Andrew Sarris, one of our most valued film critics, died yesterday at 83. I was never a great fan of his writing though I admire his book “The American Cinema.” Our good pal, Matt B, was a great admirer of Sarris’ work however, and he was not alone.
Rest in peace.
[Featured Image by Fred R. Conrad/New York Times]
Rest in peace Ray Bradbury. A master.
Here is the Paris Review Q&A with Bradbury:
Science fiction is the fiction of ideas. Ideas excite me, and as soon as I get excited, the adrenaline gets going and the next thing I know I’m borrowing energy from the ideas themselves. Science fiction is any idea that occurs in the head and doesn’t exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again. As soon as you have an idea that changes some small part of the world you are writing science fiction. It is always the art of the possible, never the impossible.
Imagine if sixty years ago, at the start of my writing career, I had thought to write a story about a woman who swallowed a pill and destroyed the Catholic Church, causing the advent of women’s liberation. That story probably would have been laughed at, but it was within the realm of the possible and would have made great science fiction. If I’d lived in the late eighteen hundreds I might have written a story predicting that strange vehicles would soon move across the landscape of the United States and would kill two million people in a period of seventy years. Science fiction is not just the art of the possible, but of the obvious. Once the automobile appeared you could have predicted that it would destroy as many people as it did.
Kudos to Rolling Stone who reprinted Jonathan Cott’s 1976 profile of Maurice Sendak:
In the Night Kitchen, one of Sendak’s greatest works, shows little Mickey falling naked through the night into the Oliver Hardy bakers’ dough, kneading and pounding it into a Hap Harrigan plane, flying over the city, diving into a giant milk bottle, then sliding back into his bed to sleep. It is a work that pays extraordinary homage to Sendak’s early aesthetic influences – especially to Winsor McCay – to the cheap, full-color children’s books of the period, as well as to the feelings about New York City he had as a little boy.
“When I was a child,” he told Virginia Haviland, “there was an advertisement which I remember very clearly. It was for the Sunshine bakers, and it read: ‘We Bake While You Sleep!’ It seemed to me the most sadistic thing in the world, because all I wanted to do was stay up and watch… it seemed so absurdly cruel and arbitrary for them to do it while I slept. And also for them to think I would think that that was terrific stuff on their part, and would eat their product on top of that. It bothered me a good deal, and I remember I used to save the coupons showing the three fat little Sunshine bakers going off to this magic place at night, wherever it was, to have their fun, while I had to go to bed. This book was a sort of vendetta book to get back at them and to say that I am now old enough to stay up at night and know what’s happening in the Night Kitchen!
“Another thing is: I lived in Brooklyn, and to travel to Manhattan was a big deal, even though it was so close. I couldn’t go by myself, and I counted a good deal on my elder sister. She took my brother and me to Radio City Music Hall, or the Roxy, or some such place. Now, the point of going to New York was that you ate in New York. Somehow to me New York represented eating. And eating in a very fashionable, elegant, superlatively mysterious place like Longchamps. You got dressed up, you went uptown – it was night when you got there and there were lots of windows blinking – and you went straight to a place to eat. It was one of the most exciting things of my childhood. Cross the bridge and see the city approaching, get there and have your dinner, then go to a movie and come home. So, again, In the Night Kitchen is a kind of homage to New York City, the city I loved so much and still love.”
I love this bit:
Maurice’s sister Natalie gave him his first book, The Prince and the Pauper. “A ritual began with that book,” Sendak once told Virginia Haviland, “which I recall very clearly. The first thing was to set it up on the tablel and stare at it for a long time. Not because I was impressed with Mark Twain; it was just such a beautiful object. Then came the smelling of it… it was printed on particularly fine paper, unlike the Disney books I had gotten previous to that. The Prince and the Paper – Pauper – smelled good and it also had a shiny laminated cover. I flipped over that. I remember trying to bite into it, which I don’t imagine is what my sister intended when she bought the book for me. But the last thing I did with the book was to read it. It was all right. But I think it started then, my passion for books and bookmaking. There’s so much more to a book than just the reading. I’ve seen children touch books, fondle books, smell books, and it’s all the reason in the world why books should be beautifully produced.”
Give the article a read. It’s terrific and well worth your time.
Moose Skowron looked like a character out of “Moon Mullins.” Or in a more contemporary sense, he had the appearance of a secondary character in “The Simpsons.” With his lantern jaw, thick jowls, and military crew cut, he possessed the look of a man who could put his fist through your chest and pull your heart out.
