On March 16, 1932, Babe Ruth signed a deal for $75,000, a five-thousand dollar pay cut from the previous season and 25 percent of the Yankees net receipts from exhibition games. The pay cut came in large part as a result of the Great Depression. Legend has it the Bambino signed a blank contract, with the amount filled in later by Yankee owner Jacob Ruppert.
Babe Ruth signed his 1933 contract with the Yankees on March 24th of that year. In the face of the Great Depression, Ruth found himself forced to take quite a pay cut from his previous year’s salary of $75,000.
Yankees owner Jacob Ruppert had initially proposed a $25,000 cut down to $50,000 for the year, which Ruth refused to signed. Nevertheless, the Babe reported to Spring Training hoping to work out a better deal for himself in the meantime.
Finally, however, Ruppert issued an ultimatum, telling Ruth that if he did not sign by March 29th, he would not be permitted to travel back north with the team. Ruth finally settled for a $52,000 contract, stating, “I expected a cut, but $25,000 is no cut, that’s an amputation.”
Some consider Lefty Grove to be baseball’s greatest pitcher of all time — or, at the very least, the greatest left-handed pitcher of all time.
Robert Moses Grove was born to John and Emma Grove on Tuesday, March 6, 1900 in Lonaconing, Maryland. Following in the footsteps of his father and older brothers, Grove initially began a career working in the mines. He quit after two weeks, however, declaring, “Dad, I didn’t put that coal in here, and I hope I don’t have to take no more of her out.” From there, he drifted between other forms of work, including a “bobbin boy” working spinning spools to make silk thread, as an apprentice glass blower and needle etcher in a glass factory, and as a railroad worker laying rails and driving spikes.
When he was not working, Grove played a version of baseball using cork stoppers in wool socks wrapped in black tape as a ball, and fence pickets when bats were not available. He did not play an actual game of baseball until the age of seventeen, nor did he play organized baseball until nineteen when Dick Stakem, the proprietor of a general store in a neighboring town, recruited him to play in town games on a field located between a forest and train tracks.
Grove put on such a good performance as a pitcher, the manager of the B&O railroad wanted the teenager on his team, and hired him to clean cylinder heads of steam engines in Cumberland, Maryland. Grover never got the opportunity to play baseball with B&O, however. A local garage manager named Bill Louden also happened to manage the Martinsburg, West Virginia team of the Class D Blue Ridge League and offered Grove an astonishing $125 a month, a sum $50 more than his father and brothers were making.
Grove took a 30-day leave from his job, going 3-3 with 60 strikeouts in 59 innings for the Martinsburg team. Word of Grove’s performance reached Jack Dunn, owner of the International League (Double-A) Baltimore Orioles, and Dunn proceeded to buy Grove for a price somewhere between $3,000 and $3,500 from Louden.
Grove won his debut, 9-3, over Jersey City, prompting Dunn to say he wouldn’t sell Lefty to anyone for $10,000. From 1920-24, Grove was 108-36 and struck out 1,108 batters for a minor-league record. Grove was often wild as well, however, and went 3-8 in the postseason. His final season in Baltimore, however, he went 26-6, struck out 231 batters in 236 innings, and reduced his walks from 186 to 108. Following the 1924 season, Dunn sold Grove to Philadelphia owner and manager Connie Mack, for $100,600. The extra $600 supposedly made it a higher price than the Yankees had paid the Red Sox for Babe Ruth after the 1919 season.
Grove was twenty-five years old when he broke into the big leagues on April 14, 1925 with the Philadelphia Athletics. He had a rough rookie season, going 10-12 and leading the American League in both walks (131) and strikeouts (116). “Catching him was like catching bullets from a rifleman with bad aim,” Athletics catcher Mickey Cochrane commented years later.
In 1926, Grove’s ERA dropped from it’s previous 4.75 to a league-leading 2.51, his walks dropped from 131 to 101, and his strikeouts increased from 116 to 194. However, Grove also didn’t receive much support, and he was shut out four times in the season’s first two months. He would finish the season with a 13-13 record.
