The 1905 World Series was the only World Series in history in which every game ended as a shutout. Game 5 of the Series, played on October 14th, featured Christy Mathewson of New York against Chief Bender of Philadelphia on the mound. Mathewson defeated the A’s 2-0, marking his third victory of the Series to secure the Giants’ World Series victory.
Christy Mathewson became the first rookie in the modern era to throw a no-hitter on July 15, 1901. Just twenty years old, the right-hander kept the Cardinals hitless as the Giants posted a 5-0 victory at Robison Field in St. Louis.
Considered the first great pitcher of the modern era, Christopher “Christy” Mathewson was born in Factoryville, Pennsylvania on August 12, 1880, the oldest of six children of Minerva (née Capwell) and Gilbert Mathewson. He attended high school at Keystone Academy, and then college at Bucknell University. At Bucknell, Mathewson served as class president, played on the school’s football and baseball teams, and he was also a member of the fraternity of Phi Gamma Delta.
In 1895, when Mathewson was fourteen years old, the manager of the Factoryville ball club asked him to pitch in a game against a rival team in Mill City, Pennsylvania. Mathewson helped the Factoryville team to a 19-17 victory. He continued to play with semipro teams until he left for Bucknell.
At Bucknell, though Mathewson pitched for the baseball team, he was better known for his accomplishments as a football player, where he spent three years as the varsity team’s first-string fullback, punter, and drop kicker. It was also at Bucknell that Mathewson met his future wife, Jane Stoughton. After playing ball throughout his time at Bucknell, Mathewson signed his first professional baseball contract in 1899 with Taunton of the New England League. In 1900, he went on to play with Norfolk of the Virginia-North Carolina League, finishing the season with a 20-2 record.
In July of 1900, the New York Giants purchased Mathewson’s contract from Norfolk for $1,500. He appeared in six games for the Giants, compiling an 0-3 record before the Giants sent him back to Norfolk, demanding their money back in frustration. In September of that year, the Cincinnati Reds obtained Mathewson off the Norfolk roster, then traded him back to the Giants that December.
Christy Mathewson won 20 games in his first full major league season in 1901. He then posted at least 30 wins a season from 1903-05 and led the National League in strikeouts five times between 1903 and 1908. In 1908, he set a modern era record for single-season wins by an NL pitcher with 37. From 1903 to 1914, Mathewson won at least 22 games each season and led the NL in ERA five times.
In postseason play, during the 1905 World Series, Mathewson pitched three complete-game shutouts in three starts against the Athletics, giving up only 14 hits total in those three games. In 1911, the Giants won their first pennant since 1905, however they ultimately lost the 1911 World Series to the Philadelphia Athletics. Mathewson and Rube Marquard allowed two game-winning home runs to Hall of Famer Frank Baker en route to the Series loss.
The Giants captured the pennant again in 1912, facing the Boston Red Sox in the World Series. Though Mathewson threw three complete games in the Series and maintained an ERA below 1.00, the Giants as a team committed a number of errors, including the infamous lazy popup dropped by Fred Snodgrass in game 7, costing them the championship. Though the Giants would win 101 games in 1913, they lost the World Series that year four games to one, again to the Athletics.
Mathewson played with the Giants for seventeen years. After the 1913 season, however, both Mathewson and the Giants as a team began to decline. In 1916, Mathewson was traded back to the Reds and was named player-manager. He appeared in only one game as a pitcher for the Reds, on September 4, 1916 against the Cubs. Mathewson and the Reds won that contest, 10-8.
In his career, Mathewson posted a 373-188 record (.665 winning percentage). His career ERA was 2.13 (8th all time) and he posted 79 shutouts (3rd all time) over the course of said career. Mathewson also recorded 2,507 career strikeouts against only 848 walks.
Nicknamed the “Christian Gentleman,” Mathewson was held in high regard in his time. Mathewson was handsome, college-educated, and temperate, making him an anomaly in the rowdy world of baseball during this time period. It made him, easily, one of the most popular ballplayers of the age. “He gripped the imagination of a country that held a hundred million people and held this grip with a firmer hold than any man of his day or time,” wrote sportswriter Grantland Rice.
