Hollywood Stars Were in the Cards: Part 3

Gen. George S. Patton believed fervently in reincarnation—a passion that served as an integral theme in the 1970 Academy Award–winning biopic about him. Often, Patton would declare to colleagues that he had participated in some renowned battle waged centuries before his birth.

Portraying the blustery general in that beloved biopic was, of course, George C. Scott. Few roles have so defined an actor as “Gen. Patton” did Scott—and have so defined a historical figure in the public consciousness (despite its inaccuracies). Scott’s steely-eyed, soldier-slapping performance earned him the Oscar for Best Actor (although he refused to accept it, due to his longstanding scorn for the craft of acting turned into a competition).

Six months after George C. Scott won, and left unclaimed, his Best Actor statuette at the 43rd Academy Awards, the Boston Red Sox consummated a ten-player trade with the Milwaukee Brewers that included first baseman George Scott. Not exactly the reincarnation of Gen. Patton, George Scott was something of a doppelgänger to the actor who so recently portrayed Patton. Known as “Boomer” because of his prodigious power, George Scott’s middle name also began with “C” (Charles). Stranger still, incoming to Boston was right-handed hurler, Marty Pattin. The trade included several other big-name players, among them Jim Lonborg and Tommy Harper, but the headlines in each town could have proclaimed GEORGE C. SCOTT SWAPPED FOR PATTIN. (Pattin, incidentally, began his career wth the California Angels, whose stadium in Anaheim sits about 30 miles from Gen. Patton’s birthplace of San Gabriel.)

Adding a touch of the ephemeral, George Scott’s birthday of March 23 comes one day after that of esteemed actor, Karl Malden, who, of course, portrayed Patton’s real-life colleague and onscreen foil, Gen. Omar Bradley. 

With such “cinematic pedigree,” George Scott would have been fully validated in choosing as walk-up music for his at-bats Patton’s trademark echoing of trumpet triplets.

And “Old Blood and Guts” certainly would have appreciated the brutish bravado of George Scott’s infamous necklace made of “second-basemen’s teeth,” not to mention that Scott’s penchant for donning a helmet in the field would have passed muster with the by-the-book general who demanded that his soldiers wear their helmet practically at all times.

George Scott enjoyed several of his best seasons while in Brewer blue, twice topping the American League in total bases and claiming the home run and RBI crowns in 1975. Similarly, Marty Pattin found instant success in Fenway Park, winning a career high 17 games in his first of two seasons with the Bosox, before Boston abruptly shipped him to Kansas City after the 1973 season. (Scott and Pattin briefly marshalled what remained of their diminishing talents for the 1979 Royals.)

Boomer eventually was reincarnated as a Red Sock, returning to Fenway in the deal that made Milwaukee famous to Cecil Cooper (and vice-versa). In Boston, Scott enjoyed his last big season, slamming 33 home runs and scoring 103 in 1977. He wasn’t able to help Boston shrug off New York in its epic collapse of 1978, hitting .163 once the calendar turned September and the erosion of Boston’s lead over the Bronx Bombers accelerated (although Scott did go 2-4 in the pennant-deciding finale and was twice stranded in scoring position when his run would have proved crucial).

In a bit of a final irony, Boomer moved south of the border when no suitors called on him during free agency, spending four seasons in the Mexican League. Somewhat conversely, Lieutenant Patton, on the way up in his military career, spent nearly a year in Mexico attempting to track down the revolutionary, Pancho Villa, not long before the United States’ entry into World War I would shape his destiny.

Sadly, George Scott lived only until age 69; George C. Scott died when he was 71; and Gen. George S. Patton, of course, succumbed at age 60, two weeks after an automobile accident.

All glory is fleeting…

Hollywood Stars Were in the Cards: Part 2

1969 was the Year of Rico—on the baseball diamond, on the silver screen, on the radio, and even on Capitol Hill.

During this swan song to the Sixties, the Racketeer Influenced and Corrupt Organizations Act (RICO), a federal statute that eventually helped gut organized crime, was introduced as Senate Bill 30 by John L. McClellan (D-AR)—it eventually passed both houses and was signed into law by President Nixon in 1970.

