These are strange times indeed. As we all withdraw from social interaction, at least in the near term, and find ourselves at home more often (though I’m home a lot!), there is some solace for those who have stuff – books, movies, and, for all of us present, cards.
For all we talk about cards in this space – what to collect, what we need, what we regret, what we envy – the true nature of this collecting business is the chords it strikes within us. There’s a nostalgia, for sure, a somewhat false recapturing of a youth that from today’s vantage point seems unblemished by trouble (though it really wasn’t at the time). There’s also the joy of having, and looking, at these totems that, at the very core, are created to make us happy.
I was once told that “things don’t love you back,” and, while that’s true, it also isn’t. The things we love reflect a kind of love back to us. There’s an emotion that is tangibly true when we look at cards. It’s real and not to be dismissed.
There’ll be times in the coming weeks that’ll result in many of us feeling lonesome. I saw a Doctor on TV last night warning that there’s a cost to isolation and we should all make sure to stay in touch, somehow.
Take some comfort in your cards. That’s what they’re there for.
Name, Team, Position. Those are the three most standard pieces of information conveyed on the obverse of a baseball card. Of the three, position is the one that is most often left out. While it is certainly isn’t hard to find examples of cards not bearing the name or team on the frontside, position is the only piece of this trio that feels kind of optional. Player positions were included on many of the earliest cards sets ever issued and remained a staple of card design until the fabled T206 set – which listed a player’s name and team home city only – seemed to put the designation out of style. Over the next few decades, many of the most iconic sets – Goudey, Cracker Jack, Leaf – ignored the position as an element of design. Bowman hit the scene in 1948 and went even more minimalist, rarely going so far as to even include the player’s name on the front of the card.
But then Topps took over, aside from their 1951 and 1952 issues, included a position on the front of each of their sets until 1972, and again for each set between 1973 and 1986. The indicator vanished between 1987 and 1990 and was an on-and-off feature until 2014, when it returned for seven straight sets (including 2020) – Topps’ longest run of position-indicating since the 1980s. Donruss included a position on every one of its designs until 1998 and Fleer did the same, using the indicator on every flagship set the brand issued. Upper Deck ignored the position on just two of its flagship sets (1992 and 2004).
This is not information that most collectors would have at the ready. Most collectors probably take the position bug for granted. I know I usually do. But being so ubiquitous (even in its absence), an unusual position indicator can make for a pretty memorable card. Herb Washington’s 1975 “Pinch Run.” is probably the most famous of these. But there are others that I recall standing out to me as a kid – Pete Rose cards where he was listed an “MGR-1B” seemed other-worldly, the 1990 Score John Olerud listed him as an “OF-P” (all while shown playing first base) made him seem like some kind of top-secret government project, and the 1989 Topps Kirk Gibson All Star that listed him as a “PH” was as jarring as it was confusing (this was done, I assume to give the NL team a DH player without using the league-inappropriate term).
A particular player’s position listing can also convey some emotion. Robin Yount listed as a shortstop or George Brett as a third baseman make them seem as though they’ll be young forever. But finding Reggie Jackson or Henry Aaron or Dave Winfield listed as a DH will bring a note of sadness that the end is near.
But of all the weird positional quirks that have happened over the years, there is nothing so fascinating to me as what happened with Paul Molitor in 1991. That was the year the versatile Brewer was listed at FIVE different positions on various cards and appeared with SEVEN different position indicators. This is, I believe, the greatest positional variety for a player in a single year ever (ignoring THIS, of course). So what happened here?
Well, Paul Molitor had historically been a trick player to pin down position-wise. He came up as a shortstop, getting his first change in the bigs when Robin Yount left the Brewers during Spring Training 1978. He only played 33 games at short that season, but it was enough to have him listed as a pure SS on his 1979 card. He played 10 games at short in 1979 and 12 in 1980, but maintained a dual listed as an “SS-2B” on Topps 1980 and 1981 issues. After spending all of 1981 in the outfield, Topps gave him the rare “2B-SS-OF” listing on his 1982 card. Molly moved to third base in 1982, and played there primarily for most of the next five years. Topps reacted in kind and listed his as either a 3B or 3B/DH through the end of the decade.
