Death and Taxes and Baseball Card Litigation [Part III, 1986-1998]

Author’s Note: This is the third in a multi-part series that explores the legal backstories that have shaped (and continue to shape) the baseball card industry.

You may recall that Fleer and Donruss entered the baseball card market in 1981 after a Pennsylvania district court found that Topps and the Major League Baseball Players Association (“MLBPA”) had illegally restrained trade in the baseball card market. The court voided Topps’ player contract exclusivity clause and the MLBPA was ordered to enter into at least one additional licensing agreement “to market a pocket-size baseball card product, to be sold alone or in combination with a low-cost premium.” This freewheeling baseball card market was short-lived, however, once the Court of Appeals for the Second Circuit reversed the Pennsylvania district court’s order on August 25, 1981 and held the exclusive rights in Topps’ player contracts were legal and enforceable.

Ultimately victorious, Topps filed separate matters in Delaware (seeking to disgorge Fleer of its 1981 profits) and New York (seeking to recover Fleer’s profits for 1982/1983 claiming that Fleer’s team logo sticker was a “sham product”). Both cases were settled on confidential terms, though with a provision that allowed Fleer to continue selling baseball cards with team logo stickers.

The MLBPA Turns the Screws on Topps

Despite settlement between Topps and Fleer in the Delaware and New York matters, the case continued as to the counterclaim by the MLBPA against Topps, which the court astutely observed had likely been filed “in order to exert some pressure on Topps to abandon or at least modify the breadth of its interpretation of its player contracts.” Specifically, the MLBPA sought declaration that the word “alone” in Topps’ contracts did not include “low-cost non-confectionary items like Fleer’s team logo sticker.”

Marvin Miller, however, had admitted under oath in the prior Pennsylvania matter that Topps’ rights would be infringed by the sale of cards with a “completely valueless item” and that the MLBPA would have denied any proposal for baseball cards to be sold with a “trivial product.” Additionally, the court took issue with the absence of evidence regarding how much it cost to produce the stickers or “the extent, if any, to which the sticker motivates purchases” of Fleer wax packs. Topps argued the only way for Fleer to avoid an infringement claim would be to “make sure that the production cost of the [logo sticker] at least equal[ed] the production cost of the cards in the package.”

(L) 1982 Fleer logo sticker, (C) 1984 Fleer logo sticker front, (R) 1984 Fleer logo sticker back

However, the settlement of the underlying case between Topps and Fleer had altered the nature of the contract issue that the MLBPA wished to litigate. Although the precise terms were confidential, the settlement agreement required Fleer to increase the production cost of the logo sticker compared to the cost of the cards in each pack and specified that the logo sticker needed to be featured prominently on packaging and advertisement for the product.

Because Topps was satisfied that Fleer’s logo stickers no longer infringed on their rights to market cards alone, the court held that the MLBPA was seeking remedy for a package of cards (containing a “sham” sticker) that was no longer being marketed and that the MLBPA’s claim was nonjusticiable—it simply did not present an active controversy over which the court could preside. Accordingly, the matter was dismissed on August 25, 1986.

Turnabout is Fair Play

Separate litigation continued between Topps and MLBPA in New York. There, Topps alleged that the MLBPA had instigated a group player boycott; had attempted to monopolize Major League Baseball players’ publicity rights in violation of the Sherman Act; and had tortiously interfered with Topps contractual relationships with the players.

The compensation Topps offered for player contracts had remained unchanged since 1975—players received $5 upon signing the initial contract and received a $250 advance against his pro rata share of a royalty pool for every season he was a member of a major league club (and Topps used his picture on a card). All-Star pitcher Jim Kern described the deal with Topps rather pithily, “you get $250 from Topps, hell or high water, if your face is on a card.”

Marvin Miller had repeatedly attempted to negotiate better terms, but Topps ignored all demands—mainly because Topps’ individual contracting system left the MLBPA with little bargaining power. In fact, Topps had offered a lower royalty rate for exclusive rights than Fleer and Donruss had for non-exclusive rights prior to the 1982 season.

In an effort to increase their bargaining power, the board recommended that no player enter into or renew an agreement with Topps. Executive board member Buck Martinez acknowledged the MLBPA “simply wanted to negotiate a new contract with Topps.” The matter came to a head in January 1986, when Miller and Don Fehr distributed a memo that declared “the Executive Board has determined that it cannot, and will not recommend that any player enter into a new agreement with Topps, or renew or extend any existing agreement with Topps, pending the outcome of the discussions between the association and Topps.” Accordingly, few players signed renewals with Topps. The MLBPA thereafter presented Topps with a licensing offer of “commercially reasonable terms.”

Topps’ player contracts were set to expire with approximately 100 individual Major League players (a group that included most of the players deemed “superstars”) on December 31, 1986. Topps complained that it would be unable to produce a complete set of cards for 1987 if those contracts were allowed to expire.

In its opinion issued on August 1, 1986, the court found questions of fact regarding whether the MLBPA intended to obtain monopoly power. However, denial of Topps’ request for a preliminary injunction was a monumental win for the MLBPA, “Topps can easily avoid the irreparable harm it claims it will suffer by accepting the offer the MLBPA has made.” In other words, Topps could simply pay for the rights to renew those 100 players with expiring contracts, however unpalatable it was to Topps. Forced into the corner, a deal was struck that allowed Topps to market a full set in 1987 and beyond.

Though card manufacturers like Topps generally kept production numbers private, “one trade magazine estimated the tally at 81 billion trading cards per year in the late ‘80s and early ‘90s, or more than 300 cards for every American annually.”

In Re: Nolan Ryan Rookie Card

In April 1990, a 12-year-old collector walked out of the Ball-Mart card shop in Addison, Illinois with a beautiful 1968 Topps Nolan Ryan card. The owner of the shop, Joe Irmen, had been in the baseball card business for just a few weeks and had marked the card “1200” without a dollar sign, comma, or decimal point ($1200 was essentially top dollar for the card at the time). During a blitz of customers at the card shop, Irmen asked a clerk from his next-door jewelry store to help out. Unfortunately, that clerk had no knowledge about the value of the card and mistakenly sold it for $12.

After being inundated with requests for cheap Ryan rookie cards, Irmen discovered the $1200 card in his case had been sold at a steep discount—the receipt on file clearly showed the $12 purchase price.

The case was literally frontpage news in 1990.

Irmen initiated a manhunt and posted a sign in his store offering a $100 reward for information about the person who had purchased the card. Once the buyer (a minor) was identified, Irmen went to the child’s house, but no one answered the door. Thereafter unable to negotiate its return, Irmen filed a lawsuit in an effort to recover the card. The family, who felt the card was purchased fairly, filed a $60,000 counterclaim for defamation. 

The matter was set for trial on March 5, 1991 in front of DuPage County Judge Ann Jorgensen. Before the proceedings began, it was revealed that a trade had been made the night before in which the 1968 Ryan card had been exchanged for a 1965 Joe Namath rookie and 1967 Tom Seaver rookie. The bombshell revelation resulted in a shouting match between the attorneys. Bailiffs had to clear the courtroom.   

Once order was restored, the case was continued and eventually settled by way of the parties agreeing to have the card auctioned off for charity. On June 21, 1991 the card was sold for $5000, and the proceeds split between the parties to be donated to charities of their choice. 

Cutting Cards: A Cautionary Tale

In what may qualify as the original “cart art,” Dad’s Kid Corporation produced a set of “Tri Cards” in 1992 that were assembled using three identical baseball cards issued by Donruss, Fleer, Score, or Upper Deck. The top two cards were die-cut such that only the body of player remained. Those two pieces were then stacked and glued atop an uncut card to create a neat 3-D effect. Each card was encased in a plastic box and sold individually or in a two-pack, packaged such that each card was visible to potential buyers.

Front and back of Wade Boggs Tri Card, constructed from three 1991 Upper Deck cards.

The owner of Dad’s Kid Corporation, Christopher Kamar, had struck deals with Toys R Us, F.A.O. Schwartz, Spencer Gifts, and other retailers to sell his Tri Cards. Almost immediately, the Tri Cards were so popular that Dad’s Kid had to run three shifts of 100 assemblers per shift just to meet demand. In fact, its initial shipment to Toys R Us was so successful, Dad’s Kid had a reorder on the table worth upwards of $20 million when Upper Deck, Score, Leaf, and the MLBPA filed coordinated lawsuits in New York and California seeking to stop Dad’s Kid from selling its Tri Card products. The respective lawsuits alleged that any modification of existing baseball cards, without prior written permission, violated trademark and copyright law.

For its part, Dad’s Kid had undertaken a thorough legal analysis before it began the manufacturing process and was operating under a good-faith belief it was not infringing on any rights; it was simply using cards purchased legally on the secondary market. Moreover, the company posted an explicit disclaimer on each box alerting consumers it was not claiming any rights with respect to the cards and was otherwise not affiliated with any of the card manufacturers, MLB, or the MLBPA.