Appearances are often deceiving, and they were exactly that with Skowron, who died at 81 on Friday after a battle with lung cancer. Oh, he could be gruff and curt on the outside, but once you opened a conversation with him, you discovered a down-to-earth guy who enjoyed telling stories from his days with the Yankees. And when you’ve played with characters like Mickey Mantle, Hank Bauer, Yogi Berra, and Whitey Ford, or managed for one-of-a-kind legends like Casey Stengel, you’ve got good material to work with.
There were other deceptions with Skowron. Like many fans, I always assumed that Skowron’s nickname came from his size, his power, and his brute physical strength. He was six feet, two inches, 200 pounds, with much of frame wrapped in muscle. Well, the true origins of his nickname had nothing to do with his physical dimensions. When Skowron was a boy, his grandfather gave him an impromptu haircut, which made the youngster look like the Italian dictator, Benito Mussolini. Skowron’s friends called him “Mussolini,” and the family adapted by changing the nickname to “Moose.” By the time he was playing major league ball, everyone was calling him Moose. One of the few exceptions was the Topps Card Company, which always listed him as “Bill Skowron” on his cards.
After signing with the Yankees in 1950, the organization tried him as an outfielder and third baseman, before realizing he lacked the athletic agility needed of those positions. He moved to first base, where he was blocked by players like Johnny Mize and Joe Collins. He finally landed in the Bronx in 1954, when he platooned with Collins, before becoming an everyday player by the late 1950s.
How good was Skowron in his prime? Well, he was very good. From 1957 to 1961, he averaged 20 home runs a season while qualifying for five consecutive American League All-Star teams. During that stretch, he twice slugged better than .500; he also received some support for American League MVP on two occasions.
As a right-handed power hitter, the old Yankee Stadium was hardly made to order for Skowron. But he adapted, developing a power stroke that targeted right-center and right fields, where the dimensions were far more favorable for hitting the long ball. Skowron’s right-handed hitting presence was importance, given that most of their power hitters hit from the left side (including Roger Maris, Berra and the switch-hitting Mantle.) If opposing teams loaded up on left-handed pitching, Skowron could make them pay.
Skowron really had only two flaws in his game. A classic free swinger and bad ball hitter, Skowron could sometimes hit pitches up his eyes, but he could also flail away at other pitches outside of the strike zone. Since he didn’t walk much, his on-base percentage suffered. Skowron’s other weakness involved his health; he simply could not avoid injuries. One time, he hurt his back while lifting an air conditioner. On another occasion, he tore a muscle in his thigh. There were broken bones, too, including a fractured arm that resulted from an on-field collision. With such injuries forcing him to miss chunks of games at a time, he often played 120 to 130 games a season, instead of the 150 to 160 that he would have preferred.
The 1961 season provided contrasts and quandaries for Skowron. On the down side, his slugging percentage and his on-base percentage fell. More favorably, he hit a personal-best 28 home runs while playing in a career-high 150 games. Batting out of the sixth and seventh hole, Skowron provided protection for the middle-of-the-order thumpers, a group that included Maris, Mantle, and Berra.
As he often did, Skowron elevated his play in the World Series. In the 1961 Classic against the Reds, Yet, it was in the 1961 World Series. In five games against the upstart Reds, Skowron slugged .529 with one home run and five RBIs, reached base 45 per cent of the time, and hit a robust .353. Then again, Moose was almost always good in the Series. In 133 at-bats stretched over eight World Series appearances, Skowron hit eight home runs and slugged .519. In Game Seven situations alone, the Moose hit three home runs. If you believe in the existence of clutch, and I do, then Skowron belongs near the top of that list.
Skowron put up another good season in 1962, but his age and the presence of a young player in the system changed his status within the organization. Believing that Joe Pepitone was headed toward superstardom, the Yankees decided to trade Skowron that winter. They sent him to the Dodgers in exchange for Stan Williams, an intimidating veteran reliever who liked to throw pitches up and in as part of his quest for strikeouts.
In some ways, Skowron could not have been traded to a less ideal situation. Newly built Dodger Stadium, which had replaced the Los Angeles Coliseum as the Dodgers’ home, had a ridiculously high mound and outfield measurements that did not favor sluggers like Skowron. He also had to face a new set of pitchers in the National League; outside of World Series competition, Moose had little familiarity with senior circuit pitching. To make matters worse, Skowron did not play first base every day, instead platooning with Ron Fairly. Moose hit a miserable .203 and ripped only three home runs in well under 300 plate appearances.