In March, José Feliciano, who had performed the “Star-Spangled Banner” before Game 5 of the 1968 World Series, became the first native of Puerto Rico awarded a Grammy, receiving honors both for his suave, soulful interpretation of the Doors’ “Light My Fire” as well as for “Best New Artist.”

And in Fenway Park, Red Sox shortstop Rico Petrocelli enjoyed his finest season, establishing career bests in hits, home runs, runs scored, doubles, total bases, on-base percentage, and OPS. Erupting for 40 round-trippers, Rico not only tied Carl Yastrzemski for the team lead despite playing 8 fewer games, but bested Vern Stephens’ American League mark for long balls by a shortstop, set in 1949. Rico’s mark would stand until 1998.

Sabermetrically, Petrocelli’s value to Boston is reflected in his stratospheric 10.0 WAR—the highest mark in the American League and second in the majors only to St. Louis’s Bob Gibson.

Rico also should have won a Gold Glove for his deft defensive play. Baltimore’s Mark Belanger took home his first of 8 Gold Gloves, yet Rico outdid him in putouts, assists, double plays, total zone runs, range factors, and fielding percentage (an AL-best .981 to Belanger’s .968), while committing 9 fewer errors.

Rico further set a career mark with 98 walks—befitting for a year that saw the eventual Oscar winner for Best Picture, Midnight Cowboy, released on May 25, commencing what Joe Buck—that’s Jon Voight’s Joe Buck, not sports announcer Joe Buck—could have called the “Summer of Rico…Rico, Rico, Rico.”

“Rico,” of course, was Enrico Rizzo, the archetypal New York street hustler unflatteringly referred to as “Ratso” but who insisted upon being called “Rico” in his own Lower East Side home—a condemned tenement building in which he was squatting.

In walking more than he’d ever walked before (or since), Rico Petrocelli provided real-life counterpoint to Rico Rizzo’s impromptu flip-off to a New York cabbie: “I’m walkin’ here!”

A native New Yorker like his on-screen namesake, Petrocelli had 67 opportunities after the film’s debut to use that soon-to-be-iconic line, though it’s not known if he ever yelled it at an opponent while tossing his bat aside and proceeding to first base.

Perhaps if the opposing team’s bullpen cart had crossed the base path right in front of him…

Given Petrocelli’s Brooklyn accent, it would be a genuine shame if he never seized the opportunity.

Oddly, Rico’s 1975 Topps card mentions that he walked 48 times in 1974—an extremely unnoteworthy achievement that would have better served as a Midnight Cowboy-esque cartoon on the reverse of his 1970 card, when the previous season’s walk total had constituted something other than ordinary…

Hollywood Stars Were in the Cards: Part 1

A decade of tumult, the 1930s saw the United States, and the world, in flux. Numerous European economies continued their struggle to survive in the wake of the Great War—a struggle that finally reached America’s shores in October 1929, as the Wall Street Crash heralded the Great Depression. The map of the world, itself, was in flux, as newly minted despots gobbled up sovereign states to add to their burgeoning empires, while their demagoguery inspired millions to visit the darkest depths of the human soul.

In short, there was little in the 1930s on which to depend. Even names were in flux.

Warren Ogden, a descendant of Ogdens who had crossed the Atlantic with William Penn and whose surname became the eponym of the Pennsylvania town in which Warren was born, pitched for the Philadelphia Athletics and Washington Senators in the mid-1920s. (Warren’s older brother, Jack, also pitched in the majors, though his yo-yo career up and down from the bushes spanned 1918 to 1932.) Not much of an asset to Connie Mack, Warren was put on waivers in May 1924, eventually being picked up by Washington. His 9-5 record and excellent 2.58 ERA over the remainder of the season helped Washington clinch its first pennant. A surprise starter in Game 7 of the World Series, Ogden struck out leadoff hitter Freddie Lindstrom, walked Frankie Frisch, and then was pulled for southpaw George Mogridge, in a successful ploy by manager Bucky Harris to lure John McGraw into altering his batting order to the right-handed Ogden. (Washington won in the bottom of the 12th inning to claim its only World Series championship.) Ogden remained with the Senators through July 1926, his major league record set at 18-19.

