This piece was published in 1996 in Avalanche, a collection of poetry by Quincy Troupe. It is not only a piece from a son to his father, but also a great tribute to the Negro Leagues.
for Quincy T. Trouppe Sr.
father, it was an honor to be there, in the dugout
with you, the glory of great black men swinging their lives
as bats, at tiny white balls
burning in at unbelievable speeds, riding up & in & out
a curve breaking down wicked, like a ball falling off a table
moving away, snaking down, screwing its stitched magic
into chitlin circuit air, its comma seams spinning
toward breakdown, dipping, like a hipster
bebopping a knee-dip stride, in the charlie parker forties
wrist curling, like a swan’s neck
behind a slick black back
cupping an invisible ball of dreams
& you there, father, regal, as an african, obeah man
sculpted out of wood, from a sacred tree, of no name, no place, origin
thick branches branching down, into cherokee & someplace else lost
way back in africa, the sap running dry
crossing from north carolina into georgia, inside grandmother mary’s
womb, where your mother had you in the violence of that red soil
ink blotter news, gone now, into blood graves
of american blues, sponging rococo
truth long gone as dinosaurs
the agent-oranged landscape of former names
absent of african polysyllables, dry husk, consonants there
now, in their place, names, flat, as polluted rivers
& that guitar string smile always snaking across
some virulent, american, redneck’s face
scorching, like atomic heat, mushrooming over nagasaki
& hiroshima, the fever blistered shadows of it all
inked, as etchings, into sizzled concrete
but you, there, father, through it all, a yardbird solo
riffing on bat & ball glory, breaking down the fabricated myths
of white major league legends, of who was better than who
beating them at their own crap
game, with killer bats, as bud powell swung his silence into beauty
of a josh gibson home run, skittering across piano keys of bleachers
shattering all manufactured legends up there in lights
struck out white knights, on the risky edge of amazement
awe, the miraculous truth sluicing through
steeped & disguised in the blues
confluencing, like the point at the cross
when a fastball hides itself up in a slider, curve
breaking down & away in a wicked, sly grin
curved & posed as an ass-scratching uncle tom, who
like old sachel paige delivering his famed hesitation pitch
before coming back with a hard, high, fast one, is slicker
sliding, & quicker than a professional hitman—
the deadliness of it all, the sudden strike
like that of the “brown bomber’s” crossing right
of sugar ray robinson’s, lightning, cobra bite
& you, there, father, through it all, catching rhythms
of chono pozo balls, drumming, like conga beats into your catcher’s mitt
hard & fast as “cool papa” bell jumping into bed
before the lights went out
of the old, negro baseball league, a promise, you were
father, a harbinger, of shock waves, soon come
Baseball has seen some pretty awesome nicknames over the years: George “Babe” Ruth; Lawrence Peter “Yogi” Berra; Mordecai “Three Finger” Brown; Jim “Catfish” Hunter; Leon Allen “Goose” Goslin; Leroy “Satchel” Paige; among others. When I was playing softball through my high school years, I also had a nickname. Don’t get me wrong, I’m certainly not trying to imply that I belong in the same company as these baseball greats. It’s just that, on those rare occasions when I stop to reminisce about it, I can’t help but think that it’s pretty cool to be able to say that I once had a ballplayer nickname.
The summer in between my freshman and sophomore years of high school, I was playing ball on a team with the local parks and rec girls’ softball league. In the later half of the season, the coach for one of the other teams in the league approached me and said that he had signed his team up to participate in a tournament outside of the league, and would I be interested in joining their roster for the tournament? It’s one heckuva compliment to have another coach be impressed with you enough to invite you for that kind of thing, so naturally, I was all over it.
I was loaned a uniform, number 16, and my dad came out with me to cheer us on. I don’t recall the exact location of the tournament, only that it was seemingly in the middle of nowhere on the outskirts of the metropolitan Kansas City area. Nor do I recall how we as a team finished in the tournament, but thinking about it doesn’t leave a sour taste in my mouth, so surely it couldn’t have been awful.
I also don’t recall the exact details of how this one particular play unfolded, only that at one point in the tournament, I found myself rounding third, heading home at full speed in what promised to be a close play at the plate. I reached home at virtually the same moment as the softball. As the catcher was still scrambling to get control of the ball, she was blocking my path to the plate, leaving me no choice but to plow through her to get where I was going.
I slapped home plate, and there was a pause as the umpire tried to locate the ball. The catcher didn’t have it. “Safe!”
There was cheering. There was congratulations. Then eventually, that half-inning came to an end.
Playing shortstop for the team in this tournament was Lauren, who was a couple years older than me, and who also happened to be the shortstop for our high school varsity team. I had spent my freshman season on the JV team, but my goal for my sophomore year was to make varsity, so naturally I admired the girls on the varsity squad. So it was quite an ego boost when Lauren expressed her approval at my base running.
“You know what?” she said as we ran back out onto the field to take our defensive positions. “You’re too tough to be called Precious. From now on, I’m calling you Duke.”
