Rest in Peace, Duke Snider.

R.I.P. Kenneth Mars.

Here is a nice appreciation at the fabulously titled site, Sergio Leone and the Infield Fly Rule.

Here’s Bruce Weber’s obit in the Times.

R.I.P Milton Rogovin:

Click here for the NPR appreciation.

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R.I.P, Pete Postlethwaite, a wonderful actor who was wonderful in many things, most recently “The Town.”

More on Captain Beefheart from Sasha Frere-Jones.

The passing of Don Van Vliet a/k/a Captain Beefheart this morning is news most people will react to with an unknowing shrug of the shoulders or a chuckle at his odd stage name. For the rest of us, this cuts deep.

Beefheart (along with his high school chum Frank Zappa) virtually invented avant-garde or underground rock music. At its heart, his music was based on the blues (the influence of Howlin’ Wolf on the Captain’s vocals is undeniable), but the blues was never a staid museum piece to Van Vliet – it was a living, breathing thing that he could mold, bend, even mangle to his liking. His early albums Safe as Milk and the double lp Trout Mask Replica (produced by Zappa) didn’t sell much, but found a home with adventurous and discerning listeners, including the famous or soon-to-be-famous, like John Lennon, Joe Strummer, Mark Mothersbaugh and Tom Waits.  Waits once said of Beefheart: “Once you’ve heard Beefheart, it’s hard to wash him out of your clothes. It stains, like coffee or blood.”  Beefheart continued through the 70s and early 80s with great albums, among them Lick My Decals Off, Baby, The Spotlight Kid, Bongo Fury (live, with Zappa & the Mothers), Shiny Beast (Bat Chain Puller) and what may be his best and most accessible album, Clear Spot.

Personally, I first heard Trout Mask Replica when I was 18 or 19, and I was never the same.  It was so weird and off-kilter to my ears, and yet oddly welcoming: as if he was opening a door to somewhere exotic, but slightly forbidding, seeing if you were game for the journey.  I’ve never regretted accepting the invitation. Matt Groening, creator of The Simpsons spoke of hearing Trout Mask at 15 and thinking:

“…that it was the worst thing I’d ever heard. I said to myself, they’re not even trying! It was just a sloppy cacophony. Then I listened to it a couple more times, because I couldn’t believe Frank Zappa could do this to me – and because a double album cost a lot of money. About the third time, I realised they were doing it on purpose; they meant it to sound exactly this way. About the sixth or seventh time, it clicked in, and I thought it was the greatest album I’d ever heard.”

Even though the Captain hadn’t made an album since 1982 (he’d retired to his other creative outlet, painting), the mark he left on modern music is as indelible as his album titles were indecipherable.  Thanks, Don…the dust blows forward and the dust blows back.

So many celebrity deaths lately. Blake Edwards, most popular for his work with Peter Sellers in the Pink Panther movies, passed away yesterday.

Here’s a You Tube highlight reel:

From “The Party”:

Mary Poppins is a Goin Off:

General Silliness:

Another Yankee great, Gil McDougald, has passed away.

Our thoughts and prayers go out to his family.

Rest in Peace, Leslie Nielsen. You know what? This was the first movie that popped into my head when I heard the news:

He gave us many a laugh, didn’t he?

If you’re a fan from my generation, you face constant reminders that you’re approaching the unwanted status of “elder statesman.” Players that we remember watching are leaving us all too fast. Willie Davis died in the spring. So did Jim Bibby and Mike Cuellar. Earlier this month, former catcher-outfielder Ed Kirkpatrick passed away. And then came the news of the death of a former Yankee, Tom Underwood.

Tommy Underwood was hardly a household name to Yankee fans. He pitched only a season and a half in New York, back in 1980 and ‘81. But if you’re my age, 45 or older, then you likely have a distinct memory of Underwood. Whenever I hear his name, two words come immediately to mind: stylish left-hander. Underwood had one of those seamlessly smooth deliveries that I loved to imitate as a young boy growing up in Westchester County. He also liked to work fast, which made him doubly fun to watch.