But we’re talking about the tumultuous, undependable 1930s, aren’t we? So, why bring up Warren Ogden, whose major league career ended well before that decade arrived? Because Goudey, well known for including minor leaguers in its 1933 set, did just that: Card No. 174 shows Warren as a Montréal Royal. (Ditto for big-brother Jack [“John”] Ogden, whose major league career ended in 1932 but received a card as a Baltimore Oriole in 1933. On a weird side note, the only other vintage card on which either brother apparently appeared, the 1928 W461 Exhibit, is a card of John yet shows a several-year-old photo of Warren, in his Senators uniform.)

As you can see, Goudey parenthetically included Warren’s nickname, “Curley.” However, the common spelling of said nickname has always been “Curly.” In fact, his name is sans “e” in virtually all resources, including Baseball Reference, SABR, Baseball Almanac, and MLB.com.

One might be inclined to think this was a Goudey thing—after all, the company wasn’t spelled Goudy.

However, as stated above, such inconsistency seems to have been symptomatic of the chaotic 1930s, where it clearly plagued the Three Stooges as well.

Yet whereas Columbia Pictures seems to have permanently abandoned the “e” by late in the decade, the sheer paucity of vintage Warren Ogden cards allowed this oversight to go unaddressed until 1975—long after Warren Ogden’s death—when TCMA’s team set honoring the 1924-1925 Senators finally conformed the spelling of his nickname to standard.

Every baseball player thrills to seeing himself on a baseball card for the first time, so God only knows how many times over the years his 1933 Goudey caused Ogden to wipe his hands vertically across his face in Curly Howard–like exasperation or maniacally spin himself 360° while lying on the floor knowing that he’d likely take “Curley” to the grave.

Alas, like his more famous namesake, Curly Ogden was a victim of soycumstance.

The Big Sadowski

“This is a very complicated case Maude. You know, a lotta ins, a lotta outs, lotta what-have-yous.”

In the 1960s, the dudes who ripped wax had to abide by one rule of acquisition, your odds of pulling a Sadowski were very high. The best approach was to remain calm and mellow while adding the cards to the duplicate pile.

Prior to the 1963 Season, infield prospect Bob Sadowski rolled like a tumbling tumbleweed from the White Sox of Chicago to the City of Angels, where he joined the Los Angeles Angels of Chavez Ravine.  Topps thought enough of his potential to float his head on a 1962 Rookie Parade card (him and three other guys).  When Bob the infielder showed up for spring training, he discovered that the Halos had another Sadowski on the roster.

Catcher Ed Sadowski was selected from the Red Sox organization in the expansion draft prior to the 1961 season.  Ed’s weak stick marked his destiny as a backup catcher.  He hung on with the Angels in that capacity through 1963, at which point Ed was ordered to stay out of Malibu.

Ed did not receive a solo card after 1963, but was teamed with Bob “Buck” Rogers on the “Angels Backstops” combo card in 1964.

One could hazard a guess that Ed was taken aback by the presence of the new infielder, Bob Sadowski, since he had a younger brother named Bob who was working his way up as a pitcher in the Braves chain. (How ya gonna keep em down on the farm once they’ve seen Karl Hungus?!)

Bob Sadowski the pitcher (the other Bob Sadowski) was called up to Milwaukee in 1963 resulting in two Bob Sadowskis being active on major league rosters.  You can imagine their first meeting—”Okay sir, you’re a Sadowski, I’m a Sadowski. That’s terrific, but I’m very busy, as I can imagine you are. What can I do for you sir?”

Brother Bob had enough stuff to hang with the Braves through 1965 before he was peddled to Boston, where in 1966 he traded his spikes in for a pair of bowling shoes. Strong men also cry.

But, my friends, this is not the end of the Sadowski saga.  In 1961, Topps issued a card for the third Sadowski brother, Ted. (Ahh, separate incidents). The Twins prospect received the rookie “star” on his one and only card.  Not exactly a lightweight, Dude. Like his brother Bob, Ted was a thrower of rocks.  He made 43 appearances with the Senators/Twins between 1960 and 1962.

Incidentally, on May 27, 1962 (the day after Shabbos) Ted faced Bob the infielder (no relation) in a league game (Smokey) between the Twins and White Sox.  This Sadowski showdown resulted in Bob collecting two singles with two RBI in two plate appearances.  Sometimes you eat the bear, and sometimes… well, he eats you. And sometimes the bear’s name is Bob Sadowski, who would henceforth be referred to by all other Sadowskis as His Dudeness (or Duder, or El Duderino, if you’re not into the whole brevity thing).

