided Bateman’s single was of the infield variety or a shallow “Texas Leaguer.” Otherwise, Willie could have walked home on a routine shot to the outfield.  The “San Francisco Examiner” sports page for Sunday, July 17, is not helpful.  The game summary does state that Montanez scorede, but there is no mention of a play at the plate.  Therefore, it is possible that the photo shows the “arse” of the veteran “slabsman” McMahon.

In this same game, Chris Speier of the Giants hit an inside-the-park home run off Steve Carlton.  Speier has a 1973 card showing him sliding into home with the Phillies catcher, John Bateman, attempting to tag him.  Of course, this doesn’t necessarily mean that Montanez’s slide occurred on July 16 since the photographer may have attended both games.

In fact, a more plausible play at home occurred in the next day’s game.  In the top of the 4th inning, Montanez singled to center off the Giants’ starter, Jim Barr, and took second on an error by Gary Maddox.  He then scored from second on a single by Don Money. 

In many instances, scoring from second on a single will draw a throw home, resulting in the runner sliding.  Of course, this would mean that Jim Barr is the pitcher whose backside is seen “up close and personal.” Alas, the Monday, July 18 “San Francisco Examiner” offered no supporting evidence, since it failed to mention Willie’s run at all.

Although not definitive proof that the photographer attended both tilts, the 1973 Topps in game action photos for Phillies pitchers Barry Lersch and Dick Selma were clearly taken at Candlestick.  Lersch pitched on Saturday and Selma on Sunday.  So, the photographer could have been at both games. But this is not a certainty because both pitchers appeared at “the Stick” during day games on April 26 (Lersch) and 27 (Selma).

To completely muddy the waters off Candlestick Point, this photo could conceivably be from 1971!  In the first game of a double header on June 6, 1971, Montanez doubled to center off Steve Stone in the 6th inning. 

He scored from second on a single by the next batter, ironically Ron Stone.  On June 7, 1971, “The San Francisco Examiner” stated that Willie “streaked to the plate.” Of course, we still don’t know if there was a throw, necessitating a slide into home. So, Steve Stone’s “bum” could be front and center in the photo.

The odds still favor 1972.  Barry Lersch did pitch in the second game of the June 6, 1971 doubleheader, but Dick Selma didn’t pitch at Candlestick during the day in 1971.  Photos from two separate years seems unlikely but not impossible.

If you are still with me, you are probably asking yourself, “who the hell cares about Willie Montanez sliding into home or pitchers’ butts?” Without a doubt, these are valid questions.  My retort is this:  I used this as a forum to show some of the great “warts and all” action photos from this era.  To me, these photos are exponentially better than modern shots.  The backgrounds and multiple players provide clues and context lacking with today’s cards.  Besides, it’s important to know which long ago Giants hurler left his butt in San Francisco!

Picture perfect postcards

One of the most aesthetically pleasing sets in my collection is the 1991 “Living Legends” Negro League postcards.  The set was produced by Capital Cards in conjunction with the Negro League Baseball Players Association and features the impressive artwork of Ron Lewis, who produced several art sets in the 1980s and ‘90s.

The numbered cards measure 3-1/2” x 5-1/4” and were distributed in a 30-card boxed sets.  Supposedly, 10,000 sets were produced.  Mr. Lewis traveled the card show circuit to sell his wares.  Dealers such as Larry Fritsch must have purchased in bulk, since the sets are currently available for under $30.

The backs have typical postcard markings, players’ names and brief biography.  Mr. Lewis’ signature adorns the bottom, and the set’s specific number out of the 10,000 is shown on the right.

The depicted players will be very familiar to those steeped in Negro League history.  However, some are not household names.  For example, Verlan “Lefty” Mathis was a Memphis pitcher, seen here in this wonderful Red Sox uniform.  This study of Newark Eagle Max Manning is truly spectacular, as well.

Upon viewing the set for the first time in years, I discovered Jehosie Heard had a card.  I became familiar with him when I explored the first cards of the Baltimore Orioles.  The artist may have used the 1954 Topps card or the original photo as a model for Jehosie on the Birmingham Black Barons.

Another name that stands out is Lyman Bostock, Sr., the father of the late ‘70s Twins and Angels outfielder of with the same name.  Of course, Lyman, Jr., was shot and killed at the height of his career in 1978. Father and son were estranged, due to the younger Lyman’s belief that his father abandoned him.  I was unaware of Bostock, Sr., until obtaining this set.  He had a long Negro Leagues career stretching from 1938 to 1954.

Ron Lewis included a pair of brothers, Garnett and Lonnie Blair, who both played for the Homestead Grays.  The Pittsburgh-based club also called Griffith Stadium in Washington, D.C., home.

Catchers depicted wearing the “tools of ignorance’ are always a treat.  Bill Cash and Josh Johnson are no exception.

In addition to the lesser known players, Mr. Lewis produced cards for the famous too.  Examples include National Baseball Hall of Fame members Leon Day, Monte Irvin, Buck Leonard and Ray Dandridge.  Another well-known player, “Double Duty” Radcliffe, is part of the set.

The 60 years since the last Negro League game was played means that most of the players depicted have passed away. As of this writing, the immortal Willie Mays is still amongst the living.

In closing, I encourage you to add the Negro League Baseball Museum in Kansas City to your baseball bucket list.  I was there in 2005 and enjoyed every minute.  Plus, Arthur Bryant’s Barbecue is a few blocks away on Brooklyn Avenue. After stuffing yourself, head down Brooklyn to the former site of Municipal Stadium.

Editor’s note: Card 24 in the set is often listed as Hall of Fame catcher, Josh Gibson. In fact, the card depicts his son, Josh Gibson, Jr.