In the New York case, the MLBPA moved for an injunction asking the court to stop Dad’s Kid from selling Tri Card products. The district court refused, citing the “first-sale doctrine” in a ruling issued on November 12, 1992:   

“The fact that an enormous secondary market exists for baseball cards and baseball card derivative works leads me to conclude on this record that baseball players have little if any continuing publicity rights with respect to the use and reuse of their pictures on cards by subsequent purchasers and sellers of duly licensed baseball cards following a perfectly proper first sale into commerce for which the players get a royalty.” Effectively, the players did not have the right to control what was done with the cards after the initial sale and had no claim for any additional compensation. On the heels of this victory, Dad’s Kid announced its Tri Cards would be back in 1993.

The lawsuits rolled on, however, and in April 1993 the New York case was consolidated with the California matters to continue there. Unfortunately for Dad’s Kid, the California district court did not agree with (and was not bound by) the New York first-sale ruling and instead issued a permanent injunction on August 12, 1994 that prohibited Dad’s Kid from producing any further Tri Cards. The court further ordered that Dad’s Kid reimburse the plaintiff card manufacturers and MLBPA over $1 million collectively in attorneys’ fees and costs.

Dad’s Kid appealed and the case was eventually dismissed on March 8, 1996, pursuant to a confidential settlement.

Johnny Bench Hit by his Own Pitch

Sports cards and memorabilia sales continued to soar in the 1990s and quickly became a fixture on shop-at-home television stations. This format often preyed on those unfamiliar with the actual value of items and otherwise created an environment where even sophisticated collectors might get caught up in the frenzied sales tactics.  

Hall of Fame catcher Johnny Bench appeared on the Home Shopping Network on August 5, 1993 to hawk baseballs he had signed. In typical shop-at home fashion, viewers were initially told the autographed balls were worth $129. They claimed the baseballs would sell out at $99.95. Finally, the Bench-signed baseballs were dropped to the low, low price of $49.95.

Unfortunately for the Home Shopping Network and Bench, however, the New York Department of Consumer Affairs had started to monitor the values claimed for sports card and memorabilia. With the help of a trusted price guide, they determined that an autographed Johnny Bench baseball was worth $35, only 70% of its final “sensational” sales price.   

The first celebrity endorser to face such charges in New York, Bench was personally cited for misrepresenting the value of his own signature on a ball. Bench was hit with a $5000 fine in December and Home Shopping Network was ordered to pay $30,000.

Poking the Bear

Seeking to “put the fun back in baseball card collecting,” Cardtoons readied a 1993 release of parody baseball cards intended to poke fun at the egos and greed in the game (and the world) with an issue that was equal parts Wacky Packages, Garbage Pail Kids, and traditional trading cards. The set of 130 cards lampooned current players, retired legends, Michael Jordan (the baseball player) and political figures like Bill Clinton.

Clockwise: Raging Tartabull (No. BB-15), The Say What Kid (No. 40),
Treasury Bonds (No. 8), Slick Willie (No. S-3).

Cardtoons tapped free agent sportswriter Mike Sowell to create the players’ alter egos and write the card backs. Caricatures by Dayne Dudley and Dave Simpson were deftly rendered so that each individual was recognizable without including team logos that might run afoul of MLB’s rights. In fact, even the team names were changed to cheeky monikers (e.g., Orioles/Bore-Ioles and Cubs/Scrubs). The glossy cards were distributed in foil packs along with chase cards, foil versions, insert sets, puzzles, and redemption cards intended to skewer the baseball card industry, itself. Cardtoons’ initial run called for some 13 million cards to be printed.

Cardtoons first advertised their cards in the May 14, 1993 issue of Sports Collector Digest. This caught the attention of the MLBPA (who had not issued a license to Cardtoons to use the likenesses of the players depicted). The MLBPA sent Cardtoons a letter on June 18 asserting that its product violated the “valuable property rights of MLBPA and the players” and threatened legal action if any cards of active baseball players were sold. A similar letter was sent to the printing company, who immediately halted production.

Just days after receipt of the cease-and-desist letter, Cardtoons filed a lawsuit against MLBPA seeking a declaration that it could sell parody baseball cards without license from the MLBPA pursuant to First Amendment protection. At a subsequent evidentiary hearing, Cardtoons revealed it was sitting on nearly 4000 cases of product ready to ship. The MLBPA claimed it would never have licensed a parody set that poked fun at individual players (and also admitted to a “glut” in the market for baseball cards!).

The district court considered that parodies (such as political cartoons) were generally protected by the First Amendment and “deserving of substantial freedom—both as entertainment and as a form of social and literary criticism.” The issue the court wrangled with, however, was whether “one can sell a parody” and ultimately decided that Cardtoons could not profit from the players’ likenesses and fame. An order was entered that prohibited Cardtoons from selling cards containing the likenesses of active Major League ballplayers (101 of the 130 cards in the set). Damages were denied because none of the cards had actually been sold at the time the decision was rendered on November 23, 1993.          

The Cardtoons set eventually saw the light of day, however, because raunchy rap group 2 Live Crew sampled a Roy Orbison song without permission. In a case that went all the way to the U.S. Supreme Court, 2 Live Crew prevailed in a ruling handed down on March 7, 1994 in which it was held that a commercial (i.e., made specifically for sale) parody song could constitute fair use.

Cardtoons sought reconsideration in light of the 2 Live Crew ruling and on October 25, 1994, the district court reversed its prior decision, this time finding it reasonable that Cardtoons would seek compensation for its efforts and recognized that “parodists will seldom get permission from those whose works are parodied. Self-esteem is seldom strong enough to permit the granting of permission even in exchange for a reasonable fee.” The court ultimately ruled that that right of publicity did not “confer a shield to ward off caricature, parody and satire” and that the Cardtoons cards were protected by the First Amendment, regardless of their commercial nature.   

Finally clear to distribute their cards, Cardtoons released the set in 1995—the product’s overarching message elegantly punctuated by intervening strike and cancellation of the 1994 World Series. While the original version of cards was set to be “90 percent positive in the way they portrayed players,” Sowell’s opinion soured as the court battle raged. He decided there was “no need to be nice” and satirized the players as he saw fit.

Front and back of Egotisticky Henderson (No. 35).

The appeal filed by MLBPA was denied in 1996, the Tenth Circuit ruling succinctly that “the last thing we need, the last thing the First Amendment will tolerate, is a law that lets public figures keep people from mocking them.” But for the protracted lawsuit, Cardtoons had plans to issue card sets for other sports.

Mickey Mantle v. Upper Deck

On February 1, 1993 Mickey Mantle entered a three-year contract that gave Upper Deck “exclusive worldwide rights to use and reuse. . .Mantle’s name (as well as any nicknames), image, likeness, artists’ portrayal of image or likeness, visual representation, signature (or facsimile thereof), photograph, voice, biography, statistics and endorsements” for baseball cards and associated promotional materials. Upper Deck’s 1993 Mantle issues were relatively modest, including several “All-Time Heroes” multiplayer cards and a “Then and Now” card featuring a young Mantle aside a holographic image an older Mantle wearing an Upper Deck jersey. 

In 1994, Upper Deck produced a slew of Mantle cards, including one that was personally signed by both Mantle and Ken Griffey Jr. That year, Topps also issued a Mantle card as part of its Archive set, styled as a 1954 Topps card and clearly indicating on the reverse that it had rights to issue the card per an agreement with Upper Deck. (Mantle was signed with Bowman exclusively in 1954 and 1955 and Topps had not issued Mantle cards those seasons.)

Though labeled as a Topps Heritage issue, this card (No. 259) was actually distributed as an insert card in packs of 1994 Upper Deck All-Time Heroes because Upper Deck held exclusive rights.

Despite Upper Deck wholeheartedly issuing a multitude of Mantle cards in 1994, the company reportedly soured on the deal after Mantle publicly admitted he had undergone alcohol rehabilitation. Mantle filed a lawsuit late in the year claiming that Upper Deck had threatened to rescind the contract unless he agreed to take a pay cut. Upper Deck admitted, “discussions regarding restructuring Mr. Mantle’s contract were the product of his disability and other performance-related concerns.” Upper Deck claimed Mantle had “failed to live up to his commitments as effective spokesperson for the company.”  

In February 1995 the parties agreed to participate in arbitration (an alternative dispute resolution process in which three arbitrators—not a jury or judge—decide the case and amount of damages, if any). Despite the ongoing dispute, Upper Deck went ahead and issued a set of metallic Mickey Mantle baseball cards in 1995.

Somewhat ironically, Upper Deck sued several parties in a separate action on February 14, 1995 claiming that those companies could not sell items autographed by Mantle during the term of Upper Deck’s exclusive contract with Mantle. One of those companies, Score Board, prevailed because its contract with Mantle specifically provided it could sell off remaining merchandise after that contract expired on January 31, 1993.  At the same time, Score Board had separately sued Upper Deck in New Jersey claiming that Upper Deck was improperly selling autographed Ken Griffey Jr. signatures that Score Board had exclusive right to sell.

On May 28, 1995, Mantle was hospitalized and underwent a liver transplant on June 8. After Mantle passed away on August 13, 1995, collectors scrambled to acquire Mantle items and Upper Deck, alone, sold more than $500,000 worth of Mantle memorabilia on the heels of his death. Mantle’s (estranged) widow Merlyn and personal attorney Roy True continued to prosecute the Upper Deck case on behalf of Mantle’s estate.  