If you are still with me, you are undoubtedly hoping I will wrap it up soon. “Yeah, well, you know, that’s just, like, your opinion, man.” For I happen to know there was another little Sadowski on the way.

Jim Sadowski, nephew of the three Sadowski brothers, surfaces with the Pirates in 1974, pitching in four games before returning to the minors.  Topps did not issue a card for Jim, but we got some leads about a  publicity still and a Venezuelan Winter League sticker that exist. We’ve been working in shifts to find them.

The non-related Bob hung on in the minor leagues though 1969, which netted him a Seattle Angels popcorn card in 1966. “Did you ever hear of the Seattle Angels? That was me… and twenty four other guys.”

And finally, like a rug can really tie a room together, I will wrap a bow on this post by showing you a page I have from a San Francisco Seals autograph book signed by Ed Sadowski. With that, I bid you farewell. I’m going to go see if they got any of that good sarsaparilla.

Editor’s note: Thanks to guest editor, good friend, and Big Lebowski scholar, Russ, for his help with this piece. He’s a good man…and thorough.

Toehold

I wrote about a selection of Exhibit/Arcade cards I got on my own blog but there are enough of them to warrant a toehold post here as well.

We’ve had a handful of posts about Exhibit Cards here before but haven’t had a post specifically dedicated to them yet.* This is not going to be that post except to note that Exhibits are kind of wonderful because they represent a different method of card collecting and distribution and a different direction that the hobby could’ve gone.

*A good writeup is over on Sports Collectors Digest but I’d love to see more here as well.

Instead of packs of cards and the association with food and gum products, Exhibits are clearly photo products and place baseball players in the same ecosystem as Hollywood stars, cowboys, pinups, etc. of pop idols that fans would want to collect and display. Instead of products like photo packs you purchased at concession stands in stadiums, you bought your Exhibits from a vending machine in an arcade or store and you got what you got.

By the time I was a kid the only thing left being sold like this was mini plastic football helmets. It amazes me that there was an era when you could get 3.5″×5″ photo cards instead. Anyway while cards of Cary Grant, Humphrey Bogart, Judy Garland, Clark Gable, and Jimmy Stewart are lots of fun, this is a baseball card blog so I’m only going to write about the cards of baseball-related stars.

I was super-pleased to find cards of Abbott and Costello in my batch. Who’s on First* is a comedy classic that’s in the Hall of Fame because it’s not only required viewing for any baseball fan but one which I suspect we’ve all memorized as well.

*Link included as part of standard practices. 

A couple springs ago I was coaching Little League and had a kindergartner named Hugh on my team. Did I put him at first base? It would’ve been irresponsible and negligent not to.

Anyway these Exhibits appear to date to the 1940s and so represent this pair at the height of their popularity. I especially like that Costello’s salutation is “Yours for fun.”

There are a lot of Cowboy Exhibit cards but the only one in my batch was Gene Autry. I should probably have scheduled this post for Christmas to coincide with Here Comes Santa Claus and Rudolph the Red Nosed Reindeer, but things were busy and it was Autry’s involvement first with the Hollywood Stars and then as the primary owner of the Los Angeles California Anaheim Angels which makes him relevant here.

It’s funny, for someone like me who learned about the game in the 1980s, Autry should’ve been someone  I knew first as a team owner. I didn’t though. He was always the singing cowboy and showman first for me and I have to remind myself that he was involved with baseball for much longer than he was recording.

Some of this though is probably because by the time I was learning about baseball the only owners I was truly aware of were the ones like Marge Schott and George Steinbrenner who were in the news for all the wrong reasons. Autry with his hands-off nature is exactly the kind of owner that I can see Angels fans loving and everyone else not knowing anything about.

The last baseball-related Exhibit has turned out to be one of my favorites of the batch. Yes I like her even over Abbott and Costello. Laraine Day is not exactly a household name as a movie star but the tabloid scandal of her marriage to Leo Durocher and her subsequent involvement with the New York Giants makes her card something I’m considering moving out of the non-sport/non-baseball album and into my Giants album.