To the surprise of many, Skowron still had something left for the World Series. Playing against his former Yankee mates, he swatted a home run and batted .385 to help the Dodgers to a four-game Series sweep.
World Series heroics aside, the Dodgers questioned whether Skowron had much left. So they sold him to the Washington Senators. He hit well during a half-season in the Capital City, but when the team fell out of contention, he was sent packing to the White Sox in a mid-season trade. Skowron hit well over the next season and a half, but slumped badly in 1966 before closing out his career in ’67.
Yet, there was much more to Skowron than on-the-field highlights and accomplishments. He made news off the field, sometimes in frivolous ways and sometimes through embarrassing situations. Let’s consider a couple of episodes from the 1960s:
*During the 1963 season, Skowron and several other Dodgers made a guest appearance on the TV show, “Mr. Ed.” Skowron, catcher John Roseboro, center fielder Willie Davis, and Hall of Fame left-hander Sandy Koufax played themselves. In the main plotline of “Leo Durocher meets Mr. Ed,” the talking horse gives batting tips to Durocher, who was billed as the Dodgers’ manager even though he was actually a coach under Walter Alston. Durocher is supposed to relay the tips to a slumping Skowron. Moose and the other Dodgers then watch in amazement as Mr. Ed completes an inside-the-park home run against Koufax. (In a complete aside, Durocher also appeared on an episode of “The Munsters,” and was once again mentioned as the Dodgers’ skipper. Either Alston wanted nothing to do with Hollywood, or someone was trying to send him the message that Durocher was the real Dodgers manager.)
*While training with the Dodgers in Vero Beach, Florida, he decided to make a surprise trip to see his wife at their home in Hilldale, New Jersey. When he arrived at the house, Skowron found his wife in bed with another man. Infuriated by the surprise discovery, Skowron proceeded to pummel his unwanted guest. Shortly thereafter, Skowron was charged with assault, though many were sympathetic to his situation.
Skowron had better long-term success with other relationships, particularly his fellow Yankees. Beloved in the Yankee clubhouse, Moose became especially close friends with Hank Bauer, a rough-and tumble character in his own right. They often made public appearances together, including numerous visits to Cooperstown for Hall of Fame Weekend signings. I remember meeting Skowron and Bauer back in the late 1980s, while I was still working in sports talk radio. They were signing at a table outside one of the many card shops on Main Street. I wanted to interview the two of them, but I was intimidated by Bauer’s raspy voice and Skowron’s rugged appearance. Feeling like a rookie cub reporter, I settled for making a few innocuous remarks to the two ex-Bombers.
It remains one of my regrets. I never did have another chance to interview either Skowron or Bauer. That was a real mistake on my part, losing out on the opportunity to have a real chat with Skowron, one of the game’s great storytellers.
If there is any consolation, some of Skowron’s stories can be found on You Tube, and in the many books that serve as oral histories of the Yankee franchise. This was a guy who was good friends with Mantle and Berra, a guy who knew Whitey Ford, a man who played with Maris, a guy who dealt with the idiosyncrasies of Casey Stengel. Skowron was a man worth listening to, a link to an era that was long ago, but an era that we always want to re-visit.
Moose was a man that we’ll miss.
Bruce Markusen is co-author of the newly revised edition of the book, Yankee World Series memories.
(Photo Credit: Washington Post; Alex Belth.)
[Editor’s Note: Bruce will be on leave for the foreseeable future while he works on a book. We’ll miss his weekly posts and he will drop in occasionally with a Card Corner piece. Meanwhile, we wish him good luck with his project and thank him for being the man.]
If you grew up in New York and are of a certain age the name Pete Fornatale means rock n roll. When I think of the legendary radio disk jockeys of my childhood–Scott Muni, the unbearably sexy Carol Miller–Fornatale’s name is always at the top of the list.
I was sad to hear the news that Pete died today of a sudden illness. He was 66. I am sad for a number of reasons but mostly because Pete’s son is a dear friend.
My love goes out to the Fornatale family. The old man will be missed more than somewhat.
This was the song I didn’t want to listen to yesterday. Thought it would make me too sad. But then I did listen to it and I played it again and again and marveled at its power. A friend of mine said, “It doesn’t convert you to the Confederacy or anything, but it kinda makes you understand the Confederacy, which is a bold thing.” Amen.
And here is a great version from “The Last Waltz.”
Harry Crews passed away late last week. Check out his website.
Paul Iorio remembers his teacher at the Huff Post.