I also remember Underwood for being part of an unusual starting rotation. In 1980, the Yankees featured four left-handed starters; in addition to Underwood, they had staff ace Ron Guidry, followed by Tommy John and the underrated Rudy May. (Luis Tiant was the lone right-hander.) As I recall, that’s the last time that a major league team had four fulltime lefty starters. The New York media made a huge deal of it at the time, and not for favorable reasons. Some writers said the Yankees were too left-handed–a strange complaint for a team playing at Yankee Stadium–and kept pushing for the Yankees to trade one of the left-handers for a competent righty. At the time, I bought into the theory, but in retrospect, it seems somewhat silly. If you have four good pitchers like Guidry, John, May, and Underwood, who cares if they all happen to be left-handed? In today’s game, most teams would kill to have two good lefties, not to mention a quartet of southpaws.

At one time, it appeared Underwood would blossom into stardom. Originally a top prospect in the Phillies’ system, Underwood made the Topps’ all-rookie team in 1975. He pitched even more effectively in 1976, but then fell into the pattern of inconsistency that plagued his career. After a bad start to the 1977 season, the Phillies sent him to the Cardinals as part of the package for speedy outfielder Bake McBride. The Cards soon sent him packing to the expansion Blue Jays for Pete Vuckovich. Underwood led Toronto in strikeouts two years running, but his periodic wildness frustrated the Blue Jays’ brass. That’s why they decided to include the 26-year-old southpaw in the trade that also brought Rick Cerone to the Yankees for Chris Chambliss and two prospects.

It didn’t take long for Underwood to impress Yankee fans with his fast pitching pace, his silky delivery, and his live fastball, which seemed to sneak up on hitters. He also had a nasty slider; on days that he could throw it for strikes, he became nearly unhittable. Emerging as a highly effective No. 4 starter behind Guidry, John, and May, Underwood won 13 games for Dick Howser’s 1980 Yankees. I thought that kind of performance would be a springboard to greater success–the kind of success the Phillies had once foreseen–but Underwood started the 1981 season flatly. With Dave Righetti now ready to join the rotation, the Yankees decided to make a move. Trading Underwood at the valley of his value, the Yankees foolishly included him with Jim Spencer in a package for the underachieving Dave “The Rave” Revering.

After pitching as a swingman during the second half of the 1981 season, Underwood put together his most effective season in 1982. Again splitting his time between the bullpen and the rotation, Underwood forged a career best ERA of 3.29, won ten games, and saved seven others for Billy Martin, who liked his versatility and willingness to pitch in any role.

Underwood’s performance slipped in 1983, which happened to coincide with the end of his contract. Although still only 29, the talented lefty drew little interest on the free agent market; he signed a one-year contract with the Orioles. At the end of one lackluster season in the Baltimore bullpen, Underwood drew his release. And then– nothing. Underwood, all of thirty years old, saw his major league career come to an end.

I’m not sure why Underwood’s career ended so abruptly. In retrospect, it’s shocking that a left-hander with his talent did not pitch past his 30th birthday, not when we see some lefties stick around till their early forties simply because they happen to be lefties.

Much like Underwood’s pitching career, his life ended at a young age. Underwood died on Monday at 56, the victim of a long struggle with pancreatic cancer. Like too many of his baseball brethren from the 1970s and eighties, he left us way too soon.

Yet, Tom Underwood succeeded in making an impression on this Yankee fan. He left me with some good memories, for which I am grateful. In the end, I guess that’s all we can ask from our ballplayers.

Bruce Markusen writes “Cooperstown Confidential” for The Hardball Times.

Rest in Peace, Norris Church Mailer, dead at 61.

Mailer was the subject of an excellent profile by Alex Witchel earlier this year.

Rest in Peace, Jill Clayburgh. She was two weeks younger than my mother.

Charles Pierce and Steven Goldman on Sparky Anderson.

When thinking of former Yankee managers, Clyde King is hardly the first name that comes to mind. But when it comes to former Yankee skippers who devoted their lives to the game, while doing so with intelligence, enthusiasm, and style, King’s name should be placed near the top of the list. One of the few men who served George Steinbrenner as both manager and general manager, King died Tuesday from heart-related problems. King was 86.