There was a ripple of agreement throughout the field and in the dugout. And the name stuck. For the rest of the summer, whenever I was playing softball, my on-field name was Duke. Then, when the school season began, Lauren ensured the name continued. Even after Lauren graduated, no matter what team I played on, whether it was with the school or on a summer team somewhere, there always seemed to be a parent or a coach or a teammate from a previous team to perpetuate the nickname.
A couple summers after the nickname was bestowed upon me, I was playing ball with a summer competitive team, and we had a tournament up in the Twin Cities area. My parents decided to turn it into a family road trip for that weekend. As we loaded up the SUV with our bags, I discovered that my dad had purchased a glass marker and wrote “DUKE” in big, orange letters across the rear windshield. I have to admit, I was a bit embarrassed by it. But it was also really, really cool.
The summer after high school graduation was my last season of organized ball. Nobody has called me “Duke” since then (and, please, don’t start now). While I don’t necessarily miss being referred to or cheered on as “Duke,” I sometimes do miss just the concept of the whole thing. For four years, I was a ballplayer with a pretty cool nickname, and seemingly everybody knew what it was.
Today marks the five year anniversary of my first post on this blog. While I started this project as a way to stay in touch with the game and to encourage my own continual learning about it, when I reach milestones like this one, I find that it’s kinda fun to share something a bit more personal. A high school softball nickname isn’t something that comes up in everyday conversation, but it does make for a fun story in appropriate circles.
Thank you, my readers, for following along on my blogging journey. That it’s been five full years seems a bit unreal to me, but all the posts are there as proof, even to my own eyes. I look forward to the next five years and hope you’ll continue to hang out with me here as well!
Ain’t no man can avoid being born average, but there ain’t no man got to be common.
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.
Without a doubt, Satchel Paige was one of those pitchers whose accomplishments will stand the test of time. He threw just about any pitch you could think of, plus more that you haven’t even imagined. I like how Lewis captures the spirit of Paige’s style in this piece, originally published in Slant in 1995.
* Out of a windmill windup, the whipcord arm grooves a dartball on a string past the hopeful, waiting at the plate for a miracle. It might have been the bee ball, the looper, the drooper, the jump ball, the wobbly ball, the two-hump blooper, the bat dodger, the famous hesi- tation pitch, or the radioball ("You hears it, but you never sees it"). Joe DiMaggio couldn't hit him. And said so. Babe Ruth never faced him. Lucky Bambino. "I'm Satchel," he said, "I do as I do."
Major League Baseball has yet to see its first woman player, but the Negro Leagues were ahead of the times in this regard. Three women played professional baseball in the Negro Baseball Leagues, the first of whom was one Toni “Tomboy” Stone.
Born Marcenia Lyle on July 17, 1921, in St. Paul, Minnesota, Toni Stone signed to play second base for the Indianapolis Clowns in 1953. It was a path that went against the hopes and dreams that Stone’s parents had for her and her siblings. From a young age, Toni Stone loved competition, and she excelled at a variety of sports as she grew up, including baseball, track, and ice skating. Her parents, who would have preferred that she focus more of her attention on her schoolwork, went so far as to set up a meeting for her with the local priest to try to talk her out of baseball, but by the end of that meeting, the priest had invited her to join his team in the Catholic Midget League.
By the age of fifteen, Stone had joined the Twin City Colored Giants, a traveling men’s baseball team. In the 1940s, however, she moved to San Francisco to help a sick sister, taking a brief hiatus from baseball. But then in 1949, she joined the San Francisco Sea Lions of the West Coast Negro Baseball League. In her first plate appearance with the Sea Lions, Stone earned two RBIs.
Being a black woman playing on a men’s team in Jim Crow America, Stone’s experiences playing ball weren’t always fun, of course. She often dealt with a barrage of jeers and insults from fans and players alike. Stone was quite proud of the fact that the male players were out to get her, however, wearing it as a sort of badge of honor. At one point, she said, “They didn’t mean any harm, and in their way they liked me. Just that I wasn’t supposed to be there. They’d tell me to go home and fix my husband some biscuits, or any damn thing. Just get the hell away from here.” As a woman, Stone was not allowed into the men’s locker room, but if she was lucky, she was sometimes permitted to change in the umpires’ locker room. In spite of the hardships, she took advantage of the exposure that she gained playing with the Sea Lions, and in 1953, the Indianapolis Clowns signed Toni Stone to its roster.
Stone appeared in 50 games that year. She hit .243, including getting a hit off the legendary pitcher, Satchel Paige. She also had the opportunity to play with the likes of Willie Mays and Ernie Banks. Stone’s time with the Clowns did not last, however, and in the off-season, she was traded to the Kansas City Monarchs. She retired at the end of her season with the Monarchs, however, due to age and a lack of playing time. Stone had compiled a .240 career batting average.
In 1985 Stone was inducted into the Women’s Sports Foundation’s International Women’s Sports Hall of Fame. Then, in 1993, Stone was inducted into the Women’s Sports Hall of Fame and into the Sudafed International Women’s Sports Hall of Fame. Toni Stone died of heart failure in 1996.