Late in the 1918 season, Mathewson enlisted in the United States Army for World War I. He served as a captain in the newly formed Chemical Service along with Ty Cobb. While he was in France, he was accidentally exposed to mustard gas during a chemical training exercise and subsequently developed tuberculosis. Mathewson served with the American Expeditionary Force until February 1919 and was discharged later that month. He returned to serve as an assistant coach for the Giants until 1921, but continued to battle tuberculosis the entire time.
After some time away, Mathewson attempted to return to professional baseball in 1923 when he and Giants attorney Emil Fuchs put together a syndicate that bought the Boston Braves. Initially, Mathewson was to be principal owner and team president, but his health had deteriorated so much that he turned over the presidency to Fuchs after the season. Christy Mathewson died in Saranac Lake, New York of tuberculosis on October 7, 1925. He is buried at Lewisburg Cemetery in Lewisburg, Pennsylvania, near Bucknell University.
In 1936, Mathewson became one of the first five players elected to the Baseball Hall of Fame.
The first five men elected into baseball’s new Hall of Fame on February 2, 1936 were Ty Cobb, Babe Ruth, Honus Wagner, Walter Johnson, and Christy Mathewson. The Hall of Fame was scheduled to open in Cooperstown, New York in 1939 as part of baseball’s celebration of its “centennial,” that is, the centennial based on the myth of Doubleday’s invention of the game.
I have a feeling that I have seen this particular poem before, though for the life of me, I do not recall where. In any case, this piece by Ogden Nash was originally published in the January 1949 issue of SPORT Magazine. Nash uses the letters of the alphabet to pay tribute to some of baseball’s most popular players.
You can find a chart listing the players each stanza stands for here.
A is for Alex
The great Alexander;
More Goose eggs he pitched
Than a popular gander.
B is for Bresnahan
Back of the plate;
The Cubs were his love,
and McGraw his hate.
C is for Cobb,
Who grew spikes and not corn,
And made all the basemen
Wish they weren’t born.
D is for Dean,
The grammatical Diz,
When they asked, Who’s the tops?
Said correctly, I is.
E is for Evers,
His jaw in advance;
To Tinker with Chance.
F is for Fordham
And Frankie and Frisch;
I wish he were back
With the Giants, I wish.
G is for Gehrig,
The Pride of the Stadium;
His record pure gold,
His courage, pure radium.
H is for Hornsby;
When pitching to Rog,
The pitcher would pitch,
Then the pitcher would dodge.
I is for Me,
Not a hard-hitting man,
But an outstanding all-time
J is for Johnson
The Big Train in his prime
Was so fast he could throw
Three strikes at a time.
K is for Keeler,
As fresh as green paint,
The fastest and mostest
To hit where they ain’t.
L is for Lajoie
Whom Clevelanders love,
With glue in his glove.
M is for Matty,
Who carried a charm
In the form of an extra
brain in his arm.
N is for Newsom,
Bobo’s favorite kin.
You ask how he’s here,
He talked himself in.
O is for Ott
Of the restless right foot.
When he leaned on the pellet,
The pellet stayed put.
P is for Plank,
The arm of the A’s;
When he tangled with Matty
Games lasted for days.
Q is for Don Quixote
Neither Yankees nor years
Can halt his attack.
R is for Ruth.
To tell you the truth,
There’s just no more to be said,
Just R is for Ruth.
S is for Speaker,
Swift center-field tender,
When the ball saw him coming,
It yelled, “I surrender.”
T is for Terry
The Giant from Memphis
Whose .400 average
You can’t overemphis.
U would be ‘Ubell
if Carl were a cockney;
We say Hubbell and Baseball
Like Football and Rockne.
V is for Vance
The Dodger’s very own Dazzy;
None of his rivals
Could throw as fast as he.
W is for Wagner,
The bowlegged beauty;
Short was closed to all traffic
With Honus on duty.
X is the first
of two x’s in Foxx
Who was right behind Ruth
with his powerful soxx.
Y is for Young
The magnificent Cy;
People battled against him,
But I never knew why.
Z is for Zenith
The summit of fame.
These men are up there.
These men are the game.
The Third Inning of Baseball: A Film By Ken Burns explores the game during the 1910s. This disc opens with a discussion of fan involvement, and how the setup of the field during this time period gave fans a greater amount of influence in the events of the game. Fans often spectated standing in foul territory or directly on the field behind the outfielders, allowing them not only to yell at players more effectively, but also to potentially become physically involved in some plays. And it wasn’t just fans rooting for their teams who sought to influence the outcome of games. Gamblers during this time period were heavily involved in the sport.