Donruss and Fleer, entering the market in 1981, both listed him as a 2B in their debut sets. Fleer gave him a pure (and accurate) OF tag in 1982, whereas Donruss went with the very broad “OF/IF” brand. Both brands followed suit with Topps and used 3B and DH marks exclusively through 1990. Upper Deck and Score did the same.
But Molitor had returned to his utility player roots by the late 1980s. He appeared in 19 games at second base in 1987 and 16 in 1989. Late in 1989, regular second-sacker Jim Gantner suffered a devastating knee injury on a wipe-out slide by the Yankees Marcus Lawton and Molitor took over regular duty at the position until Gantner was able to return mid-way through the 1990 season. Molitor, who suffered a number of injuries of his own that season, ended up playing 60 games at second base in ‘90, 37 at first base (the first time he’d manned that spot), and a handful at third and as a DH. Gantner ended the season as the regular second baseman and Molitor at prime man at first. After the season, the Brewers traded Dave Parker, who had been an All Star for them in 1990, opening the door for the now-34 year old Molitor to become the team’s regular DH for the first time.
So, the long-time third baseman who had been playing second but was also being used at first, where he was now expected to see more time when he wasn’t DHing. Got all that? Card makers sure did.
By my count, Molitor appeared on 21 different base cards in 1991 (I’m ignoring sets like Topps Micro and OPC here that merely reproduce other sets). All but Classic listed a position on their cards. He was most commonly listed at 3B, a dubious claim considering he’d only played two games there in 1990. But strong is the power of tradition. Topps listed him there, using that mark on the Bowman, Stadium Club, and OPC Premium sets as well. Fleer also considered him a 3B, as they had at least in part since 1983. Even Score listed him at the position, despite taking the rather bold stance of being the only card maker to declare him a pure DH on a 1980s issue (1988). Those two games in ’90 got a lot of mileage, I guess.
Five cards listed him at 1B, a nice compromise between his audition there in 1990 and his projected role in 1991. Magazine cards were fond of this mark, as Baseball Cards Magazine, Sports Collectors Digest, and Sports Illustrated for Kids all used it on their in-mag cards, as did Donruss and (curiously) Fleer Ultra, which ran against the flagship’s opinion that Molitor was still a 3B.
Three cards gave him a generic IF designation: two Brewers-issued sets (which used the frustrating device of considering anyone who played in the infield an IF) and the Score Superstars stand-alone set, which also broke with its parent brand and made its own positional distinction.
A pair of sets were forward-looking enough to list Molitor as a pure DH, Leaf and Studio. I recall these as later-year issues and were probably a reaction to Molitor’s role early on the 1991 season, in which he only appeared in the field once before late May.
Then, we have some true outliers. Upper Deck, showing that rebel streak that remade the hobby, boldly listed Molitor as a 2B in their set, and even used a photo of him playing the position. The semi-obscure Petro Canada Standup set also listed him as a 2B, but you had to actually stand the card up to discover this fact. Panini, in its sticker set, was the only brand to use a hybrid mark, listing Molitor was a “1B-2B,” his only 1991 card to accurately reflect upon his 1990 season.
And then there is 1991 US Playing Card set. In here, Molitor (as the Eight of Hearts) is listed as a centerfielder.
At this time, Molitor hadn’t played the outfield since a handful of games in 1986 and hadn’t been in center since 1981. Were they boldly expecting Molitor to take over in center for Robin Yount in 1991? My guess is that this is probably just an outright error. None of the other outfielder cards in the deck are given a specific OF spot (LF, CF, RF), and I can’t find anything that indicated they were acting on some of weird rumor of an unexpected position change. But nonetheless, the card exists and only adds to the positional confusion.