His bad fortune would not last forever, though. Grove led the league in strikeouts the next five years and won twenty or more games for the next seven. In 1929, the A’s won the pennant. Connie Mack declined to start either Grove or Rube Walberg, another left-handed pitcher, in the World Series, but Grove made his mark in relief. Coming into Game Two in the fifth inning, he recorded six strikeouts, three hits, one walk and no runs allowed over 4 1/3 innings. Grove then pitched the last two innings of Game Four in relief as well. The A’s took the Series, four games to one over the Cubs, and Grove struck out ten batters in 6 1/3 innings.
In 1930, A’s went 102-52 to finish in first place, and Grove won the Triple Crown of pitching by leading the league in wins (28), strikeouts (209), and ERA (2.54). In the World Series, the A’s faced the St. Louis Cardinals, who had batted .314 as a team for the season. Grove won the opener, 5-2, throwing seventy strikes and a mere thirty-nine balls, striking out five and allowing nine hits. Grove then relieved George Earnshaw in the eighth inning of a scoreless Game Five and won it, 2-0, with the help of Jimmie Foxx’s two-run homer.
Grove finished the 1931 season 31-4 with an ERA of 2.06. He won his second straight Triple Crown with 175 strikeouts and was named the American League’s Most Valuable Player. The Athletics won the pennant again, finishing 13 1/2 games ahead of second-place New York. With a blister on one of his throwing fingers, Grove gave up twelve hits in the World Series opener, but he received good fielding support and won, 6-2. However, Grove allowed eleven hits and four earned runs in eight innings during Game Three, losing 5-2. Grove then won Game Five, 8-1, on five hits and one walk. However, the A’s lost the Series in seven games to the Cardinals.
Grove had a 24-8 record in 1932 and led the league with a .750 percentage and 21 complete games. In 1933, he finished 24-8 with a 3.20 ERA — the first time since 1927 that he finished the season with an ERA above 3.0. Following the 1933 season, facing the financial realities that came with the Great Depression, Connie Mack traded Grove to the Boston Red Sox.
Unfortunately, Grove was unable to contribute much during his first year in Boston, as an arm injury held him to an 8-8 record. He bounced back in 1935, however, finishing 20-12 with a league-leading 2.70 ERA. In the 1936 season, he pitched a 2.81 ERA to win his seventh ERA title while posting a 17-12 record and 130 strike-outs. He then won his eighth ERA title a year later, finishing with a 17-9 record and 153 strike-outs. Grove then finished with records of 14-4 in 1938 and 15-4 in 1939, but in 1940, he had a 7-6 record while recording a 3.99 ERA with 62 strike-outs. The 1941 season would be his final season, and he finished 7-7, winning his 300th game on July 25th.
Grove finished with a career record of 300-141, and his .680 lifetime winning percentage is eighth all-time. He was elected to the National Baseball Hall of Fame in 1947, his first year of eligibility.
Lefty Grove died in Norwalk, Ohio, on May 22, 1975 at the age of seventy-five and was buried in the Frostburg Memorial Cemetery in Frostburg, Maryland.
The Sixth Inning of Baseball: A Film by Ken Burns explores the national pastime during the 1940s, which was quite the tumultuous decade in American history. It was a decade of war as the United States recovered from the Great Depression and found itself in a position of having to enter World War II. It was also the decade of Ted Williams and Joe DiMaggio, of women’s professional baseball, and of Jackie Robinson.
In a chronological sense, the Sixth Inning was an easier one to follow along with than any of the Innings that preceded it. The first part of this disc was dominated by two of the game’s greatest hitters. 1941 was the summer of Joe DiMaggio and Ted Williams, whose hitting performances captivated the baseball world. Joe DiMaggio’s fifty-six game hitting streak and Ted Williams’s .406 season average have both remained unmatched ever since.