With baseball ravaged by World War II, King made his major league debut as a right-hander with the Brooklyn Dodgers in 1944. He returned to the minor leagues after the war, but eventually returned to Brooklyn, becoming a contributor to the Dodgers’ staff in the late forties and early fifties. While with the Dodgers, King became close friends with Jackie Robinson, the first African American to play in the major leagues during the 20th century. The friendship surprised some, given the southern heritage of the Carolina-born King, but it was emblematic of his open-minded, outgoing, and accepting nature.

After his playing days came to an end with the Reds in 1953, King became a successful minor league manager with teams like the Atlanta Crackers and the Hollywood Stars. Noted for his knowledge of pitching, King turned to coaching with the Reds and Pirates, a springboard to his first big league managerial post in San Francisco, followed by a later stint with the Braves. As a manager, King forged a record five games better than .500, at 234-229.

King joined the Yankee front office in 1976, quickly becoming a trusted confidante of Steinbrenner. He remained with the Yankees for the next three decades, serving alternately as a super scout, coach, manager, general manager, and special advisor. King became one of Steinbrenner’s go-to men, a troubleshooter who would fill any capacity requested by the principal owner.

King moved into the Yankee spotlight in the middle of the 1982 season, when he became the team’s third manager that summer, succeeding Bob Lemon and Gene “Stick“ Michael. Under King’s leadership, the Yankees limped to a 29-33 finish. Several of the veteran Yankees claimed that he was actually a spy for Steinbrenner, a charge that King denied.

After the season, the Yankees bumped King back to the front office. In the mid-1980s, with the Yankee front office in a state of constant turmoil and upheaval, Steinbrenner turned to King to run the entire baseball operation. He promoted King to general manager, giving him [relatively] full authority to make trades and sign free agents. King impressed a number of Yankee watchers at the 1984 winter meetings. Coming to the meetings with a detailed and organized plan, King engineered a blockbuster trade for Hall of Fame leadoff man Rickey Henderson. King also swung lesser trades for useful role players like Ron Hassey and Henry Cotto, and stole hard-throwing reliever Brian Fisher from the Braves for a declining Rick Cerone. (After the winter meetings, King also acquired a young Jay Buhner from the Pirates in exchange for the washed up pair of Steve Kemp and Tim Foli.) Bolstered by the wintertime pickups, the Yankees improved by ten games in 1985, winning 97 games. Unfortunately, the Yankees ran second to a powerhouse Blue Jays team that won 99 games and claimed the American League East.

Some historians, including this one, regard King as the Yankees’ most effective general manager of the 1980s, but that stature did not prevent him from being fired in 1986. Now demoted, King returned to being a lesser known member of the front office. Whether working in a position of power or simply serving as a scout, King also developed a reputation as one of the game’s great storytellers. Always approachable, King loved to talk baseball, spinning his tales in his trademark southern drawl.

Along the way, King managed to accomplish something that few others can claim. He somehow worked for 30 years under the imposing thumb of George Steinbrenner, before finally retiring in 2005. If nothing else, lasting that long while working for “The Boss” should earn Clyde King at least half of a plaque here in Cooperstown.

The great Solomon Burke passed away recently. Sorry I didn’t mention it. The Beat of the Day will be dedicated to Burke for the rest of the week:

[Photo Credit: Ted Barron]

Sad news from the world of basketball: Maurice Lucas is dead.

Charles Pierce remembers Lucas in the Boston Globe:

Thirty-nine years ago this fall, I moved into the 11th floor of a 12-story dormitory at the corner of 16th Street and Wisconsin Avenue in Milwaukee, Wisconsin. I was a freshman at Marquette University. (The dorm, McCormick Hall, is round and shaped like a beer can, which is remarkably appropriate in more than the metaphorical sense, and the building has been rumored for almost 40 years to be sinking into middle Earth.) Not long after I moved in, I found myself intrigued by the music coming out from under the door of the room next to mine — music which I now know to have been “Eurydice,” the closing track from Weather Report’s astounding debut album. (Mmmmmm. Wayne Shorter!) As I was listening, an extremely large man came out of the room and introduced himself. “Pretty cool, isn’t it?’ he said.