On May 22, 1996 the arbitration panel awarded the estate nearly $5 million (approximately $9.7 million in today’s dollars), which included actual damages for having sold Mantle merchandise without a license to do so, punitive damages, and attorney’s fees. Upper Deck sought to have the award vacated, but their efforts failed, and the lawsuit was closed in April 1997.

Orel Hershiser Adds Another Shutout

Orel Hershiser is probably best known for his amazing 1988 pitching performance in which he tossed 59 consecutive shutout innings. A decade later, Hershiser sued Vintage Sports Plaques (“Vintage”) for infringement of licensing and publicity rights after learning that Vintage was selling Hershiser’s baseball cards affixed to wooden plaques and labeled with his name. (Deluxe plaques included a “clock with a sports motif.”) The Hershiser cards used by Vintage were purchased from licensed manufacturers and framed without alteration. Vintage, itself, had no licensing agreements with any parties.

1989 Topps Record Breaker (No. 5)
Wouldn’t this make an amazing clock?

Vintage argued that the “first-sale doctrine” was a complete defense to the publicity claims. The first-sale doctrine provides that “once the holder of an intellectual property right consents to the sale of particular copies. . .of his work, he may not thereafter exercise the distribution right with respect to such copies.” The court rightly recognized that its failure to apply the first-sale doctrine in the Hershiser case would “render tortious the resale of sports trading cards and memorabilia” and would have a chilling effect on the secondary market for trading cards. In fact, refusing to apply the first-sale doctrine here would essentially make it impossible for a child to sell a baseball card to a friend.

Ultimately, the court found that Vintage was merely reselling cards that it had lawfully obtained. “This is more appropriately classified as a case of an entrepreneur repackaging or displaying the trading cards in a more attractive way to consumers rather than a case of an opportunist using Plaintiffs’ names and likenesses to sell frames and clocks.” The appellate court affirmed and the plaintiff’s declined to pursue any further appeal to the U.S. Supreme Court. Hershiser was shutout.

An Ocean of Cards

Although the MLBPA had long been involved in baseball card-related disputes and litigation, the owners of the ballclubs had not been quite so active, perhaps because collecting money for the use of their trademarked logos and uniforms, while very lucrative, was not the lifeblood that licensing revenue represented for the MLBPA.

This changed in 1998, however, when Major League Baseball Properties, Inc. (“MLB”) learned that Pacific Trading Cards was in the process of manufacturing and distributing cards that depicted players in their MLB uniforms, despite MLB having refused to grant a license to Pacific for the current set. (MLB had authorized previous Pacific issues).

Pacific was fully licensed by the MLBPA and went forward with manufacture “either believing mistakenly that it would receive a license from MLB or not caring whether it would.” The MLB sued to stop Pacific from distributing their cards. The MLB’s request for a preliminary injunction was denied, inter alia, because the court felt that the inclusion of the logos or trademarks were only incidental to the depiction of the player and did not imply any sponsorship by MLB for the card.

An appeal followed by MLB and Pacific implored the court for permission to ship their cards immediately or the results would be financially ruinous. Ultimately, MLB and Pacific were able to reach a settlement and Pacific continued to issue sets of baseball cards through 2001.   

Throughout the 1990s, card companies, like Pacific, continued to churn out nearly innumerable piles of cards. An exclusive license for Topps was on the horizon, but the fighting would continue in nearly every corner of the hobby. 

To be continued…

Sources/Notes:

Cases

  • Fleer Corp. v. Topps Chewing Gum, Inc., 501 F.Supp. 485 (E.D. Pa. 1980). The only trading card product ever to outsell baseball cards was Wacky Packages in 1973-74. The court noted that the slab of gum weighed “4.30 grams” in 1978. Fleer had a net operating loss in 1978 and its net income (loss) was as follows: 1977—$346,621; 1976—$502,257; 1975—$720,274; 1974—($309,261); 1973—$382,354; 1972—$268,926; 1971—$148,494; 1970—($200,016). Roughly two thirds of baseball cards purchased are purchased by “heavy” buyers (i.e., those who purchase more than 200 cards per year.)  
  • Fleer Corp. v. Topps Chewing Gum, Inc., 658 F.2d 139, 658 F.2d 139 (3rd Cir. 1981). The number of players included in each licensing agreement varied. Some contracts, like those with Coca-Cola and Kellogg’s covered all the players, while others included “not less than 72, and not more than 300.”
  • Fleer Corp. v. Topps Chewing Gum, Inc., cert. denied, 455 U.S. 1019 (1982).
  • Topps Chewing Gum, Inc. v. Fleer Corp., 547 F.Supp. 102 (D. Del. 1982).
  • Tetley, Inc. v. Topps Chewing Gum, Inc., 556 F.Supp. 785 (E.D.N.Y. 1983). Tetley Tea manufacturer sued Topps for including “Petley Flea Bags” in its Wacky Packages release. Approximately 200,000 of the sticker was issued between 1975 and 1977 and Topps had produced approximately 400,000 more of the sticker for its 1982 release. Topps agreed to discontinue distribution of the offending sticker once the printed run was fully depleted.
  • Topps Chewing Gum, Inc. v. Major League Baseball Players Association, 641 F.Supp. 1179 (S.D. N.Y. 1986)  Topps paid royalties to the MLBPA computed at 8% of Topps’ first $4 million in net sales and 10% of Topps’ net sales in excess of $4 million.
  • Topps Chewing Gum, Inc. v. Fleer Corp., 799 F.2d 851 (2nd Cir. 1986). The MLBPA was granted intervention as a defendant in Topps case against Fleer; Topps had not sued the MLBPA directly in this action. The matter was remanded to the district court to be dismissed without prejudice, which would have allowed the MLBPA to have filed a new lawsuit against Topps, if they desired. No such suit was filed. 
  • Original Appalachian Artworks, Inc. v. Topps Chewing Gum, Inc., 642 F.Supp. 1031 (N.D. Ga. 1986).  The makers of Cabbage Patch Kids sued Topps for copyright and trademark infringement caused by the sale of its Garbage Pail Kids stickers. Between May 1985 and August 1986, Topps had sold more than 800 million stickers. Before issuing the Garbage Pail Kids product, Topps had unsuccessfully tried to obtain a license for Cabbage Patch Kids. Topps eventually agreed to a confidential cash settlement and design changes to the cards. “Cabbage Patch Dolls are Victorious Over Garbage Pail Kids.” The Columbus (Georgia) Ledger, February 4, 1987: 8.  
  • Fleer Corp. v. Topps Chewing Gum, Inc. 539 A.2d 1060 (Del., 1988). “Restitution serves to ‘deprive the defendant of benefits that in equity and good conscience he ought not to keep, even though he may have received those benefits honestly in the first instance, and even though the plaintiff may have suffered no demonstrable losses.’”
  • Cardtoons v. Major League Baseball Players Ass’n, 838 F. Supp. 1501 (N.D. Okla. 1993). The six companies with MLBPA licenses to sell baseball cards at the time were producing an estimated $1.3 billion in annual sales. Caricature was defined as “the deliberate distorted picturing or imitating of a person, literary style, etc. by exaggerating features or mannerisms for satirical effect.” 
  • Campbell v. Acuff-Rose Music, Inc., 510 U.S. 569 (1994). The District Court had granted summary judgment for 2 Live Crew, holding that its song “Pretty Woman” was a parody that made fair use of the original Roy Orbison song “Oh, Pretty Woman.” The appellate court reversed because they felt 2 Live Crew had “taken too much” of the original for their own use and that the song constituted a commercial use. The Supreme Court subsequently reversed and remanded holding that 2 Live Crew’s commercial parody might qualify as fair use.
  • Cardtoons v. Major League Baseball Players Ass’n, 868 F. Supp. 1266 (N.D. Okla. 1994).
  • Cardtoons, L.C. v. Major League Baseball Players Ass’n, 95 F.3d 959, 39 USPQ2d 1865 (10th Cir. 1996). “Because Cardtoons’ First Amendment right to free expression outweighs MLBPA’s proprietary right of publicity, we affirm.” The court noted that royalties from baseball cards generated over 70 percent of the MLBPA’s licensing revenue.
  • Mantle v. Upper Deck Co., 956 F.Supp. 719 (N.D. Texas, 1997). Mantle sued The Upper Deck Company and Upper Deck Authenticated, Ltd.  These related companies are referred to collectively as “Upper Deck” for the reader’s benefit. Judgment confirmed for Estate of Mickey Mantle against defendants in the principal amount of $2,725,258.00, exemplary damages in the amount of $1,000,000.00, attorney’s fees in amount of $1,241,628.00, prejudgment interest at 10% per year from the date of the award until the date of judgment, and post-judgment interest at 5.81% per year.
  • Upper Deck Authenticated, Ltd. v. CPG Direct, 971 F.Supp. 1337 (S.D. Cal. 1997). Defendants included Shop at Home, Inc., CPG Direct, B&J Collectibles, William Rodman, Kenneth Goldin, Classic Games, Inc., Catch a Star Collectibles, Inc., The Score Board, Inc., Score Board Retail Corporation, The Score Board Holding Corporation.
  • The Score Board, Inc. v. Upper Deck Co., 959 F.Supp. 234 (D. N.J. 1997).
  • Allison v. Vintage Sports Plaques, 136 F.3d 1443 (11th Cir. 1998). Hershiser had otherwise earned $230,000 from licensing and endorsement deals from 1993 through 1996. Stockcar driver Cliff Allison’s widow Elisa was also a plaintiff in the case.
  • Major League Baseball Properties, Inc. v. Pacific Trading Cards, Inc., 1998 WL 241904 (S.D. N.Y. 1998).
  • Major League Baseball Properties, Inc. v. Pacific Trading Cards, Inc., No. 98-7700 (2nd Cir. 1998).
  • Cardtoons v. Major League Baseball Players Ass’n, 182 F.3d 1132 (10th Cir. 1999); Cardtoons v. Major League Baseball Players Ass’n, 208 F.3d 885 (10th Cir. 2000); Cardtoons v. Major League Baseball Players Ass’n, 335 F.3d 1161 (10th Cir. 2003). Cardtoons tried, and failed, to collect monetary damages from the MLBPA.