The 1941 World Series resulted in a devastating loss for the Brooklyn Dodgers to the New York Yankees. At the end of the season, Dodgers general manager Larry MacPhail , drunk and belligerent, threatened to sell off all his players. The Dodgers instead opted to let go of MacPhail and brought in Branch Rickey, thus setting the stage for the breaking of the color barrier in the coming years.
When the United States entered the war, Franklin Roosevelt insisted that baseball ought to continue. The country would be working longer and harder, and thus recreation became more important than ever, he said. However, this didn’t shield players from the draft, and baseball still suffered as a result. Players like DiMaggio and Bob Feller joined the war effort. Meanwhile, baseball turned to signing players (and umpires) who didn’t meet the usual caliber of play just to keep going.
As the war also drew away a number of minor leaguers, Philip Wrigley came up with the idea of starting a women’s professional baseball league in order to fill the baseball void as minor league teams fell apart. Women from all over, particularly softball players, were recruited. They had to be able to play ball, but they were also required to remain unequivocally feminine. Off the field, any time they were in public, they were required to be in skirts, heels, and makeup — a requirement that I, for one, would find very difficult to swallow.
Following the war, the disc goes into the story of Branch Rickey and Jackie Robinson. The story from Rickey’s time coaching at Ohio Wesleyan University, checking into a hotel in South Bend, Indiana to play Notre Dame, is absolutely heartbreaking, and certainly explains a lot regarding his determination to integrate baseball.
Branch Rickey certainly did his homework when choosing a player to break the color barrier, and clearly, he choose well. Promising not to retaliate and turn the other cheek for three years (three years!), Jackie Robinson signed with the Montreal Royals.
Burns breaks from the Jackie Robinson saga long enough to cover the 1946 World Series between the St. Louis Cardinals and the Boston Red Sox. Though the Sox were the heavy favorites to win, the Cards employed the “Williams shift” to prevent Ted Williams from having much success at the plate. Thanks in part to this strategy, the Cardinals won that year’s Series. Roger Angell says it well when he explains that baseball is not a game about winning, like we think it is, but rather, it is a game about losing.
Jackie Robinson’s debut with the Brooklyn Dodgers in 1947 was certainly an event, one that we continue to celebrate today. As expected, he endured an endless stream of taunts, threats, and even attempts at actual bodily harm. Through it all, he bit his tongue. Instead, he let his performance on the field speak for him. Not only was he named Rookie of the Year at the end of the season, he was also determined to be the second most popular man in America, after Bing Crosby. Robinson’s efforts eventually allowed other black players, including the great pitcher Satchel Paige, to break into the majors as well.
Ken Burns does a good job of pointing out that, for all the virtues that surrounded Robinson’s trek into Major League Baseball, it was a devastating event for the Negro Leagues. The Brooklyn Dodgers became the team of black America, and attendance at Negro Leagues games declined. As we know now, the Negro Leagues would eventually meet its end as a result.
The disc ends with the death of Babe Ruth in 1948. It’s only appropriate that the Sultan of Swat would receive this kind of nod (and convenient that he would die at the end of a decade — not to be morbid or anything). Burns never touches on what Ruth thought of Jackie Robinson, nor on what Robinson thought of Ruth. Perhaps nobody knows. But as Buck O’Neil points out, both men were giants in the game. Each of them, in their own way, changed baseball forever.
Continuing on with the journey through Baseball: A Film By Ken Burns brings us to the decade of the 1930s. The United States, indeed, the world, was facing off against the Great Depression during the 1930s. As a result of high unemployment rates and widespread poverty, few could afford the price of tickets to attend professional baseball games, and as a result, attendance fell drastically. Baseball did what it could to try to draw fans back in, from the first All-Star game to the creation of the Baseball Hall of Fame. However, the financial difficulties that faced the nation at this time were too great.