While she was married to Durocher she wrote a book about her life with the team* and even appeared on the cover of Sports Illustrated. If what I’ve been able to find around the web is accurate this cover upset a number of racists in the United States due to Day’s “embracing” of Mays.

*I’ll probably have to pull that book from the library just to take a peek (having access to the university library is a nice perk).

That’s about it for now. We’ll see if anything more shows up in the next batch of non-baseball cards I get.

UNCOMMON COMMON: Ernie Barnes

Author’s note: This is the second post in a series highlighting “common players” with stories far richer than the value of their trading cards. The first post in the series profiled Dave Hoskins and can be found here.

The common understanding of the term “Renaissance Man” is of someone with many talents or areas of knowledge. Ernie Barnes fits this description. Less correct but truer to the origin of the word renaissance would be a man reborn. Ernie Barnes fits this description too.

“Song of Myself”

Raised in segregated Durham, North Carolina, Barnes was chubby, nonathletic, and bullied by his Hillside High School classmates. He mainly kept to himself and drew in his sketchbook to pass the time. Tommy Tucker, a teacher at the school, noticed the drawings and took an interest in Barnes. A bodybuilder, Tucker sold Barnes on the positive impact weightlifting could have on his life. By the time he graduated, Barnes was state champion in the shotput and captain of the football team. He also had scholarship offers to 26 colleges.

“Sunday’s Hero”

At North Carolina College, Ernie Barnes played tackle and center on the football team while majoring in art. As a kid, despite his interest, Barnes was never able to visit the North Carolina Museum of Art. Blacks were not allowed. In college, however, Barnes made a trip to the recently desegregated museum with one of his art classes. The answer when Barnes asked where he could find paintings by Negro artists? “Your people don’t express themselves that way.”

“Friendly Friendship Baptist Church”

Twenty-three years the work of Ernie Barnes would fill this same museum, and today his work hangs in Halls of Fame, top galleries, art museums, and the homes of the art world’s top collectors. If you love Motown and grew before everything was digital, there’s a good chance you even have an Ernie Barnes sitting in your music collection.

“Sugar Shack” painting used for Marvin Gaye’s “I Want You” album cover

You might even have several!

That’s great, Jason, but what does all this have to do with baseball cards? Well, let me at least bring it back to sports.

“Fast Break”

Barnes was selected in the 8th round of the NFL draft by the Washington Redskins, but his Redskins career lasted only a few minutes. Then the team found out Barnes was black. Two rounds later, the Baltimore Colts called his name but ultimately cut Barnes at the end of training camp. In 1960 Barnes played five games with the Titans of New York, who later became the Jets.

“Football Pileup”

Barnes spent the 1961 and 1962 seasons as a San Diego Charger and the following two seasons with the Denver Broncos. Barnes never approached All-Pro status or even started a game, though he picked up the nickname “Big Rembrandt” for the sketches he did during games, including in huddles.

I suspect when you think of football players turned actors, Barnes is not the first to come to mind.

“O.J. Simpson” (1984)

Nonetheless, Barnes acted in numerous television shows and movies, highlighted by his portrayal of Josh Gibson in the 1981 Satchel Paige biopic “Don’t Look Back.”

There is another connection Ernie Barnes has to baseball, one shared with me by Lawrence “Dan” D’Antignac, owner of Chicago’s historic Woodshop, longtime institution and early commercial epicenter of African American art.

As Dan tells it, his wife had made a trip to Los Angeles to meet with Ernie Barnes and discuss the selling of his work when the meeting was interrupted by a woman hoping to show off the work of her teenage son who 100% lived up to the hype.

Perhaps you’ve tasted the back of some of his artwork…

Or been greeted by it at the Negro Leagues Baseball Museum in Kansas City…

“Safe at Home” (2005)

There’s also a very good chance you’ve run across his book.

Of course, you didn’t come here to read about Kadir Nelson or even art! You want CARDS! Well, luckily I aim to please.

While an Ernie Barnes painting would easily set you back five figures if not six, it turns out any motivated collector can add an Ernie Barnes to his or her collection for the price of a bad ham sandwich.

As the title to this post suggests, Ernie Barnes, one of the great artists of the 20th century and an absolute icon in the African American art world, is a mere “common player, starting at around $2 on COMC and eBay.