Detroit’s heroes go wild!

Periodically, I have added commemorative team sets to my collection.  The sets may mark a championship year or other noteworthy occurrence, famous or infamous.  Additionally, sets are issued to celebrate an anniversary year or a players’ reunion.  For example, I did a blog post on cards given to attendees of a banquet honoring the 1969 Senators.   Although this may prompt some of you to cancel your SABR membership, I will post additional pieces on commemorative sets from time-to-time.

First up is a 1988 set issued by Domino’s Pizza that commemorates the 20th anniversary of the Tigers 1968 World Series Championship.  Most of you remember that Detroit bested St. Louis in a classic seven-game series.  This World Series resonates with me since it is the first that I remember watching on TV.

All the photos in the 28-card set are black and white.  Many of the shots are unfamiliar to me, which was part of the appeal-along with being cheap.  All the unnumbered cards have a synopsis of the season printed on the back along with the players’ 1968 regular season and World Series stats. 

The cards were given away at Tiger Stadium during an “Old Timers” game featuring the ’68 Tigers players.  It is possible that they were also available at Domino’s locations.  Perhaps a Tiger fan in my vast readership remembers.

Of course, I must include the cards of Ray Oyler and Wayne Comer.  Both players were selected in the expansion draft by the Seattle Pilots after the World Series.  You may recall that the light hitting Oyler was benched in the World Series, with outfielder Mickey Stanley moving into the shortstop slot.  Both Comer and Oyler have memorable turns in Jim Bouton’s Ball Four.

Two Tigers icons-Willie Horton and “Swingin’” Gates Brown-are caught “in action.”  Willie was the big offensive force for the “Motor City Kitties” in 1968.

Speaking of icons, casual fan may not remember that Hall-of-Fame member, Eddie Mathews, closed out his career in a limited role with the Tigers in 1968.

The other Hall-of-Famer in the set is, of course, Al Kaline.  The all-time great is honored with two cards.  Ironically in Al’s only championship season, he suffered a broken arm after being hit by a Lew Krausse pitch, missing three months.

1968 was the “Year of the Pitcher” and Denny McLain was instrumental in creating this designation.  Fueled by endless bottles of Pepsi, Denny won an astonishing 31 games on his way to the AL Cy Young and MVP awards.

Another great Tiger hurler who came up big in the World Series was Mickey Lolich.  The portly “twirler” won three games in the World Series, including a decisive seventh game victory over Bob Gibson.

Although the Tigers rarely made errors in ’68, there are two error cards in this set.  Pitcher Pat Dobson has a version with the photo showing Jon Warden (card on right).  Additionally, leadoff man Dick McAualiffe has a version that leaves off the “e” from the end of his name.

I will end my Motown meanderings now, since I’m sure you are wishing that I was “looooong gone!”  Plus, I need to go to the Tiger Stadium concession stand and redeem this Domino’s coupon.

All in the Family

This post will look at a sampling of players whose brothers played a different professional sport simultaneously.  Furthermore, I am focusing only on siblings that had cards issued in the same year.  Therefore, there may be a numerous sporting brothers, but they had to have simultaneous cards to fit the parameters of this post.  Finally, this is not a definitive list.  Think of this as a discussion opener, in which your examples will add to the body of knowledge.

The impetus for this post was the recent death of Pumpsie Green.  I was unaware until reading his obituary that Pumpsie’s brother-Cornell-played for the Dallas Cowboys.  The siblings only overlapped with cards in 1964.

Another set of baseball/football playing brothers were the Kellys-Pat and Leroy.  Leroy Kelly was a star running back for the Cleveland Browns in the last 1960s and early 1970s.  His younger brother, Pat, was an original Kansas City Royal in 1969 and forged a nice career as a journeyman.  The Kelly boys have seven years of dual cards (‘69-’74). Note that a similar cartoon appears on the backs of each brother’s card in 1970.

Contemporary with Pat and Leroy were the athletic duo of Alex Johnson and Ron Johnson.  The enigmatic Alex won the AL batting title in 1970, while Ron was an elite running back- twice topping the 1000 yard mark. for the Browns and Giants in the early 1970s.

Mark and Dan McGwire were another set of ‘balling” siblings.  The Seattle Seahawks took Dan in the first-round of the 1991 draft out of San Diego State.  Unfortunately for Seahawks fans, he was a total bust.  Of course, Mark’s supernova stardom quickly shrank into a brown dwarf-much like his post-PED physique.

Like Dan and Mike, I’m sure that Wayne and Terry Kirby tossed spirals and curve balls in the backyard growing up. Both had cards in the early 1990s.

A more recent pigskin and cowhide familial pairing is Matt and Jack Cassel.  A 2007 rookie combo card features Patriots quarterback Matt, while Jack’s brief major league career is depicted on a Padres rookie card.

Of course, brother athletes are not confined to baseball and football.  Jim Bibby was an excellent starting pitcher for several teams in the 1970s, while brother Henry was plying the hardwood for the Knicks.

As recently as 2017, Golden State Warriors star, Klay Thompson, had a  brother-Trayce-pitching for the Dodgers. The other Thompson brother, Mychel, plays in the NBA as well.

To keep you from dozing off, I will mix it up by closing with a brother and sister combination.  In 1977 Giants pitcher Randy Moffitt and his superstar sister, Billie Jean King, were featured on cards. Billie Jean shows up in the large format “Sportscaster” card set.

Undoubtedly, there are glaring omissions in this brotherly love-fest.  Just remember, the siblings must have cards from the same year. Tim and Dale Berra were not brothers at the same time. (Attempted “Yogism!”)