Even as the Depression was getting underway, the Yankees signed Babe Ruth to the biggest contract in baseball history in the early 1930s. It was a move that seems only too-appropriate, given Ruth’s ostentatious lifestyle. Meanwhile, Lou Gehrig continues to stay merely in the shadows of the spotlight, in spite of his consecutive game streak and consistent high level of play.
Subtitled “Shadow Ball,” the Fifth Inning of this series by Ken Burns focuses on black baseball. (The subtitle, by the way, is not a reference to race, but rather to the illusion that these games weren’t being played with a ball at all, because it could barely be seen.) While white baseball suffered during the Depression, black baseball flourished. Many black teams came under control of racketeers, as they were among the few who could afford to fund baseball during this time, but interestingly, this seemed to be to the advantage of the Negro Leagues. And the crowds flocked to watch the black teams play. Listening to the nostalgia in the voices of former negro leagues players, you can tell there was a true love for the game, even in spite of inequality, the hard road trips, and the racism they faced.
We learn about Satchel Paige, considered by some to be the greatest pitcher in all of baseball. He had such an arsenal of pitches that few could hit off Paige. Some saw him as black baseball’s equivalent of a Babe Ruth, in that he drew large crowds to ball games. He even seemed to hold true to this comparison in his off-field personality. He hated to drive slow and cultivated a persona for those around him. Buck O’Neil, however, indicates there was much more to Paige than often met the eye.
Babe Ruth himself became the center of attention yet again during the 1932 World Series in Chicago when, in Game 3, he appeared to call his shot. No one will ever know for certain whether he really did, or if Ruth was merely engaging in a different gesture altogether, but it was a moment that, as we all know, has remained a part of the baseball psyche for decades. As the decade went on, however, Ruth’s level of play would decline, as it always does as a ballplayer gets older. When the Yankees made it clear they would not offer him a manager position, he did a brief stint with the Boston Braves, then retired from baseball. Meanwhile, new stars stepped into the spotlight. Not just Lou Gehrig, but also figures like Mel Ott, Jimmie Foxx, Dizzy Dean, and Bob Feller.
As for home run hitters in the Negro Leagues, catcher Josh Gibson was well-known for this ability. While many called him a black Babe Ruth, Burns notes, there were some who thought they had the comparison backwards, and that Babe Ruth was actually a white Josh Gibson. Indeed, the list of accomplishments for Gibson certainly seems to pass those of Ruth, including a season with seventy home runs, some of which exceeded 575 feet in distance. The Negro Leagues’ version of the Yankees were the Kansas City Monarchs, led by first baseman Buck O’Neil. In his commentary, O’Neil speaks about the camaraderie between the players and the fans.
We learn about the 1930s Brooklyn Dodgers, “dem bums,” and we learn about the 1934 St. Louis Cardinals, the “Gashouse Gang.” In 1936, Joe DiMaggio made his first appearances as a rookie with the New York Yankees. DiMaggio would help lead the Yankees to four World Series. Also in the thirties, we see the first night game in Major League Baseball (though night games had been played in the Negro Leagues for some time) and the increasing popularity of radio broadcasts, especially those by Red Barber, created new fans, as more and more people came to understand the game.
During the off season, many black players traveled south to Mexico, Latin America, and the Caribbean. In doing so, they were able to play baseball year round. They also discovered that the racial attitudes south of the United States were very different. They were paid more and welcomed more warmly by the locals than they were back home.
Discrimination didn’t stop with just the black population. Hank Greenburg came into prominence as first baseman for the Detroit Tigers. He wasn’t the first Jewish player in the game, but he was probably the first to really make a name for himself. Greenburg faced a considerable backlash of anti-Semitism, but his stellar play eventually helped to win fans and players over. Greenburg felt his role was of particular importance in light of the actions of one Adolf Hitler in Europe.
In 1939 came Lou Gehrig’s ALS diagnosis, and thus the end of his streak and his baseball career. On July 4th of that year, Gehrig gave his “Luckiest Man” speech at Yankee Stadium. Two years later, he passed away from the disease, which now bears his name.