1964 Topps Football card #48

Common though he is in the price guides, Ernie Barnes is the only man on the set’s 176-card checklist certain to remain relevant not just decades but centuries from now. Somewhere in a museum a young visitor will ask the docent where the works by African Americans are kept. And then, long, long after all 11 Hall of Famers in the 1964 Topps set have faded from memory, the visitor will happen upon an Ernie Barnes and neglect the rest of the day’s plans for a brush with greatness.

“Hook Shot” (1971)

Of Myths and Men (pt 1)

I have really enjoyed perusing SABR’s Eight Myths Out Series. Jacob Pomrenke and the rest of the many historians involved have done terrific work and it is a tribute to what a bright and meticulous team can accomplish.

The title of the project is a nod to the book and subsequent film “Eight Men Out”. As a promotion for the movie a trading card set was produced. It is a fun 110 card set that I enjoy because it falls at the intersection of two of my hobbies, baseball and film.

1988 Orion Pictures Eight Men Out #5 The Black Sox Scandal

Since the eight myths are responses to ideas introduced in “Eight Men Out” the book and further propagated by the film several of the cards are also connected to these myths.

Today we will look at some of the myth cards. I envision this as a three column series covering four myths in each of the first two postings followed by a  non-myth set summary/highlights closer.

Myth #1 Comiskey as Scrooge

1988 Orion Pictures Eight Men Out #80 Charles A Comiskey

Myth #1 is covered on card #80 – if this was a Topps set it would be a Hero Number! OK, maybe a low-level star number. While this is a nice era appropriate profile picture of Comiskey when we flip the card over we start talking Scrooge…

1988 Orion Pictures Eight Men Out #80 Charles A Comiskey (back)

The text opens discussing Comiskey’s Hall of Fame credentials but things turn in paragraph 3. “Tightfisted” and “Dollar-Pinching” are the two adjectives used to describer Comiskey. The card also mentions Dickey Kerr who is discussed in one of the further reading bullets for Myth 8.

Myth #2 The Cicotte “Bonus”

1988 Orion Pictures Eight Men Out #6 Eddie Cicotte 29-7 in 1919

I love the statistical reference which is given as the sub-line on this card. The 29-7 record of Cicotte is a subtle / not-so-subtle nod to the 30 wins that the pitcher did not achieve in 1919.  There are 110 cards in this set and this is the ONLY one that has stats on the front.

Interestingly…

1988 Orion Pictures Eight Men Out #6 Eddie Cicotte 29-7 in 1919 (b-side)

The back of the card does not mention the benching of Cicotte at all.

Myth #3 Gamblers Initiated the Fix

1988 Orion Pictures Eight Men Out #19 The Key is Cicotte

Cicotte is mentioned by name on our myth #3 card as well, but it features gamblers “Sleepy” Bill Burns and Billy Maharg. Turns out the card (book and film) has the facts reversed. It was Eddie Cicotte along with Chick Gandil that approached the gamblers.

Myth #4 The Hitman: “Harry F.”

1988 Orion Pictures Eight Men Out #60 Lefty is Threatened

For legal reasons Eliot Asinof created a fictional character, Hitman “Harry F.”. According to “Eight Men Out” the hitman threatened Lefty Williams. The mythical threat is mentioned on card #60 above.

Once again I urge you to check out “Eight Myths Out” to further understand the facts/myths involved, I have only touched upon each bullet here as a connection with the related card.

This concludes part one of our series dedicated to Eight Men/Myths Out. Hopefully in the next week or so we will cover the bottom half of the myths.

Sources and Links

SABR: Eight Myths Out

Baseball-Ref

Imdb

Eight Men Out set index (Phungo)

Cards on Film: “Mermaids”

Many of you likely know of my passions for both baseball and film. It is often assumed that I therefore must love baseball films — films about the game — but usually I do not. But I do love movies where characters attend baseball games, like Paul Newman and Joanne Woodward do in A New Kind of Love, or when there is an unexpected baseball photo in the background, as in Lauren Bacall’s iconic scene in To Have and Have Not. In the two preceding examples I link to the blog of my friend Tom Shieber because no one knows more about this subject than Tom, and no one is better than Tom at rooting out the details. I love stumbling across the scenes, but often I just pass them off to Tom to let him do all the hard work.