Articles

  • Paul Lomartire, “Baseball Cards and the Snaps of Spring,” The Tampa Tribune, April 4, 1982: 133.
  • John Leptich, “Boy sued over baseball card,” Chicago Tribune, November 10, 1990: 1.
  • “Nolan Ryan rookie card snafu headed to court,” The Tribune (Scranton, Pennsylvania), March 6, 1991: 12.
  • John Leptich, “Baseball card returns, trial goes on,” Chicago Tribune, March 8, 1991: 49.
  • John Leptich, “Charity delivers winning pitch in baseball card suit,” Chicago Tribune, April 23, 1991: 47.
  • John Leptich, “Ryan card brings $5000 and another flap,” Chicago Tribune, June 22, 1991: 41.
  • “Upper Deck Sues Rival Card Firm; Claims Trademark Infringement,” North County Times (Oceanside, California), August 2, 1992: 31.
  • Anne Michaud, “Small Baseball Card Firm Takes Hit from Big Leagues,” Los Angeles Times, October 22, 1992: 265.
  • “For the Record,” Los Angeles Times, October 23, 1992: 195. Dad’s Kid filed a counterclaim for $955 million.
  • Jim Bullard, “More than kids’ stuff,” Tampa Bay Times, January 1, 1993: 96.
  • Owen Canfield, “ML Players Association not amused by ‘Cardtoons,’” Central New Jersey Home News (New Brunswick, New Jersey), July 9, 1993: 24.
  • “Bench’s ink pitch draws ire,” Herald and Review (Decatur, Illinois), October 8, 1993: 30.
  • “Mantle files lawsuit against Upper Deck on contract balk,” Logansport (Indiana) Pharos-Tribune, November 4, 1994: 12.
  • Jay D. Preble, “Leagues fighting unlicensed cards,” Tampa Tribune, November 12, 1994: 24.
  • Gene Collier, “How do you spell egomaniacal?,” Pittsburgh Post-Gazette February 12, 1995: 25.
  • John Mabry, “Satire cards aren’t a hit with big-league players, Kansas City Star, April 16, 1995: 44.
  • “Doctor Says Mantle’s Prognosis ‘Quite Good’,” Daily Sitka (Alaska) Sentinel, June 23, 1995: 10.
  • Norm Cohen, “Classy Ripken Has No Quota,” Newsday (Nassau Edition) (Hempstead, New York), August 6, 1995: 144.
  • “Jordan, others not satisfied with agreement,” Index-Journal (Greenwood, South Carolina), August 17, 1995: 17.
  • “Baseball,” Salina (Kansas) Journal, June 2, 1996: 34.
  • “Appeal Fails Over Use of C. Allison Trading Card,” Birmingham Post-Herald, March 28, 1998: 14.
  • Dave Jamieson, “The Great Baseball Card Bubble,” Slate, March 24, 2010.

Websites

https://bizfileonline.sos.ca.gov/search/business, Record number 1826013, accessed October 18, 2022.

tcdb.com

Interviews

  • Christopher Kamar, telephone interview with author, October 21, 2022.
  • Michael Sowell, telephone interview with author, November 5, 2022.

Special Thanks

Special thanks to Jason Schwartz for reviewing this article and offering helpful suggestions.

Appendix 1

Tri Cards Checklist (Cards are not identified with a Tri Cards set number or date of issue by Dad’s Kid Corp. Cards are individually numbered to 50,000. Production was halted before 50,000 of any card was manufactured and no records remain regarding the actual number produced of each Tri Card. Additionally, no checklist of Tri Cards manufactured exists, so the following list may be incomplete.)

PlayerCard Used
Alomar, Roberto1991 Donruss
Alomar, Sandy1992 Donruss
Boggs, Wade1991 Upper Deck
Bonds, Barry1991 Donruss
Bonilla, Bobby1991 Donruss
Browning, Tom1991 Upper Deck
Canseco, Jose1991 Score
Canseco, Jose1991 Upper Deck
Canseco, Jose1991 Score
Chamberlain, Wes1992 Donruss
Chamberlain, Wes1991 Fleer
Clark, Will1991 Upper Deck
Davis, Eric1991 Fleer
Davis, Eric1991 Upper Deck
Dawson, Andre1991 Upper Deck
Fielder, Cecil1991 Upper Deck
Fielder, Cecil1991 Donruss
Gonzalez, Juan1992 Donruss
Gooden, Dwight1991 Score
Gooden, Dwight1991 Upper Deck
Ken Griffey Jr.1991 Upper Deck
Ken Griffey Jr.1991 Donruss
Henderson, Rickey1991 Upper Deck
Henderson, Rickey1990 Score
Henderson, Rickey1991 Donruss
Jefferies, Gregg1991 Upper Deck
Johnson, Howard1992 Donruss
Joyner, Wally1991 Fleer
Justice, Dave1991 Donruss
Maas, Kevin1991 Donruss
Martinez, Ramon1992 Donruss
Mattingly, Don1991 Upper Deck
McGriff, Fred1991 Donruss
Mitchell, Kevin1991 Upper Deck
Morris, Jack1990 Upper Deck
Ripken, Cal1991 Upper Deck
Ryan, Nolan1991 Upper Deck
Ryan, Nolan1991 Donruss
Sandberg, Ryne1991 Donruss
Smith, Ozzie1991 Donruss
Strawberry, Darryl1991 Score
Thomas, Frank1991 Donruss
Vaughn, Greg1991 Fleer
Yount, Robin1991 Fleer
Appendix 1 – Tri Cards Checklist

Player Collection Spotlight: Representing the 772 (or 561 or 407 or 305)

Our collecting habits are almost certainly influenced by time and place, and my own certainly are. The players I collect were primarily active in the 1980s and 1990s, the team I collect was on top of the baseball world in 1986 with their spring training site moving about two miles away from my house, and, with my formative collecting years being the late 1980s and early 1990s, I find having a single card producing company with a full MLB license maddening.

At some point, probably in the early 2000s, I began collecting “cards” of players from the area in which I grew up. “Cards” is in parentheses because I have other items of the non-card variety, including Starting Lineup figures for the few who had them as well as other assorted card-like items. While the definition of a card varies by individual, my own definition of a “card” is broad.

Port St. Lucie was small when I lived there – the title of the post shows how much the area codes changed due to population growth over the span of about 15 years. There was not actually a high school in the city of Port St. Lucie until 1989 (I was in the second class that could possibly have attended the school all four years) – so I branched out a little into the rest of St. Lucie County as well as neighboring Martin and Indian River counties. But despite its size there were a few players who made it to the show.

The most famous player from the area is almost certainly Rick Ankiel. A highly touted pitching prospect who likely would have gone higher in the draft if he didn’t have Scott Boras as his agent, he finished second in Rookie of the Year voting to Rafael Furcal then proceeded to struggle with control against the Braves and Mets in the playoffs. He of course made it back to the majors as an outfielder, which, according to his book, may not have happened had he not had Boras as his agent. It’s that story which likely elevates him to the most famous player from the area.

Charles Johnson went to Fort Pierce Westwood and was drafted in the first round twice – once out of high school and once out of the University of Miami. I believe his dad was the baseball coach at Westwood for many years. He is probably the best player (at least according to WAR) to come out of the area, or at least he was until Michael Brantley came along. Again, there are dividing lines for a collection – I don’t collect Brantley because I had left the area before he became a local player. He was in the right place just at the wrong time. Brantley’s time in that area did overlap perhaps an even more famous individual from the area – you may have seen Megan Fox in a movie or two.

There are other players from the area, more minor players in the history of the game. Ed Hearn, who was born in Stuart and went to Fort Pierce Central, was a favorite of my best friend’s mom. He also happened to play for the 1986 Mets, which is good enough for me. Like Charles Johnson, Terry McGriff is a catcher out of Westwood and is actually Charles Johnson’s uncle. He’s also a cousin to Fred McGriff (who I also collect in a limited fashion though that has nothing to do with location – it has everything to do with time). A friend of mine in elementary school got Terry McGriff’s autograph when Terry visited my friend’s elementary school. Eventually that card ended up in my collection through a trade of some sort.

