I came across these somewhat randomly this weekend: three songs by a group called The Paid Attendance. So far as I have been able to tell, these are the only three songs by this group, and I have only been able to find audio for two of them. That being said, I suppose it’s not really a big deal that I cannot find audio for the third, as it would likely just fall in line with the other two songs. First off, here’s “Be A Believer in Giant Fever,” released in 1978.
The group must have had a thing for New-York-teams-gone-California, because in 1979, they put one out for the Dodgers.
The third song, for which I have not been able to find audio online, appears to be the same song with a Philly twist: “Be A Believer in Philly Fever.”
I am curious as to whether the original intention was to put out a version for each team in the majors. If so, they didn’t get very far into the process. Whatever the intention, I did find the Giants and Dodgers versions fun to listen to. It’s the kind of song that makes you want to do a little jig while you brush your teeth in the morning.
The Eighth Inning of Baseball: A Film By Ken Burns brings us into the 1960s. In this decade of the American Pastime, we find that it is being recognized less and less as such. Football has risen to prominence, and a lot of folks come to argue that football, not baseball, has now become the true national game. Additionally, the sixties were quite a stormy and unstable period in American history, filled with race riots, activism, anti-war protests, hippies, and Woodstock.
The game of baseball also finds itself experiencing some changes. In 1961, Babe Ruth’s single season home run record is threatened, then broken, by a man who is far from being a fan favorite. Roger Maris is described as moody and sullen, avoids talking to the press, and starts losing his hair as a result of the pressure he is under as he inadvertently finds himself chasing Ruth’s record.
Pitching sees a rise in dominance as the decade progresses, thanks to commissioner Ford Frick’s commandment that the strike zone be expanded to counter the explosion of home runs. Sandy Koufax and Bob Gibson are among those who rise to preeminence from their positions on the mound. As pitching becomes the ruling force in the game, there comes a decline in home runs being hit. This, in turn, contributes to the decline in fan interest in the game.
This time period also sees changes as far as the growth of the league. The success and profitability of the San Francisco Giants and the Los Angeles Dodgers in the west brings the league to consider other ways in which to spread the game throughout the country. Four new teams were added to Major League Baseball. We see the birth of the California Angels, the Washington Senators became the Minnesota Twins, then a newer Senators team moved to Arlington and became the Texas Rangers. The New York Mets and the Houston Colt .45s (later the Astros) also joined the National League. The Braves would move from Milwaukee to Atlanta and the Athletics moved to Oakland. After just one season, the Seattle Pilots left for Milwaukee and became the Brewers, and towards the end of the decade the Royals were established in Kansas City and the Expos in Montreal. (I’m sure I must be missing one or more others here, and for that, I apologize.)
At the beginning of the decade, Ebbets Field met its fate with a wrecking ball painted to resemble a baseball. Jackie Robinson, who had once played at Ebbets, now worked and fought for civil rights, and Branch Rickey, who was the force behind integration in Major League Baseball, passed away in 1965. The Polo Grounds became the home of the New York Metropolitans, led by the one and only Casey Stengel, now getting along in years. Suffices to say, the Mets weren’t very good in those early years. Eventually, Stengel would retire from baseball. After that, the same wrecking ball that took out Ebbets Field would also bring down the Polo Grounds. The Mets moved into Shea Stadium, and by the end of the decade transformed into the “Miracle Mets,” winning the 1969 World Series.
In this inning, we meet Pete Rose and see bits about Ernie Banks, Frank Robinson, Carl Yastrzemski, Whitey Ford, Roberto Clemente, and many, many others. Sandy Koufax seemingly retires almost as quickly as he broke into the league and became the youngest player ever inducted into the Hall of Fame. In Baltimore, Earl Weaver became manager of the Orioles. One of the greatest managers of all time, the Orioles became the dynasty of the decade under Weaver.
In this decade, we also meet Marvin Miller. Miller became the Executive Director of the Major League Baseball Players Association in 1966. The players loved having Miller speaking on their behalf, but baseball owners, unsurprisingly, hated having Miller around. He was a man who Red Barber would call “one of the two or three most important men in baseball history.”
By the end of the disc, we learn about Curt Flood’s battle against the reserve clause, which at this point is only just beginning. Flood learned that he was to be traded from St. Louis to Philadelphia, and in the face of the racism he knew he would face in Philadelphia, he decided to oppose the trade. This flew in the face of the entire history of baseball business.
I think my favorite feature of this disc comes in all the arguments defending baseball. In spite of George Carlin’s comedy routine that makes baseball seem like a slow, sissy sport, baseball continues to be referred to as America’s National Pastime for good reason. Sure, football is faster and perhaps more suitable to the 30-second attention span that now dominates our culture (though, more recently, football also seems to be declining in popularity). But baseball’s place in the American psyche runs deep, and in a lot of ways, it is the very nature of its leisurely pace that makes it so appealing.
But when he (Willie Mays) was in California, whites refused to sell him a house in their community. They loved his talent, but they didn’t want him for a neighbor.
The Seventh Inning of Baseball: A Film by Ken Burns takes us into the 1950s in America. Subtitled “The Capital of Baseball,” this installment of the documentary revolves primarily around New York City and the three teams who dominated the baseball world during this decade: the New York Yankees, the New York Giants, and the Brooklyn Dodgers. For ten straight years (1947-1956) a local team always played in the World Series, and a local team won nearly all of them as well.
It was certainly a great decade for the Yankees under manager Casey Stengel. With Mickey Mantle in the outfield and Yogi Berra behind the plate, the Yankees were as dominant as ever. The way Roger Angell describes the atmosphere in New York during this period, where everything seemed to revolve around baseball, makes me wish this type of world would come back into existence. “Stengelese” became a thing, though I like how the discussion also revolves around Stengel’s baseball intelligence. Similarly, while Yogi Berra remains most commonly known for “Yogi-isms,” he was also a phenomenal ballplayer. After all, you don’t get elected to the Baseball Hall of Fame just for speaking amusing phrases.