Oddly enough, all this positioning and repositioning for Molitor quickly became a moot point. Following the end of the 1990 season, Molitor would play first base and DH exclusively. His cards reflected this. For the most part. For 1992, Topps again branded him at a 3B across most of its sets despite his not having played there regularly since 1989. And, not to be outdone by their 1991 goof, the US Playing Card company issued two decks with Molitor cards in 1992 – one listing him at 2B and the other at SS – where Molitor hadn’t appeared since 1982 (his 1993 USPC card has him mercifully listed as an IF). At least it’s a consistent decade-long lag time, right? For 1993, only the Post Cereal Company still listed him at 3B. Card makers had finally accepted him for what had become – a DH and part-time 1B.
For his career, Molitor was listed on cards as a 1B, 2B, SS, 3B, IF, OF, CF, DH, 1B/DH, 2B/SS/OF, 2B/SS, SS/2B, 3B/DH, OF/IF, DH/1B, and DH/3B – not to mention post-career cards as a coach and manager. That’s 18 different listings (and perhaps more that I have missed) to describe a single remarkable career.
If you’re lucky enough on Thanksgiving, your plate is overflowing. Sometimes too much is good, sometimes it’s, well, too much.
I’m a pretty linear thinker, the “shortest distance between two points is a line” kind of guy, but I find myself taking on more sets to complete than I’m usually comfortable with. I’m a good multi-tasker, but the key to that is keeping the multis- to a minimum. There are different reasons I’m not sticking to this way of living in my card world, but I find myself working on 10! sets, two more if you count variations. Here’s are those different reasons:
1 – These are gonna take some time and have a price component:
I’m halfway through my 1933 Tattoo Orbit set, (31 of 60) and, though I’ve been getting commons in VG, VGEX and EX for around $30-40 each, there are some Hall of Famers I need that’ll run me around $100 per, and a few – Dean, Foxx and Grove, that’ll cost far more. Getting what remains in the condition I want, at a price that makes sense, is going to be a long long process.
I’m down to the last card I need for my 1956 Topps set and, as planned, it’s Mantle. Can I get a nice enough, raw, Mickey for around $400? Seems so, based on sold listings. It won’t be easy, but it’s doable, and it’s going to take patience. If I waited to get this card and wrap up this set before tackling the next set, I’d be stuck. So I continue.
2 – These are gonna take some time but don’t have a price problem:
You all know my undying love for 1936 Goudey Wide Pens, Type 1 (of course). The finish line is in sight, with only three to go – Cavaretta, Galan and Hartnett (what’s with the Cubs? Short prints?). Price won’t be an issue. Gabby will likely run me $25-30, the other two, $15-20. Problem is they haven’t been coming up. There was a nice Augie Galan, though with a pin hole, that I was outbid on.
Ah, the 1953 Bowman Television and Radio Stars of NBC, much-loved topic of my last post. I’m in the home stretch here and will need to wait it out. Who knows how long it will take to get a nice Dennis Day?
The 1963 Bazooka All Time Greats are a nice diversion and I’m about 50% of the way through this 41 card set. Ruth and Gehrig will set me back around $30-40 each, but I’m hoping to get the others, all commons, though all HOFers, for $5-6 each. Definitely going to take a while.
I’m whittling away at the 1972 Fleer Famous Feats set, drawn by Laughlin. I should have to spend more than $1.50-2 for each card, and that stubbornness is going to add years to this pursuit. I can buy all six that I need for less than $20 on COMC, but I can’t bring myself to do that. Full sets can be gotten for $25-35. And so I wait.
3- These shouldn’t take too long or cost too much:
I glommed on to the 1961 Post set because, actually I don’t know why. I had 30, got another 85, and all of a sudden I was on my way. What I want to pay for commons may hold me back, but no too much. The real issue is the short prints – Shaw, Estrada, Stobbs and McMillan, which will set me back $50 or so but don’t appear too often (this is what is meant by short prints).