Connie Mack’s Philadelphia Athletics dominated the first half of the decade. Meanwhile, the saga of Ty Cobb continues, from his 1910 race for the batting title against Nap Lajoie to Cobb’s suspension from organized baseball for beating the snot out of a fan in 1912.
Buck O’Neil, who has contributed to the commentary of the documentary series in the first two innings, was born in 1911, and now discusses his experience with baseball as a boy. Baseball’s “gentleman’s agreement,” however, continued to exclude black players from the game, though teams at times undermined this agreement with light-skinned minority players.
The 1912 World Series between the Boston Red Sox and the New York Giants became an unusual eight-game Series when the second game was called due to “impending darkness.” Game eight of this Series was the one in which Fred Snodgrass dropped an easy fly ball, which allowed hitter Red Sox Clyde Engle to make it all the way to second. Engle would later score, tying the game at 2-2, and Red Sox went on to first load the bases, then score the winning run. Poor Snodgrass joined the ranks of dubious fame with Fred Merkle as a result.
The clouds of scandal appear early with the figure of Hal Chase. His willingness to throw games was so well-known that even fans took to chanting, “What’s the odds,” whenever Chase took the field. Players throughout baseball expressed their own discontent with the reserve clause and the complete control of owners over their contracts. The formation of the Federal League attempted to address this discontent in promising players the opportunity for free agency. The new league only lasted two seasons, however, and the players found themselves still without a voice.
On this disc, we meet pitcher Grover Cleveland Alexander, and we see more of the progression of Branch Rickey’s baseball career. The 1916 World Series went to the Boston Red Sox over the Brooklyn Superbas. The 1917 Series went to the Chicago White Sox over the New York Giants, then Boston returned to win the 1918 Series, this time over the Cubs. When World War I broke out, Major League Baseball as a whole seemingly turned a blind eye. Some players did serve during the war, including Grover Alexander, Ty Cobb, and Christy Mathewson, and Branch Rickey joined the effort as well.
The last half hour of the Third Inning went into detail covering the 1919 Black Sox scandal. I particularly found it fascinating that Burns managed to find a Chicago fan who had been fifteen years old at the time of the scandal. This fan recalled his disbelief that the White Sox had managed to lose the Series, being too young to understand the world of gambling at the time. His shock and disappointment no doubt reflected the feeling of baseball fans everywhere at the time. Though as Buck O’Neil describes at the very end of this disc, while the scandal turned a lot of folks away from the game at the time, it wouldn’t be long before a new hero would draw them back — a man named Babe Ruth.
Gushing with patriotism, the Second Inning of Baseball: A Film by Ken Burns begins with proclamations of the game of baseball being America’s “safety valve” and a montage of old baseball photos being scrolled to the sound of the national anthem and a spoken list of various American accomplishments during the early twentieth century.
Not all was perfect in the country, however, as Burns also points to an increase in racism across America, the growth of tenements, and a decline in baseball’s popularity. As it always does, however, baseball managed to recover. It was a time when small ball dominated the style of play, and pitchers like Christy Mathewson, “Three Finger” Brown, and Walter Johnson became legends on the mound.
Major league baseball entered the twentieth century in trouble, beset by declining attendance, rowdyism, unhappy players, and feuding, greedy club owners, but then divided itself in two, cleaned itself up, and succeeded beyond anyone’s wildest dreams. The World Series began, and season after season more than five million fans filled stadiums to see their heroes play, and countless millions more, who had never been lucky enough to watch them in person, followed their every move in the sports pages.
In part two of this documentary series, we see the rise of players like Honus Wagner and Ty Cobb, two of the most diametrically different players as the game has ever seen. We meet player-manager John McGraw, who approached the game with a furious kind of passion recognized throughout baseball. The “Christian Gentleman,” Christy Mathewson, also appeared on the scene playing for McGraw, and his precise pitching captured the attention of teams and fans across America. Together, Mathewson and McGraw’s Giants dominated the sport.