Danny Klassen, who went to John Carroll High School, is the closest in age to me, and while I didn’t play baseball with him (I was on the north side of Port St. Lucie and played at Sportsman’s Park; he was playing on the south side at Lyngate Park) I know many people who played on teams with him in Little League and Legion Ball. I believe he has a World Series ring with his time on the Diamondbacks. Wonderful Terrific Monds was a player I didn’t know much about, but (1) a good friend of mine’s parents couldn’t stop talking about how good he was and (2) his name is awesome. He never made it to the majors, but he has minor league cards and a handful of cards from mainstream sets due to being in the minors at the right time (a prospect in the early 1990s).

I should probably have a Jon Coutlangus collection, but alas, I think he was a year too late. At one point I identified Joe Randa as the best MLB player to attend Indian River Community College (which is now Indian River State College), so I started a Randa collection, though I don’t remember much about his IRCC career.

The more prominent players (Ankiel, Johnson, and Randa) have some game-used and autographed cards; most have parallel cards in one product or another. Okay, Ankiel has over 100 different autographed cards and over 50 memorabilia cards according to Beckett; he was a hot prospect at a time when there were multiple fully-licensed producers. He’s also popular enough that he has autographed cards in recent Topps issues, well after his retirement from baseball. Hearn, McGriff, Monds, and Klassen only have a handful (or what I would call a handful – less than 75) of cards. It’s usually easier to find the rarer cards of the bigger names because sellers will list them, with the cards of the less popular players coming up occasionally.

While the cards of these players aren’t going to set records at an auction or allow me to buy an island, the collection provides a tie to my formative baseball playing and baseball card collecting years. For me, those types of connections are why I collect.

Cardboard Crosswalk: 1978 Topps and 1990 Pacific Senior League

Some serious nostalgia set in when I read Chris Kamka’s recent post on the 1990 Pacific Senior League set, and the dosage was doubled when I looked up the full checklist on Trading Card Database. The Senior League players, coaches, and managers in the set were not simply players I watched growing up. More importantly, they were the names I collected, sorted, and idolized when I began my lifelong obsession with cardboard back in 1978.

As the mind has a way of playing tricks more than four decades later–I could have sworn John D’Acquisto have a 1978 Topps card!–I decided to check my foggy memories against the honest to goodness 1978 Topps checklist. Or in the parlance of the SABR Baseball Cards blog, I did a Cardboard Crosswalk!

John D’Acquisto aside, my memory wasn’t so bad after all. More than half the cards in the 1990 Pacific set (122 out of 220) feature players or managers from 1978 Topps. Leading the way were the Fort Myers Sun Sox, with 22 of the 29 cards in the Pacific set having 1978 Topps predecessors.

While the Sun Sox were clearly the frontrunners, the other seven teams in the Senior League were all represented with 1978 Topps ancestry.

  • St. Petersburg Pelicans – 16
  • Bradenton Explorers – 16
  • St. Lucie Legends – 15
  • Winter Haven Super Sox – 14
  • Orlando Juice – 14
  • West Palm Beach Tropics – 13
  • Gold Coast Suns – 13

I also organized the crosswalk by 1978 Topps team. Most of the 1978 Topps team sets contributed 4-5 players to the Senior League set, paced by the Cleveland Indians with 10 (or 11 if we count Dobson twice).

At the other end of the spectrum, one team from 1978 Topps, the Minnesota Twins, contributed no players at all.

Something that may have already caught your eye from the various graphics presented is the large number of 1978 Indians who were also 1990 Sun Sox.

The 1990 Pacific Senior League set featured additional 1978 Topps reunions, which I’ll define here as groups of at least three players who were teammates in both sets.

The same Sun Sox also included three 1978 Topps A’s (Steve McCatty, Tim Hosley, Joe Coleman) and three Royals (Amos Otis, Dennis Leonard, Doug Bird). Meanwhile, the St. Petersburg Pelicans reunited four players from the 1978 Topps Mets checklist (Steve Henderson, John Matlack, Lenny Randle, and Pat Zachry), three 1978 Phillies (Jerry Martin, Randy Lerch, Bake McBride), and three Tigers (Ron LeFlore, Steve Kemp, Milt Wilcox). Finally, three members of the 1978 Topps Pirates family (Bruce Kison, Omar Moreno, Al Oliver) got back together on the Bradenton Explorers.

However, the reunion to end all reunions came courtesy of the Winter Haven Super Sox, who more than lived up to their name with seven Red Sox from the 1978 Topps set.

This same team included several other players with Beantown ties, among them Cecil Cooper, Gary Allenson, and Mario Guerrero. While the actual 1978 Red Sox won 99 games and missed the postseason by the narrowest of margins (BFD!), their 1990 redux went 29-43, landing firmly in the cellar of the Senior League’s Northern Division.

With the prices of unopened packs of 1978 Topps largely out of reach, the 1990 Pacific Senior League set may well represent my best chance to relive my first year in the Hobby. Sure there’s no Steve Garvey, Reggie Jackson, or Dave Parker, but let’s be honest…neither did most of the packs I opened as a kid. In truth the only thing that would break the illusion would be that the 1990 Pacific set has no Warren Brusstar, a player I seemingly pulled from every single pack of 1978 Topps.

Still, about half the cards I’d pull would have 1978 Topps counterparts, and if my math is correct a pack of 12 Pacific cards would have a (roughly) 50-50 chance of yielding at least one pair of 1978 Topps teammates. (I’m now tempted to buy a box and test this out.)

Of course, this article has only scratched the surface of all the interesting connections between 1978 Topps and 1990 Pacific Senior League, but rather than highlight all of them, only to end up with a SABR Bob Davids Award my shelf has no room for, I’m turning my source data over to you. Good luck in your research, and definitely feel free to write it up for our SABR Baseball Cards blog!

Author’s note #1: The 1990 Pacific Senior League set includes four cards with incorrect photos. My analysis was based on the name on the card rather than the actual player photographed.

Author’s note #2: Okay, just for kicks, I ran a simulation of buying six packs of Senior League cards using the random number generator at random.org. Let’s see if those predicted 1978 Topps teammates showed up.

Pack 1: SUCCESS!

Pack 2: FAILURE

Pack 3: SUCCESS!

Pack 4: SUCCESS!

Pack 5: SUCCESS!

Pack 6: SUCCESS!

Now if you’ll excuse me I’m heading to Bradenton to win some bar bets with a box of 1990 Pacific!

Oldies but Goodies

The phrase “Alternate Site” has become part of baseball’s vocabulary over the past year, and it will always sound weird. It’s like there’s an alternate universe where everything you know is wrong. It sort of made me think of when a few years back I found a book on the shelf at a used book store –  Peter Golenbock’s Forever Boys, where the author spent a year with the St. Petersburg Pelicans of the Senior Professional Baseball Association.

I had NO idea this league even existed! I was 9-10 years old, and surely I’d have had some recollection of this league, but nope. Nothing. It’s as if there’s an alternate history of baseball that I was unaware of. It’s too bad, because if this existed today, I’d be into it for sure. A bunch of players I grew up watching getting together again? Let’s go! Anyway, the book was fantastic. Everything was completely new to me.

Fast-forward another year or so after reading the book, and I discovered that there were Senior League card sets too! Looking at the checklist, I had to have them, and eventually I found a set for sale for five bucks at a card shop.

There were a few sets for sale, and I intended to get the one by a company called T&M Sports. Later, I opened up the box and started looking at the cards and realized that they gave me the Pacific set instead. I’m glad they did.

A simple silver border with 22 stars (I counted) along the top and side, with a logo in the bottom corner next to the player’s name. Not terribly exciting, but not horrible. Mostly posed shots, so you can see some of your favorite players from the 60s 70s & 80s up close some 5-15 years removed from their playing days.

Dock Ellis on the St. Petersburg Pelicans? Yep.

Fergie Jenkins & Spaceman Lee on the Winter Haven Super Sox? You bet.

Luis Tiant managed by Earl Weaver, wearing the blue & orange of the Gold Coast Suns? Why not.

Don’t forget about Amos Otis of the Fort Myers Sun Sox.

And what about the power trio of George Foster, Oscar Gamble (sans afro) & Bobby Bonds of the St. Lucie Legends?

Rollie Fingers clearly broke out the mustache wax before being immortalized in his West Palm Beach Tropics duds. Tom Paciorek is resplendent in his freshly squeezed Orlando Juice uniform.

For those scoring at home, the set features four Hall of Famers: players Fergie Jenkins & Rollie Fingers, and managers Earl Weaver & Dick Williams.

My favorite card, though, is Jim Nettles #126. He was a teammate of his brother, who was a star infielder, much like Billy Ripken. Also like Billy Ripken, he is featured with some colorful language on the knob of his bat.

This set came one year after the infamous 1989 Fleer F-Face fiasco, but as the Senior League was on a much smaller scale than the big leagues, this card flies under the radar.

The 220-card set ends on a pretty cool note: a suit-and-tie card of Commissioner Curt Flood. 

It’s too bad the league couldn’t stay afloat; it folded shortly into its second season. It would have been fun to see who else would have given it one last shot. If anything, fans were afforded the opportunity to get one last (okay, two!) Dave Kingman cardboard treasures.

Author’s Note: Pacific also released a 1991 Senior League set (using nearly the same design as its 1991 Football issue).

Editor’s Note: If you’ve never used the Trading Card Database “view checklist by age” feature, these would be the sets for it!