1975 Hostess is the only year I cut them out of the boxes, which bugged me for decades but now I see as a blessing. Decent hand cuts are cheap and, though I need 36 to complete, my grand total shouldn’t be more than $25. I just need to find them.
Announcing the two most recent additions to the set quest – 1970 Topps Super Glossy Football and 1971 Topps Football. I’ll admit these are simply time killers, though I’m waiting for a lot of Glossys that’ll put me with in 10 of the end. These cards have notoriously bad cuts, which doesn’t bother me much. The 1971s I have put me close enough, in a condition good enough, to get them all at a reasonable price.
4 – The variations:
1964 Wayne Causey All-Star, NL back. Bidding on one now, another is listed as a Buy It Now. $20 is about the going rate, but there’s satisfaction in getting it for $15. Silly, I know. I got the Chuck Hinton NL back for $6, so that became my new price goal, though there’s no way I’ll luck out twice.
There are two 1973 Johnny Pro Orioles Jim Palmers. I need the windup variation. A lot of five Palmers, three windup and two follow through, was up recently, but it went for more than I was willing to pay, even having an Oriole collector on board to split the cost. Oh well.
I’m very curious about how you approach set building. Is it the norm to tackle a lot of sets, or is the one or two at a time method most common? If you take a very long time to finish a set, how do you keep it on your radar so it doesn’t get lost?
With that, Happy Thanksgiving. Hope you have a lot of things to be thankful for and that your card pursuits have been gratifying. As we know, that’s what’s really important.
I haven’t spoken to my parents in about 12 years. It’s a long story, not a particularly interesting one, so I won’t go into it. Even though I don’t speak to them anymore, don’t draw the conclusion that they never did anything nice. That would be wrong.
When Hostess started issuing cards in 1975 on the back of Twinkies, Cupcakes, Suzy Qs and Chocodiles (which may have arrived on the East Coast a few years later) boxes, I was quick to up my intake. Not that I needed an excuse to eat more Hostess Cupcakes, an all-time great junk food, but cards were a very effective spur to increase buying. I was a pretty serious collector by 1975, but still dumb enough to cut the cards from the boxes. I don’t even want to show any; they’re not terribly cut, but they make me feel bad. By the following year I realized I should cut the whole back panel out.
Around that same time my mother started taking me to a Hostess outlet. I can’t remember where it was in relation to our Lake Grove home in the middle of Suffolk County, but it wasn’t close. The outlet (imagine a Hostess outlet!) had boring stuff like bread and rolls but it had boxes and boxes of pastries (does Hostess product count as a pastry?). I could take my time checking their inventory and picking out cards I needed. It was a cake/card shop, the nearly perfect shop for a mid-teen like me.
My mother was a good sport about it, buying, it seems to me, as many boxes as I asked for. Once we brought the goodies home, there was no way I was going to wait until me, my brother and maybe my parents slowly ate their way through the stock. I dumped all the cakes out and put them in a bowl. The cellophane wrapper kept them sliding off each other, but I managed to cram the whole lot into the fridge. (There’s nothing better than cold Hostess cakes.) The boxes were empty, the back panels were cut and laid in an old shoebox.
It wasn’t until 1977 that I saw individual cards in two packs of Twinkies and Cupcakes. I was visiting my cousin in Staten Island and we were in some kind of convenience or grocery store when I saw them and bought a bagful. I probably through an immature tantrum and made him pay. Like many food issues, those cards were the platter that the product sat on, so the cards all get stained. I’ve read that clean cards were released into the hobby, but that’s cheating. I got mine, Twinkie grease and all, the old fashioned way, at the retail level.
I was looking through my Hostess cards (full confession: to list doubles on eBay) and I was instantly brought back to mid-70’s Long Island. Hostess cards bring happy memories and all I need to do is look at them. I don’t even need to eat a Twinkie to be transported. Even Proust’s madeleine couldn’t do that.