Jackie Robinson, released from his three-year vow of silence with Branch Rickey, began lashing out against those who slighted him. It’s an understandable reaction, especially considering how long he had to go without answering the racism he faced. His play just grew better with his anger, leading the Dodgers to some great seasons, including a World Series championship in 1955.
We get to watch the Giants’ Bobby Thomson’s ever-popular “Shot Heard ‘Round the World” during the 1951 playoffs against the Brooklyn Dodgers. It was an event that ignited a tremendous amount of excitement not only at the Polo Grounds, but also in fans’ homes as the game was televised across the country. I always get a kick out of hearing Russ Hodges’s excited screaming, “The Giants win the pennant! The Giants win the pennant! The Giants win the pennant!”
A good portion of the disc was devoted to Mickey Mantle, who essentially took Joe DiMaggio’s place with the Yankees. The attention he receives is well-deserved, as is the attention to his struggles with injury and his tendency to stay up all night partying. Given how well he was able to play in spite of being hurt much of the time, one can’t help but wonder what Mantle would have accomplished had he been healthy. Sadly, we’ll never know. Mantle himself doesn’t even touch on the subject in his own discussions of his playing days on the documentary.
While the breaking of the color barrier by Jackie Robinson in 1947 was undeniably a great thing for baseball, it did have an unfortunate downside. Attendance at Negro Leagues games fell as black fans flocked to watch Robinson and those who followed him play in the major leagues. On the positive side, players including Willie Mays, Curt Flood, Ernie Banks and Hank Aaron became stars in Robinson’s wake. We get to watch Willie Mays make “The Catch,” a play that seemed impossible until he pulled it off.
The other unfortunate events, besides the end of the Negro Leagues, that we see during this decade involved the move of the Brooklyn Dodgers and the New York Giants to the west coast. In the case of the Dodgers, the move took place in 1957, not long after the team finally managed to win a World Series, which made the move all the more heartbreaking for its fans. The Dodgers’ last ever World Series in 1956 saw them lose to the Yankees in a Series that involved Don Larsen’s perfect game. These moves were great news for Californians, of course, but Dodgers and Giants fans left behind in New York found themselves at a loss. Brooklyn and the Giants weren’t the only teams that moved during this period. The Philadelphia A’s moved to Kansas City, and the St. Louis Browns became the Baltimore Orioles.
The subtitle for this Inning, “The Capital of Baseball,” proved itself undeniably fitting. We love to think of baseball as a game and a pastime, but in the case of professional leagues especially, it is first and foremost a business. Bill Veeck’s promotional stunt of sending Eddie Gaedel to the plate is one of many displays of the importance of commercialism in baseball. It makes for a hard reality check when your league is forced to fold or your favorite team moves to an entirely new city, and in the present day, we experience a number of miniature heartbreaks any time an impactful player becomes a free agent and moves on to other teams.
This song had me laughing, but it is impressive all the same. The lyrics of this song are essentially a play-by-play based loosely on the 1962 pennant race. The Dodgers didn’t win the pennant that year, but they did get this high-energy song full of entertaining theatrics as a consolation prize.
For the last few weeks, I spent my commutes to and from work, as well as my time in the car running errands and driving back and forth to Kansas City, listening to an audiobook: Mickey and Willie: Mantle and Mays, the Parallel Lives of Baseball’s Golden Age by Allen Barra. For some reason, it never occurred to me to consider the two men simultaneously. I suppose that it didn’t fully click that they played Major League Baseball at the same time (funny how clueless I can be about something that I usually feel I know so well!). But I am glad to have come across this biographical study of how the lives and careers of Mickey Mantle and Willie Mays paralleled each other in so many ways.
In spite of the fact that their backgrounds differed so greatly, Mantle and Mays were virtually the same age, practically the same size (though Mantle was slightly bigger), and they both arrived in New York at the same time. Both played center field and both had close relationships with their dominant fathers as they grew up in the South.
They even paralleled one another in the ways that they differed. Mantle was white, Mays was black. Mickey drank heavily, while Willie couldn’t stand alcohol. Mickey stayed married to one woman, but was a notorious womanizer. Meanwhile, Willie Mays married twice, but if there were any extramarital affairs, he kept them private.
The biggest thing these men shared in common was their celebrity and the expectations that came with that fame. Both players experienced the fickleness of celebrity, being cheered one moment and booed in the next. Each had a song written about him (“Say Hey (The Willie Mays Song)” and “I Love Mickey”). When Mantle was rejected for military service, fans turned on him for being a draft dodger. When the Giants moved from New York to San Francisco, Willie Mays was booed for not being Joe DiMaggio and, likely, for being black.
The question of who was the better player comes up frequently in the book. The answer Barra seems to hint at appears to indicate that it was Willie Mays, though Mickey Mantle would’ve had the title if only he would have taken better care of himself. Mantle himself publicly conceded that Mays was the better player. Mays, evidently the more prideful of the two, hated the idea of anyone being considered better than himself.
Barra puts his own personal touch into the book as well. He discusses his own idolization of Mickey Mantle and Willie Mays. He even admits that, the older he became and the more he learned about the two ballplayers, the more disillusioned he became. Even in spite of this, he continued to admire them, accepting the fact that, in spite of their greatness on the diamond, Mantle and Mays were only men, after all.
All in all, I found this book a worthwhile read (or, in my case, a worthwhile listen). The reader gets biographies of two players simultaneously, and it is done in a fashion that presents a perspective not usually found in biographies.