Ladies and Gentlemen! Your PCL Champion…Yankees?

Historically, the New York Yankees’ AAA teams were in the East or Midwest.  The Newark Bears of the International League were owned by Yankees and played in Ruppert Stadium, named for Yankees owner Colonel Jacob Ruppert. The Kansas City Blues were a Yankees affiliate in the American Association at the time of the Athletics move to Kansas City in 1955. Additionally, Syracuse, Columbus and Scranton/Wilkes-Barre have had long stints as Yankee outposts. But in 1978, the Yankees found themselves affiliated with Tacoma of the Pacific Coast League.

The Bronx Bombers’ stay in the Pacific Northwest was planned from the outset to be for only one season.  The Yanks were set to play in Columbus, Ohio, but the ballpark would not be ready until 1979.  The Twins pulled out of Tacoma after the 1977 season leaving “The City of Destiny” as the only destination for New York.

This one and done season is commemorated by a 25-card, team-issued set sponsored by Puget Sound National Bank and produced by Cramer Sports Promotions.  This is the same Cramer who would go on to form Pacific Trading Cards. I have owned the set for years and always found it intriguing. My favorite aspect of this set is the “TY” logo on the cap, jacket and jersey.  It is a great take on the traditional Yankees script.

The 1978 PCL Co-Champion Yankees (Final series against Albuquerque was rained out) were managed by ex-Seattle Pilot, Mike Ferraro.  Mike was originally signed by the Yankees as a player and returned to the fold as a minor league skipper.  His success in Tacoma may have helped earn him the Indians’ managerial job in 1980.

Like Mike Ferraro, Jerry Narron would go on the be a big-league manager.  The career backup catcher would pilot Texas and Cincinnati.

The most interesting card in the set belongs to pitching coach Hoyt Wilhelm. Apparently, The Hall-of-Fame knuckleballer could teach pitching mechanics beyond mastering a knuckleball grip.

In addition to Hoyt’s card, there are several other shots snapped in the Cheney Stadium clubhouse.  Since the photos were taken early in the season, inclement weather may have forced the photographer inside.  I can attest to the fact that few stadiums are as cold and damp as Cheney in April and May. One such example is this flattering image of Dave Rajsich.

Generally, the photos are of poor quality, with faces obscured by shadows.  The low-angle photos coupled with the shadows make it hard to discern faces, rendering some players almost indistinguishable. Domingo Ramos and Damaso Garcia are prime examples.

The card for Tommy Cruz is another example not being able to see facial features.  He is the sibling of the great Astro and Cardinal, Jose Cruz, and the uncle of Jose Cruz, Jr.

Another brother of a long-time major league player is Brian Doyle, whose brother Denny toiled with the Phillies, Angels and Red Sox. Brian’s photo is the only one not taken at Cheney Stadium. He is pictured in the road uniform, which features a basic (Tacoma) Yankees away jersey plus a logo patch on the sleeve.

Several other players saw some action with New York and other clubs.  Dell Alston had a stint with Oakland, while Kammeyer, Werth and Zeber played in the Bronx.

Also, Mets fans may remember Roy Staiger.  The utility man always reminds me of the actor Roy Steiger.

Now that you know more than you ever hoped to know about the 1978 Tacoma Yankees, I am sure you will race over to eBay or COMC to grab your own set.  If you are willing to settle for a card or two, I have some duplicates.

On cropping and layers

For most of baseball card history there have been two basic types of card designs. Either the photo is placed in a box* or the player is silhouetted onto a background.** Both of these designs are pretty straightforward with their image requirements in that designers only have to think about what is and isn’t shown in the photos.

*Straightforward but none more pure of an example than 1953 Bowman.

**1914 Cracker Jacks, 1949 Bowman, 1958 Topps, and many of the inserts from the 1980s to today.

There’s a third design though which took over cards in the 1990s and has made photo cropping difficult ever since. Rather than putting photos in boxes the trend toward full-bleed cards has created design after design that layers text and other graphic elements on top of the photo itself.

While it’s true that this design took over in the 1990s and was made extremely easy to do by foil stamping, it’s important to realize that its ancestry has been in cards for decades and in fact tended to surface every decade. So let’s go back to one of the first such designs.

Yup. 1957. I sometimes jokingly refer to this as proto-Stadium Club except that the photos themselves are pretty standard Topps photos that you’d expect to see until about 1991 or so. Posed shots showing a player’s upper body, headshots, and a few full-body “action” (at this point still posed) images.

The first thing to point out here is that Topps likes to put the players’ heads as high in the frame that it can. The next thing to look at—specifically in the Kluszewski and Thompson cards—is how Topps deals with the text overlapping the image. Topps likes to crop at players’ waists and at their necklines. In 1957 this is frequently where the top of the text starts but there’s another half inch of image visible under the text.

On the upper-body portraits this extra half inch can give us a little more information about the location of the photo and allow us to see the field and stadiums.

Photographically, these photos were also composed somewhat loose since the image area of the film is huge* and the photographer knew things would be cropped later. This is why in the Gomez card there’s so much grass in the foreground.

*at least 2 and a quarter inches square and quite likely more like 4 inches by 5 inches.

Now we flash forward a decade. On a lot of other sets* before this the image frame is knocking off a corner of the photo. This isn’t the same kind of design/photography issue since most of the photos are somewhat centered so there’s rarely something of import in the corners.

*eg. 1962, 1963, and 1965. Plus in 1966 there’s a layering effect in the corner.

1967 though is exactly like 1957 only there’s text at both the top and the bottom of the card now. Topps is doing the same thing as it did in 1957 too except that the players’ heads are now a little lower in the frame so that the names and positions can fit. The waist and neckline croppings though are pretty close to the 1957 croppings.

The net result here is that we get to see a lot more stadium details in many of the cards—giving the set a photographic character which differs from the other 1960s Topps offerings.

The Fuentes card though shows the dangers of this kind of design. Unlike the 1957 Gomez, Fuentes’s feet—and even his glove—are covered by the team name. This isn’t a big problem with a posed “action” photo but becomes much more of an issue when we move into the age of action photography.

I’ll jump to Japan for the 1970s since the Calbee sets of that decade deserve a mention. It’s obviously doing something very similar with extending the photo under the text. At the same time the simplicity of the text almost makes it an absence of design. In a good way.

It might be because I can’t read the text but the way it’s handled encourages me to not see it. Not because it’s not readable. Quite the opposite in fact. The way the text changes from black to white on the Sadaharu Oh card is handled masterfully in how my brain barely notices it. It’s there as information but manages to not take anything away from the photos.

It is worth noting though that the cropping on Oh and Davey Johnson is pretty similar to Topps’s standard cropping. And that third card of Hisao Niura tying his shoes has enough foreground space to give the text plenty of room to be legible.

Toppswise I skipped 1969 since it’s such a photographic nightmare that I don’t feel like it’s a fair to look at the photos. (Offhand though it’s interesting to note that it tends to crop the photos tighter at the bottom than 1967’s or 1957’s designs do.) 1980 is close, super close, to being included but it still feels like more of a corner-based design. Which brings us to 1988.

Not much to note with 1988 except for the layering of the player on top of the team name which is on top of the background. This is a wonderfully subtle bit of design that allows the photos to feel like they’re cropped similarly to the rest of Topps’s cards. Instead of getting more image area the layering doesn’t affect the image too much.

1991 brought us Stadium Club and the beginning of the full-bleed era of cards. Looking at this first set shows both that Topps was being pretty considerate with its cropping and how things would start to break.

Where earlier sets had the benefit of posed photos which could be cropped, as action photography began to be the priority for card companies the room for cropping started to decrease. For every card like Kent Anderson where there’s enough room for the graphics there’s a card like Damon Berryhill where the graphic is starting to intrude into the image.

1992 Stadium Club shows an alternative to just slapping a graphic on the bottom of the card. That Topps moves the graphic depending on where it best fits the photo is fantastic.

It’s also a lot of work since it requires each card to be designed individually. Instead of positioning an image into a template, this design requires the image and graphic to be adjusted until they work together. Find the best cropping, then adjust the graphic. This extra amount of work is probably why this approach hasn’t really been revisited since 1992.

By 1993 the standard operating procedure had been set. This design captures the way most sets ever since have been designed. A basic template, drop the picture in. Don’t worry if the graphic obscures an important part of the photo.

One of my pet peeves in the full-bleed era is when there’s a photo of a play at a base and the graphic obscures the actual play. The Bip Roberts is a textbook example of this. Great play at the plate except the focus of the play is obscured by the Stadium Club logo.

This is a shame since in 1993 Upper Deck showed how to do it right. The layering effect like 1988 Topps at the top allows the image to be cropped nice and tight at the top of the frame. Upper Deck though selected photos and cropped them to have empty space at the bottom.

You wouldn’t crop photos in general this way but as a background for the graphics it works perfectly. It forces the photos to be zoomed out enough that you can see the entire player and get a sense of what he’s doing within the game.

Most of the 1990s and 2000s however look like these. I could’ve pulled a bunch more sets—especially from Pacific and Upper Deck—here but they’re all kind of the same. Big foil graphics that cover up important parts of the photo. Some sort of foil stamping or transparency effect that cuts off the players’ feet.