And that was how I met Maurice Lucas.

For the next couple of years, we talked about music, at least as much as Luke talked to anyone, him being what you call your campus celebrity and all during the glory days of Warrior basketball and the high-sun period of Al McGuire Era. Whatever I know about any jazz recorded after the big band records to which my father listened — Mmmmmmm. Basie! — I learned from Luke, with whom I don’t believe I ever exchanged four words about basketball.

Later that same year, when I was practicing with the fencing team in the basement of the old gymnasium while the basketball team practiced upstairs, Luke came out of the shower wearing only a towel. “Hey,” he said, “show me how to do that.” I handed him a foil and we squared off, I in my full regalia with a mask and Luke in a towel. I touched him once, lightly, in the ribs. He slapped my blade out of my hand and about 20 feet back down the hallway, hitched up his towel, and went off chuckling.

Lucas was one of the memorable characters on the Blazers’ championship team in the ’70s. I remember him later in his career–he was a professional tough guy and a fine player.

If you’ve never read David Halberstam’s “The Breaks of the Game,” you should. There’s some good stuff on Lucas in there. Did I mention that he was tough?

Before the NBA, Lucas played with the infamous Marvin “Bad News” Barnes for the St. Louis Spirits in the ABA. Spirits announcer Bob Costas told Terry Pluto in Loose Balls:

It was interesting to watch Lucas develop. Early in his rookie year, he was coming off the bench. One night the Spirits were playing Kentucky in Freedom Hall and Lucas was trading elbows with Artis Gilmore. At 7-foot-2 and 240 pounds, Gilmore just towered over Maurice. Lucas’s only chance was to beat Gilmore to a spot on the floor and then try to hold off Artis. Despite his enormous size and strength, Gilmore was never known as a ferocious player and he seldom was in a fight. But all of a sudden, Artis just got sick of Lucas’s bodying him and you could see that the big guy was really hot. Gilmore took a swipe at Lucas and missed. Lucas put up his fists, but he was backpedaling like any sane man would when confronted by Gilmore. It was almost slow motion–Gilmore would take a step, then Lucas would take a step back. It was obvious that Lucas didn’t want to fight and was trying to figure out where he could go. Finally, he was trapped in the corner; he had run out of court. He didn’t know what else to do, so he planted his feet and threw this tremendous punch at Gilmore, and it caught Artis square on the jaw. It was a frightening sight. Artis hit the deck. Lucas was going crazy. Now he really wanted a piece of Artis. Guys were holding Lucas back and Artis was still down. For whatever reason, from that point on Lucas developed into a helluva player.

Rest in Peace, Mr. Lucas.

There isn’t that much in today’s papers on Bill Shannon, the New York Press Box Legend who died yesterday at the age of 69 in a house fire. Disappointing, sure, but not a surprise–it is the eve of the World Serious, after all.

Still, there is plenty on-line, including pieces by Howie Karpin, Roger Angell, Keith Olbermann, Joel Sherman, Wallace Matthews, Pete Abraham, Joe McDonald, and most notably, Marty Noble. Noble writes:

The AP, which employed Shannon on a part-time basis for years, reported that a neighbor had placed a ladder up to the second floor to reach him, but the neighbor later said Shannon was unable to break the window and disappeared into thick smoke. Shannon had an apartment on the Upper East Side of Manhattan for years, but had moved back to live with his mother after she developed problems about five years ago.

For all he did professionally — and there was much — he become a tad anonymous and borderline invisible in recent years when his primary responsibilities had included official scoring and his tireless work with the New York Sports Hall of Fame. If he were recognized at all, it was while working when a television camera focused on him in the press box at Citi Field or Yankee Stadium after he made a scoring decision the announcers thought to be wrong. But Shannon knew the scoring rules as well as Billy Martin, Tony La Russa, Joe Torre or any umpire knew the rulebook.