We also see the rise of Ban Johnson and the American League. The National Agreement brought peace between the new AL and the older National League, though the reserve clause remained intact, leaving ballplayers themselves with no voice in the administrative side of the game. And to no one’s surprise, I’m sure, overpriced concessions have been a staple of ballparks since the game became a business. This time period saw the introduction of hot dogs, served to fans in buns to allow them to hold them while watching baseball.
Once again, we see descriptions of racism in baseball followed closely by an update on the life of Branch Rickey. Burns hints at the impact of seeing discrimination on Rickey’s views. Later in this disc, there is a more in-depth discussion of black baseball, including the creation of the Negro Leagues led by Rube Foster. The documentary also introduces (though it really doesn’t dive much into) the concept of “bloomer girls,” women playing baseball during this time period.
Some of the most recognizable pieces in baseball pop culture also came into existence in the late-nineteenth and early-twentieth centuries. Franklin Pierce Adams’s poem, “Baseball’s Sad Lexicon,” also known as “Tinker to Evers to Chance,” was written in 1910, Ernest Thayer’s iconic poem “Casey At the Bat” (1888) was recited frequently by performers, and Jack Norworth’s “Take Me Out to the Ballgame” became the game’s anthem.
The Second Inning ends at the conclusion of the 1909 season, following a discussion of Fred Merkle’s 1908 boner and a more direct rivalry between Ty Cobb and Honus Wagner in the 1909 World Series. It’s hard to tell if Burns is particularly fascinated by Cobb, or if there are just too many good stories there to ignore, but Cobb does garner a fair amount of attention in this inning. Not that I’m complaining — I wouldn’t have wanted to play against him (and probably not even with him), but Cobb does add some color to the game’s history.
In our sun-down perambulations, of late, through the outer parts of Brooklyn, we have observed several parties of youngsters playing base, a certain game of ball…Let us go forth awhile, and get better air in our lungs. Let us leave our close rooms…the game of ball is glorious. ~Walt Whitman
Thus begins the first disc of Baseball: A Film By Ken Burns. This is a series that I’ve checked out from the library and started watching multiple times, yet never managed to finish. In an effort to change this, I’ve decided to commit myself to writing about each “Inning” of the series here. This way, I have a form of accountability to encourage me to get through the whole thing.
Approximately the first twenty minutes of the first disc serve as kind of a nostalgic, feel-good introduction to the series and the game. Images of Babe Ruth, Christy Mathewson, Jackie Robinson, Ted Williams, and several others flash across the screen to a background of melodic music and various speakers ruminating about what an incredible game baseball is.
The First Inning then begins with the myth of baseball’s founding by Abner Doubleday. Burns describes the story behind Doubleday’s supposed invention of the game, then immediately refutes it, asserting that Doubleday likely never even saw a professional game. Baseball, rather, is most likely a direct descendant of two British sports: rounders and cricket. The game went through multiple variations until the founding of the New York Knickerbockers and the codification of rules by Alexander Cartwright. Henry Chadwick soon appears on the scene and becomes instantly enamored with baseball. Chadwick went on to invent the box score, using statistics to track players’ performances. The National Association of Base Ball Players was then formed to help maintain control over the sport and further codify the rules.
The outbreak of the American Civil War presented a disruption to organized baseball. On the other hand, it also served to help spread the game’s popularity as soldiers returning home at the end of the war took knowledge of the sport with them. In spite of the end of slavery, black teams found themselves banned from organized leagues. Women and girls, also, struggled for the right to play ball, as it was deemed too violent and dangerous for the fairer sex.
Burns chronicles the evolution of baseball from its status as an amateur pastime to a professional sport — a business. It is evident from his focus on the establishment of the reserve clause that Burns intends to delve into the subject further. It only makes sense to do so, of course, given the impact that this clause would have on the occurrence of so many events throughout the game’s history. Burns also puts some attention on gambling, which, as we know, would also impact baseball’s timeline of events.
The First Inning covers the development of the NL, the AA, the Players’ League, and the rise of Albert Spalding. A number of players are introduced, including Cy Young, Cap Anson, King Kelly, and John McGraw. We also meet Moses Fleetwood Walker and the bigotry he faced in the big leagues as a black player. This, followed closely by a discussion of Branch Rickey’s early life, present a foreshadowing recognizable by anyone familiar with the game’s history.