Instead of cropping loosely like 1993 Upper Deck most of the cards in these decades feel like the photos were cropped before being placed in the graphics.

It’s easy to blame the card companies here but this is also a photography thing. Portrait photographers often find the crop after they take the photo. They use larger-format film and understand that the publication might need to crop to fit a yet-to-be-determined layout. Action photographers though get in tight and capture the best moment. This is great for the photos but not so great with baseball cards.

Baseball is a horizontal sport and there’s no reason to include dead foreground space. The only reason to include that space if you know that you’re shooting for a baseball card design that’s going to need it.

We’ll make a brief stop at 2008 though. This isn’t a transparency or overlay design but it’s doing something similar. Rather than the usual cropping at a corner of the image box, Topps placed its logo in a uvula at the top of the image box. Right where it would normally place the players’ heads.

The result? Very similar to 1967’s effect where the photos get zoomed out  a little and you see more background. The problem? These photos are already somewhat small and the change to mostly-action means that in most of them you’re just seeing more blurry crowds.

Fred Lewis is emblematic of the standard cropping. Small player image with lots of wasted space in the upper corners. That the posed photos like the Matt Cain are often bare skies at spring training locations instead of in Major League stadiums makes the added “information” there generally uninteresting.

All of this is a shame since the Tim Lincecum shows that when a selected photo is not impacted by the uvula, not only is the photo area not that small but the design can actually look pretty nice.

Okay. To contemporary cards and Topps’s recent dalliance with full bleed designs in flagship. I’m looking at 2017 here since it’s kind of the worst but 2016 to 2018 all do this. The transparency at the bottom of the cards is huge now. Yes it gets blurred out a bit but the photo information still needs to be there and as a result the cropping has to be even tighter.

As much as Topps was drifting toward in-your-face all-action shots, the actual designs of these cards sot of prevents any other kind of action. They also prioritize action that focuses in the top half of the frame. Any plays at a base gate stomped on by the design and even photos like the Chase Headley which don’t focus low in the frame are pretty much ruined too.

It’s easy to blame the TV graphics in Flagship but even Stadium Club—a set I love—has this same problem. On action photos the name/type often gets in the way of the image (compare Tim Anderson to the 1993 Upper Deck Lou Whitaker) but it’s the otherwise-wonderful wide-angle photos which fare the worst.

As the angle gets wider and the players get smaller, the odds that the text becomes intrusive increase tremendously. On Dexter Fowler’s card he’s the same size as the text and, as great as the photo is, the design of the card ruins it. Same goes with the Jose Berrios where the text is covering the entire mound and the ground fog Topps adds for contrast covers the whole playing field.

Which brings us to 2020 and a design that gets a lot of flak because it features sideways names.* What isn’t mentioned very frequently is how moving the transparency effect to the side of the card results in tremendously better photos and photo cropping.

*I don’t mind the sideways names except that I think they should’ve been rotated 180° so that when paged the horizontal cards don’t end up upside down.

All of a sudden we can see players’ feet again. Images aren’t all as in-your-face. We can have action images at second base where you can actually figure out what’s going on. Instead of cropping out the bottom of an image which a photographer has already framed, this design uses the space the photographers already provide for players to “move into.”*

*In action photography you’re generally trying to give the subject some room to move into the frame.

More importantly, it opens up the possibility for great photos that would never have worked in the previous full-bleed designs. For example, Omar Narvaez’s image is impossible to use in any design that puts transparency at the bottom of the card. Even Stadium Club. But 2020 Topps is flexible enough that it can use a wider variety of images.

I hope Topps learns some lessons from 2020 and that if we’re to see further full-bleed designs that they’ll be done in such a way so as to not get in the way of the images or to take advantage of the Transparency to give us more interesting photos.

The Express Expressed Exponentially

When conditions are optimal, a perfect storm may form. Three decades ago, the collision of an athlete at his peak and the excesses of the “Junk Wax” card era resulted in a “Texas tornado” cutting a swath across the cardboard landscape.

The legendary, laconic Texan, Nolan Ryan, was at the height of fame from the early eighties to the end of his career in ’93. (I attended his final game, played at the Kingdome.) This coincided with the emergence of new card companies in the late ‘80s and early ‘90s, all of which needed product lines. Ryan was the perfect subject for numerous “odd ball” and promotional card sets. Over 30 different sets featuring the “Express” would find their way into the hobby

Star

The first company to cash in on the Ryan phenomenon was Star, who introduced a 24-card set in ’86. They follow up with 11 card sets in ’89 and ’90. The cards have simple designs with white backs featuring stats and highlights. Only one card out of the three sets show Nolan on the Mets.

Postcard

Next in the “shoot” are two postcard sets consisting of 12 cards each in ’90 and ’91. The postcards were distributed under the name “Historic Limited Edition” and all featured original art work from Susan Rini. Since the company produced 10,000 sets each year, their definition of limited is questionable.

Mother's

In my humble opinion, the best of the lot was produced by Mother’s Cookies, which included four different cards in the cookie bags in ’90 and four more in ’91. They returned with a eight card “No-Hitters” set in ’92 and culminated with 10 cards in ’93. The design follows the Mother’s template: simple design, excellent photography and a glossy finish. I have a few of these from each series

Coke

Donruss teamed up with Coca-Cola in ’92 to issue a 26-card career retrospective set distributed in 12-packs of Coke products. I collected these at the time and have 12 different cards.

Classic

Classic cards chimed in with a 10-card set in ‘91 that resembles all of their “crap” cards of the era.

Barry Colla

Other Ryan sets were issued by Spectrum, Barry Colla, Whataburger, Bleachers 23K. ‘95 MLB All-Star Fan Fest and Classic Metal Impressions. Also, Upper Deck produced a mini-set within the “Heroes” issue in ’91.

 

By any definition, this number of sets is excessive. But one company, Pacific Trading Cards, ‘jumped the shark.” The Seattle area company produced a 222 card, two series set in ’91. Add to that, a ’93 Nolan Ryan Limited regular and gold issues, plus a special 30 card box set called: “Texas Express.” But wait, there’s more. Pacific teamed with Advil — for whom Ryan was a spokesman — to produce a set in ’96.

Horse

Producing hundreds of cards for the same player results in mind-numbing repetitiveness. Even throwing in cards depicting Nolan on a horse, with other animals and his family doesn’t break up the monotony.

The next time you curse the Aaron Judge card explosion, remember how Ryan’s “heater” caused a “junk wax” era meltdown.

 

Barajitas EEUUs: más Pacific

This is my third post featuring Spanish-language baseball cards released in the United States. Previous posts are:

  1. Introduction and 1978 Topps Zest
  2. 1993–2000 Pacific and Pacific Crown

Where the previous post covered Pacific’s “flagship” Spanish-language sets, this post will touch on some of their other Spanish-language sets. This isn’t meant to be a definitive list but rather a recognition that Pacific had other, smaller sets—general release, inserts, oddballs, etc.—which were also aimed at a Spanish-speaking market. These are what I’ve encountered so far and I know there are many more issues out there.

From what I can tell the 1997 Gems of the Diamond is a 200-count insert set for a 150-count base set—in this case Pacific Prisms. In 1994 Prisms were the insert set but from 1995–1997 Pacific Prisms was a 144-card set with all kinds of crazy stuff going on on the fronts and a sentence in Spanish about the players on the backs. In 1999 the mark returned but as an English-language set.

In many ways the Gems of the Diamond insert set is more interesting from a Spanish-language point of view since it includes a lot more text about the players. The copy on this Bonds card interests me because it feels like it was written in English first and then translated to Spanish since it uses evocative words like “smacked” and “tallied” in English while in Spanish it just repeats “conectó” (literally, connected) when describing his home run hitting.

In 1998 the Gems of the Diamond set became an insert for Pacific’s Invincible line. This was the same deal as Prisms where the insert set outnumbered the base cards.* It looks like Invincible took over from Prisms since the invincible line ran from 1998–2000 and featured a different flavor of over-the-top designs.

*While not the point of this post I’m beginning to wonder when an insert set stops being something I can conceive of as an “insert.”

Less biographic text this year and there are now stats on the back. Stats are in English which really stands out when the text references them in Spanish.

While I don’t have any of those tricked-out Prism cards I do have some Invincible cards. This one from 1999 has a weird translucent circle which features the player headshot so you can see him in mirror-image on the card back. Or maybe the point is you can hold the card up to the light and get a bit of a slide effect. I don’t know.

I don’t have much to note on the Spanish language usage here except to point out that the positions are in English. It’s weird, in many ways Prism and Invincible are both cards lines which would be better served by not having any text on the backs and just embracing themselves as two-sided graphic design. The only reason to have text on many of these is so you know which side is the front.

Be still my beating heart. In 1998 Pacific partnered with Nestlé on an oddball set. I’ve been unable to find out much about how the set was released but it’s a pretty good checklist featuring twenty Latino stars.

Five of the cards are a distinct design and function as something like inserts. The fronts don’t scan well because of all the foil but they’re distinct among all the cards I’ve seen in having bilingual position information. This is a pretty regular feature on Pacific’s backs but is a lot of information to include on the fronts. Sadly the team names are the English version as I would’ve loved to have had a Vigilantes card instead of a Rangers card.