In recent years I have been especially on the lookout for films that use baseball cards in some way. I am not aware of a film in which baseball card collecting is a central theme, but that is really not what I am after. I want the baseball cards or related memorabilia to either be completely random, or perhaps to help us understand the character or the time and place.

My favorite such scene is from Arthur Hiller’s “Penelope” (1966). I have explained this in depth many times, so I will just wait until you read this link. The movie has nothing to do with baseball, or baseball cards, but it is wonderful.

I wrote about a second example last year, “Skipped Parts,” a rather obscure film from 2000. In this movie, the cards are used as evidence that the main character, a 14-year-old boy, is not appropriately growing up. Imagine collecting cards at 14? Incroyable!

I actually enjoy both of those films on their merits. That is not the case with “Poison Ivy” from 1985. I did not think it worthy of a blog post, but last week I linked to it on Twitter and directed people to go to time stamps 1:02:32 and then 1:03:05 (each scene lasts 2 seconds). Two boys are sitting on their camp bed and playing with a box of 1985 Fleer cards.

My latest entry in the Cards on Film Hall of Fame is Richard Benjamin’s “Mermaids” from 1990. The film is principally about a single mother (played by Cher) and her two daughters (Winona Ryder and Christina Ricci, in her debut). The family moves around a lot, for reasons explained, and early in the film they are newly arrived in a small town in Massachusetts. This is the fall of 1963. They soon meet a local shoe store owner (Bob Hoskins) who becomes the fourth principal character in the movie.

The Hoskins character is a big baseball fan, which is the reason I am writing this post. Here is the scene where the family goes shoe shopping.

As they walk into the shoe store the radio is playing a Red Sox game, and the Yankees appear to be the opponent. It sounds like Mickey Mantle might be batting. (After a few seconds the game goes silent, though no one turns the radio off.) More importantly, there are a lot of baseball photos behind the cash register, and several baseball cards — all Red Sox from 1962 and 1963. How many can you pick out?

Later in the film the whole gang is back in the store and you see the cash register from the side. There are even more Red Sox baseball cards.

Hoskins becomes Cher’s love interest, as you likely guessed. She is very reluctant to commit to him or anyone else (a central theme of the film), but as a way of finally giving in just a bit, the entire crew heads to Cooperstown and visits the Baseball Hall of Fame. There is one very brief scene on Main Street and at the museum.

There are lot of talented actors on display, and all of the characters are somewhat quirky. Ryder’s character, who is 16, is the narrator and turns into the central character of the film. Ryder was a pretty big deal in 1990, and this film was part of her meteoric rise. Unfortunately, her character has zero interest in baseball.

But she does go to Cooperstown. How cool is that?

If you have any other nominees for the Hall of Fame, please pass them on and I will investigate. Or you can blog about them yourself.

 

 

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.

The Brand New Testament

Baseball cards have been referenced in countless American films. My favorites only begin with 1966’s Penelope (thank you, Mark Armour!), It’s My Turn (1980, in which you get to see Michael Douglas on a card), and Spike Lee’s Girl 6 (1996). (In the latter, the title character tells Jimmy, played by Lee: “Baby, let me tell you something. You can continue to live in your little fantasy world with your baseball cards and the autographed bullshit or whatever the fuck is it you do, but me, I got to eat and pay the rent….” And Jimmy responds: “…you know, at least I got Willie Mays and Hank Aaron’s autograph on a baseball card, you know, they’re in the Hall of Fame.”)
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But baseball cards do not just appear in American films. One example is The Brand New Testament (2015), a Belgian feature directed by Jaco Van Dormael. At its center is a ten-year-old girl who just so happens to be the daughter of God. But given who they are, she and her parents are not what one might expect. They reside in a cramped Brussels apartment and her father– or, God– is a loud, coarse bully. Her bathrobe-clad mother is described as “a pathetic woman, one-hundred-percent certified sloppy.” She is perpetually silent; when she doesn’t embroider, she sits at a table and contemplates her baseball card collection. (Some of the cards are seen up-close and ever-so-briefly. They do not resemble any specific set or feature recognizable players. But they are indeed baseball cards.)