Most histories I have seen covering this period in baseball seem to treat the game with a kind of veneration. Personally, this is perhaps my favorite period in the game’s history to learn about, possibly in part due to this sense of awe that it brings out about baseball. So much of what happens next has already been established, yet there is still something pure and clean about baseball during the 19th century.
Sportswriter-turned-skipper for the New York Giants, Horace Fogel, had a reputation for making some questionable decisions in his short tenure as manager. Most notable was his attempt to turn second-year pitcher Christy Mathewson into a position player, in spite of Mathewson’s having won twenty games as a rookie. Fogel’s rule over the Giants dugout came to an end on June 10, 1902, fired by the organization, and Mathewson went on to the Hall of Fame — as a pitcher.
World War I broke out in late-July 1914, following the assassination of the Archduke of Austria-Hungary, though it was not until April 1917 that the United States officially entered the war. America had remained neutral in the conflict, at least until German U-boats began to strike at ships with Americans passengers on them. In retaliation, the United States declared war on Germany mere days before the start of the 1917 baseball season.
As the war raged on, Major League Baseball proceeded with its full schedule, in spite of the fact that most minor leagues shut down for the season. Very few professional players joined the military at first, either through the draft or through voluntary enlistment. This, unsurprisingly, did not sit too well with the American public. Even as owners donated money to the war cause and gathered up baseball gear for soldier recreation, the public demanded greater sacrifices from organized baseball. In response, owners cut down on team travel, reduced the 1918 schedule from 154 games to 140, and trimmed player salaries. When the criticism continued, owners answered with the insistence that baseball played a role as the national pastime. Its contribution to the war effort, they claimed, was in its ability to keep American spirits high.
Early in the 1918 season, however, Secretary of War Newton D. Baker determined that being a baseball player was a non-essential occupation to the war effort. Furthermore, all draft-eligible men employed in “non-essential” occupations were required to apply for work directly related to the war or take a chance on being called into military service. Baseball owners managed to delay the “work or fight” requirement until the end of the season on September 1st, and continued fighting in order to gain a longer reprieve for World Series participants. In spite of its misgivings, the government relented.
Nevertheless, an average of fifteen players per team found themselves drafted or chose to
enlist prior to the deadline. All teams, as a result, sought out replacements, who were often younger, less experienced, and less talented. As the quality of play deteriorated, so did fan attendance in stadiums. The 1918 World Series ended up being a match up between the Boston Red Sox and the Chicago Cubs. It remains the only World Series to be played entirely in September (running from the 5th to the 11th), due to the premature end of the regular season, and a number of players threatened to strike due to low attendance.
Game 1 of the 1918 World Series became the first time “The Star-Spangled Banner” was performed at a Major League game. Thanks to the war effort, no doubt, baseball seemed eager to continue to prove its patriotic contribution to the cause. (“The Star-Spangled Banner” would become the national anthem in 1931.) The Red Sox went on to win the Series, four games to two, led by a young pitcher by the name of Babe Ruth.
Meanwhile, in Europe, players who found themselves participating in the war had a not-so-enjoyable experience. Grover Alexander, considered to be one of the top pitchers of the time period, suffered from loss of hearing, shell shock, and would later develop epilepsy. He would later be driven to alcohol abuse, as a result of his experiences during the war. Ty Cobb and Christy Mathewson were part of a gas defense drill that turned out very badly when a number of soldiers missed the signal to put their gas masks in place. Ty Cobb managed to escape unharmed, but Mathewson inhaled a considerable amount of poison gas. His health deteriorated over time, and Mathewson died of tuberculosis seven years later. Also among those sent to Europe were George Sisler and Branch Rickey. In total, an estimated two hundred and fifty ballplayers ended up serving in the military, while others joined the reserves or found war-related work.
If the war continued into 1919, rumor had it, owners would be forced to cancel the 1919 season altogether. Fortunately for baseball, however, Germany formally surrendered on November 11, 1918, thus ending the First World War.
It seemed like it was back to business as usual for baseball. However, the 1919 season would prove in phenomenal fashion that this was hardly the case. While baseball managed to continue limping along during the war, the racetracks had been forced to shut down entirely. As a result, gambling in baseball skyrocketed. This, combined with the efforts of owners to recoup loss funds as a result of the war, would set off a domino effect that resulted in a metaphorical explosion by the end of 1919.