1939 also saw the opening of the National Baseball Hall of Fame and the induction of the first Hall of Fame class. It was the 100-year anniversary of the myth of Abner Doubleday‘s founding of baseball in 1839. The disc then ends with Buck O’Neil describing the long-awaited matchup between Satchel Paige and Josh Gibson — Negro League Baseball’s best pitcher versus it’s best hitter. O’Neil’s account left me with a smile.
Every serious baseball fan has heard of Cooperstown, home of the Baseball Hall of Fame. Located in central New York, this town received its name from the family of American author James Fenimore Cooper (The Last of the Mohicans). Home to just under two thousand residents, Cooperstown is really little more than just a village that lies within the town of Otsego.
Cooperstown became the location for the Hall of Fame thanks to the myth of Abner Doubleday. Abner Doubleday was a Union general during the American Civil War who initiated the first shot of the war at Fort Sumter and later served in the Battle of Gettysburg. By many accounts, Doubleday was considered a war hero. In 1907, the Spalding Commission, headed by sporting goods titan A. G. Spalding, determined that it was Doubleday who invented the game of baseball in a cow pasture in Cooperstown in 1839. That cow pasture is now known as Abner Doubleday Field.
In the 1930s, Cooperstown native Stephen Carlton Clark approached the president of the National League, Ford C. Frick (who later became the Commissioner of Baseball), with the idea of establishing a Baseball Hall of Fame. As an art collector and affluent businessman, Clark’s motivation behind founding the Hall lay not only in his desire to celebrate and commemorate the sport, but also to boost the economy of his town, which suffered in the wake of the Great Depression. Frick approved of the idea, and in 1936, Ty Cobb, Walter Johnson, Honus Wagner, Christy Mathewson, and Babe Ruth became the Hall’s first inductees. Stephen Clark donated funds towards the erection of a building, and the Hall of Fame’s official dedication took place on 12 June 1939.
Today, the National Baseball Hall of Fame and Museum features more than 38,000 artifacts spread out over three floors. In the Plaque Gallery, nearly three hundred bronze plaques honor the achievements of the game’s Hall of Famers. The Hall’s motto is “Preserving History, Honoring Excellence, Connecting Generations.”
“The Doubleday Myth is Cooperstown’s Gain: Pastoral village has become the heart of baseball folklore.” National Baseball Hall of Fame. National Baseball Hall of Fame and Museum. Web. Accessed 31 May 2013. http://baseballhall.org/museum/experience/history
“Stephen C. Clark, Art Patron, Dead: Noted Collector Was Singer Sewing Machine Heir–Set Up Baseball Hall of Fame.” New York Times 18 September 1960. ProQuest Historical Newspapers. The New York Times (1851-2002), p. 86.
On 8 March 1930, baseball legend Babe Ruth signed a two-year contract with the New York Yankees for $160,000, thus making him the highest paid player of all time (up to that point, anyways). In the midst of the Great Depression, this contract definitely raised some eyebrows.
At $80,000 per year, someone pointed out, Ruth now had a higher salary than the President of the United States, Herbert Hoover. Ruth’s response? “So what? I had a better year than he did.” Ruth went on to lead the American League with 49 home runs that year.
Now, let’s take this a step further. I’m not one for doing the math myself, but I did a little poking around, curious to see how Ruth’s contract measures up to some of the big contracts in Major League Baseball today. Taking into consideration things such as cost of living and inflation, Ruth’s $80,000 in 1930 would have been worth $1,027,895 in 2005. The average Major League salary in 2005 was $2,476,589.
That’s right. In 2005, the average Major League ballplayer made more than double what the great Babe Ruth made. Meanwhile, the highest-paid ballplayer today, Alex Rodriguez, made a whopping $26,000,000.
What a difference 75 years makes! No doubt, had the country not been in the midst of the Depression, Ruth’s salary would have been higher. But would he have made the equivalent of A-Rod’s $26 million? Somehow, I doubt it.