Shannon took pride in the reputation that he helped create — that New York had “tough” official scorers.

“He was a hard scorer, but hard is fair,” said Jack O’Connell, the New York-based secretary-treasurer of the BBWAA. “No homers here.”

Those who disagreed with Shannon’s decision to charge a fielder with an error often heard these words from OS Shannon: “This is the big leagues, sir. That play is supposed to be made.” He was objective to the Nth degree, but he did allow his absolute disdain for the sacrifice-fly rule to show through. Shannon was certain hitters didn’t deserve “free outs” for sacrifice flies and made his opposition apparent by his tone when he properly credited one.

Here are a few more thoughts on Shannon…

Ed Alstrom:

I thought he was a great guy. He was always cordial to me in the booth. My one lasting story of him is not much, but here it is: when I was asked to play ‘Goodnight Sweetheart’ at the end of the last home game in YS2, he was the only one that knew the song and the history of Layton playing it there (not surprising, I guess). I remember him singing it to me outside the stadium.

Sweeny Murti:

We should all hope that we are as good at our jobs and as respected for the jobs we do as Bill Shannon was.

I’ve covered games in nearly every ballpark around the league and in many of them reporters turn around and stare at each other after a bad call by the official scorer. “How is that a hit?” we usually say with disdain. I can tell you that never happened in Yankee Stadium when Bill Shannon was scoring, not by us and not by any of the out-of-town reporters either. Bill took his job as seriously as anyone I’ve ever known. That’s probably what made him so good at it.

Bill’s delivery of a pitching line was as unique as Bob Sheppard’s introduction of a batter. He was the voice of the press box in the same way that Sheppard was the voice of Yankee Stadium. If you cover enough games, Bill’s style of delivery is ingrained in your memory. It begins to feel as if Bill’s way is the only way to read a pitching line:

“The line on CC Sabathia…7 innings pitched. 5 hits. 2 runs. Both earned. 1 walk. 8 strikeouts. 1 home run.”

Then a pause, followed by a repeat, this time read at light speed as one long run-on sentence until a final pause before the last item.

“Sabathia, 7 innings5hits2runsbothearned1walk8strikeouts…and 1…home run.”

Unique is an overused word. It describes Bill Shannon perfectly.

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My favorite part about sitting in the Yankee Stadium press box is getting the chance to watch Bill Shannon, the official scorer, in action. Shannon, who for years was the head of public relations at MSG, was ripped out of the pages of Damon Runyon. He sounded like Will Ferrell doing Harry Carey and looked as if he’d been drawn by Walt Kelly. He was a bona fide gem.

I was shocked and saddened to learn that Shannon died in a house fire. According to an AP report:

William Shannon was unable to escape the flames that consumed the West Caldwell home where he lived with his elderly mother Tuesday.

Neighbors tell News 12-New Jersey they were able to rescue the mother through the front door.

One neighbor placed a ladder up to the second floor to reach Shannon. But a neighbor says the 69-year-old told them he couldn’t break the window and he disappeared into the thick smoke.

What a horrible twist of fate. I spoke to Shannon a few times but didn’t know him. I hope that the New York papers are filled with stories over the coming days.

At least Mr. Sheppard has good company.

When I was in third or fourth grade, I saw my first porno magazine, I think it was Hustler. My friend Kevin O’Connor kept it under the front porch of his house. It was water-logged and you could barely turn the pages without ripping them. Not long after, an older kid who lived up the street sold me two Penthouse magazines. I hid them in a bookshelf but not well enough and soon enough my mother found them.

Now my mother had a liberal view of nudity having grown up in the Belgian Congo but that didn’t mean she approved of pornography. In fact, she was horrified. And pissed.

Still, I protested.

“Ma, I’m just using the pictures so I can learn how to draw the female body.”

She took the magazines away. Then she told the old man. He didn’t say a word about it but the next day, he left me three pictures clipped together–clean pictures–with a note, “You can draw these.”

Somehow, that felt worse than just having them taken away or even being punished.

Couldn’t help but remember this scene this morning when I read that Bob Guccione died.