The backs meanwhile continue to feature English-language stats. Given the size of the type being used for the statistic categories this is kind of a disappointing use of space and it would’ve been fun to see bilingual stats here too.

The other fifteen cards are what I guess you’d call the base design. No position information on these fronts and the same huge English-language stats on the back. I do appreciate how the smaller, italic font is used for English though. Still readable but very clear these are primarily for the Spanish-language market.

Barajitas EEUUs: ’93–’00 Pacific

This is my second post featuring Spanish-language baseball cards released in the United States. The first post features an introduction as well as 1978 Topps Zest.

Before 1993 Pacific had released a number of Legends or All-Time-Greats sets. They also had a number of massive player-specific sets such as their 220-card Nolan Ryan. But it was only in 1993 that they received a license to make a set of baseball cards for current Major League players. The catch was that the set had to be Spanish-language.

So from 1993 to 2000, Pacific Trading Cards released a set of Spanish-language trading cards. Even after they received* a full license in 1998 and began releasing a umber of English-langauge sets—as well as really pushing the limits of what you could do with baseball cards in terms of diecutting and other fancy post-printing effects—they maintained at least one Spanish Language release.

*If you can say “received” to describe winning a court case against Major League Baseball (hat tip to ArtieZillante for this).

Rather than going through each set individually, I’m going do two posts. This first one will look at the “flagship” Pacific/Pacific Crown sets on a year-by-year basis. The second will cover a handful of other Spanish-Language releases.

Pacific’s 1993 set feels very much like a first set; it’s basically the 1993 version of 1981 Donruss and Fleer, i.e. kind of a generic design which hasn’t aged particularly well. The beveled edges and gradient mania fit right in with 1992 Ultra, 1993 Donruss, 1993 Ultra, and 1994 Topps and suggest that everyone had just gotten computers with which to design their cards and had succumbed to all the temptations that the graphics programs offered.

Of special note here is that this is a Spanish-only card. The position on the front is in Spanish as is the bio and statistical information on the back.* While Pacific’s license was for Spanish-language cards, 1993 would be the only year that Pacific’s cards did not have any English on them.

*The less said about the typesetting of the stats the better. 

1994 has a stronger sense of identity as Pacific introduced its crown logo but this set on the whole still exhibits growing pains. The photo processing for example is really weird. Many of the cards feature images which are very low contrast and almost faded and the typesetting of the player names is just bad.

These cards though are now bilingual and the stats are in English. Where 1993 lists things like J (juegos) and C (carreras), 1994 lists G (games) and R (runs). This is also the only year that there’s no player biography so we have a huge photo on the back.

Pacific’s 1995 set is still a bit of a work in progress. Those beveled edges return on the backs and the front isn’t exactly a cohesive design yet. But by keeping things minimal and staying out of the way of the photo these cards still look pretty good.

Biographies return on the card backs and while the back design has both English and Spanish in the same size font, the English translations omit a few words like “tambien/also” which appear in the Spanish and as a result are much smaller blocks of text.

1996 is the first set that looks like a Pacific™ set. Pacific’s design in the late 1990s is like nothing else in the card collecting world and their Spanish-language cards have designs which feel akin to boxing posters—especially for lightweight or welterweight fighters.*

*Yes we’re talking boxers like Julio Cesar Chavéz.

On the backs we can see that the font for the English translation is now smaller than the Spanish translation. But we’re still seeing things in their own boxes rather than being a cohesive design on the back. I do have to call out how the position abbreviation is also in English. Pitchers are P instead of L (lanzador). Catchers are C instead of R (receptor). Outfielders are OF instead of J (jardinero). etc. etc.

1997 though is peak Pacific™ and peak boxing poster. We’re getting into cards now that are not many people’s cup of tea but I appreciate how much this one commits to the design. On the back we’ve finally lost the multiple text boxes for each language and the the English text continues to get smaller. Stats though remain in English as do the positions.

I really like the 1998 set. It’s not as over-the-top as 1997 but it retains a lot of the character. This is the first year since 1993 that Pacific put positions on the front of the cards only this time they’re are in English just like in 1996 and 1997.

Not much has changed on the backs. They still emphasize Spanish and continue to have a more cohesive design.* And I’m happy to see bilingual positions return here even if it makes English-only choice for the front design even more mysterious to me.

*Although this one is kind of a train wreck for my taste.

1999 continues the retreat in terms of design. Where the previous three years had a lot of character this one verges on boring. This is the first year since 1993 without full-bleed printing too. The backs are a huge improvement though and the English-text has gotten even smaller.

The most-noteworthy thing about 1999 is that the set size has decreased to the point where there are only 11 cards per team. From 1995–98 there were 16 cards per team, still not a lot but enough that you had most of the starters as well as a handful of Latino players.

In 1999 and 2000? Just the stars and then the rest are Latino players. This is both a good thing in that it allows some more fringe players to have cards—especially given how few players got cards in many of the other sets in the late 90s—but it also means that Pacific didn’t think that Latino baseball fans cared about anyone other than Latino players.

Pacific’s last year of Spanish-language cards was 2000 and I find this set to be kind of boring. The only change of note from 1999 is that the English-language text continues to decrease in size—something that is no doubt easier to do when it’s black text on a light background instead of reversed text on a black background.

Outside of the Spanish-language stuff in these sets, I also have to call attention to how Pacific handled horizontal images from 1995–98. One of the most interesting things for me is seeing how flexible Pacific’s designs were with accommodating both vertical and horizontal images.

1997 and 1998 are the clear standouts here in how the design elements are basically just rotated with the card layout. In 1997 the Pacific logo and the Giants logo rotate 90° and everything else stays the same. Pacific could’ve (should’ve) done this in 1995 as well but instead kept the design exactly the same for vertical and horizontal cards.

In 1998 the logos rotate 90° and the name/position graphic rotates 180°. 1996 is very similar except that instead of rotating the name graphic 180° it rotates 90° and shifts to the corner of the card instead of staying centered on the side.

The end result is that when these cards are paged on a sheet there’s much less visual jarring in the design of the cards. This is something that many card designs don’t do particularly well and it kind of amazes me that Pacific seems to have figured it out so quickly.

Christmas Cards

The week before Christmas has been a good one for cards. That’s too bold; the week before Christmas has been a good one for me getting cards. I have no idea how cards in general are doing. A few random stories:

Though a long time collector, my re-immersion into the hobby the past year and a half has come with some re-education. I am consistently surprised by the variations in pricing and how, with patience, there’s always an opportunity to get what I need at a price I can bear.

My pursuit of a 1956 Topps set has been slow in comparison to the pedal to the metal pace of my 1960, 1968 and 1969 set building. I’ve gotten lots on eBay of cards in EX or better for less than $3 a card, low numbers and high, but there are usually too many cards in those lots that I already have. I never end up selling my doubles for more than $2 per card.

On Monday an eBay seller, justcollectcards, had a big 40% off sale. I was almost late for a lunch appointment because I went through all their EX listings. It was worth it though. I got 60 cards, including Minnie Minoso and a couple of teams, for $2.75 each. That put a huge dent in my checklist. Now I know I’m not going to get the big dollar cards for any discount from book, but if I keep getting the rest of the set for about 1/3 of stated value, I should have enough savings to make the Mantle and Ted Williams somewhat easier to swallow.

s-l1600 (1)

Cooperstown definitely needs more general interest stores, but that’s a difficult hurdle to jump with a year round population of around 1,800, slightly more if you add the surrounding area. Are there too many baseball stores? Sure. Do I want there to be no baseball stores? Absolutely not.

I’m not a binder and sheets person by nature but it has definitely been easier to put sets together when I can add a few cards into pages, rather than pull out boxes and sort through all the cards to put the new ones in their proper numerical place every time I get two new cards.

Yesterday Joey met me at Yastrzemski Sports on Main St., where I usually buy my supplies. I decided I’d put my 1967 set in sheets, since all my pre-1970 sets seem to have ended up stored that way. Joey needed sheets for his hoped for misprinted, psychedelic card collection.  

We got what we needed plus I found a 1988 Pacific Eight Men Out set for $5! Any set with four Studs Terkel cards is worth having.

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From there we headed to Baseball Nostalgia by Doubleday Field. I’m sure I’ve written how BN is my favorite store, filled with cards, cheap autographs, yearbooks and more. It’s been in Cooperstown, in a few different forms, since the mid-1970’s. Pete at the store had read the post I wrote about Joey’s quest for cards with messed up printing and he emailed me to say that he had a bunch of 1976 SSPC misprints. (Baseball Nostalgia began as a TCMA flagship.)

Boy, did he have misprints! Joey bit the bullet and bought all 140 of them, each a trippy nightmare of color mistakes. The Bruce Bochte card (left) looks like a still from a Peter Fonda movie and our buddy John D’Acquisto (right) seems to have two sets of eyes. Freaky stuff.

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A signed Jose Cardenal baseball Legends card caught my eye. You can’t beat the price!

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And so, that’s how my card year is ending. The 1956s are on their way, as are 4 more 1936 Goudey Wide Pens.

I’ll wrap things up as I did last year, with great thanks to Mark Armour and Chris Dial for not only restarting the SABR Baseball Cards Committee, but dragging me, quite willingly, into participating in a big way. That’s been the best gift of all.