Here’s an NPR interview Crews did with Terry Gross in the 1980s and here is a recent one with Vice Magazine.
Rest in Peace.
Raise a glass to Furman Bisher who passed away yesterday. He was 93.
The featured image shows Bisher and Shoeless Joe Jackson.
I usually write exclusively about the Yankees, either past or present, in this space. That’s because many of the readers have told me they prefer to read about the Yankees in “Observations From Cooperstown” and “Card Corner.” But there are times when I find it necessary to deviate from that plan. The loss of former major league slugger Don Mincher is one of those times.
Don died a week ago at the age of 73, just about six months after retiring as president of the Southern League. Though I never met him face to face and only remember his playing career from a few highlights, he meant a lot to me personally. Don was the first player I interviewed for the first book I wrote: A Baseball Dynasty: Charlie Finley’s Swingin’ A’s.
I had never done an interview for a book-length project, so I really had no idea what I was doing. If the phone interview had gone poorly, I might have felt discouraged to do any more. But Don Mincher wouldn’t let that happen. He was friendly, accommodating, informative, helpful, and funny. At the end of our extended conversation, he gave me some helpful hints. He told me which A’s to avoid interviewing, and even warned me about one guy who would likely ask me for money in exchange for the interview.
The interview with Mincher went so well that I said to myself, “I can do this.” I interviewed several other players on the way to putting together a book over which I take a certain amount of pride and a great deal of pleasure.
Don provided me with some real insights into the inner workings of the A’s in 1971-72. When Mincher heard that t he fiery Dick Williams would replace the laid-back McNamara, he knew that the culture on the ballclub would change dramatically. “Well, I knew one thing right away; there would be some confrontations. I knew that,” Mincher told me back in 1997. “I knew Dick Williams from playing against him, his reputation and what-have-you. And I knew there would be some confrontations that would take place, and I knew that Dick Williams would win ‘em all.”
Mincher realized that a constant swirl of turmoil would result from the heated interaction between the feisty Williams and some of the egocentric players on the A’s. “You could just feel it coming,” Mincher said, “and sure enough there was.” More importantly, Mincher sensed that with the hiring of Williams, the A’s were about to start winning a lot more games than they done in the late 1960s. “That was really the beginning of a great ballclub,” Mincher said declaratively, “when Dick Williams was signed to that contract.”
In addition to the heavy demands imposed by Williams, the 1972 season also marked the beginning of an era of ill feelings between some of the Oakland players. “I can remember a lot of animosity in that clubhouse between individual guys, and it became a little bit cliquish to some degree at that time,” said Mincher, one of the few A’s who didn’t have conflicts with his teammates. “It was amazing the guys that had trouble with each other just forgot about it when they went out on the field, and then picked it up after the game. It was amazing to do that.”
Mincher would be long retired by the time player and owner controversies fully overtook the team in 1973 and ’74. But the roots of dissent all go back to 1972.“Yeah, I can remember it beginning in ’72. Of course, I wasn’t there when it really got hectic, but I can imagine what happened, and I can imagine who was in the middle of it. It wasn’t any fistfights or brawls or anything like that [in ’72], but I remember the bickering, sure.”
The catalyst to much of the controversy could be found in the form of a future Yankee. “Reggie [Jackson], who is probably the most intelligent individual I ever played with,” Mincher recalled, “was always the center of the media attention, either good or bad. And he seemed to always be there. I can remember some bickering with other players and him. You know, Dave Duncan, who was Reggie’s good friend—they had some problems. But David was a very stern individual himself, just like he is now, really demanding a lot of the pitching staff and himself. When an outfielder caused a pitcher to get in trouble with an overthrow or an error or something like that, there could be some things said and some words exchanged in those situations. And I can remember some of those. Of course, my old roomy, Sal Bando, he wasn’t very shy about stepping up to the plate either as far as telling people exactly what he thought. And there would be some words back and forth.”
At times, the wars of words forced a likable, even-tempered player like Mincher to assume the role of peacemaker. “I did,” said Mincher, who usually preferred to stay in the background. “Of course, when you’re not playing regularly and you’re just doing your thing, you try to get along with the players, and just sit down and be quiet… I tried to do my part and console everybody. But really, with those kinds of mentalities, egos, and talent, they worked themselves out.”
Mincher said that the uncomfortable feelings created by such verbal outbursts never seemed to interfere with the team’s on-field playing ability. “These guys were great, great players, and they learned from most things, and while I was there we never had any fistfights or anything like that. And all of the confrontations [actually] led to good things, and they just played better, it seemed like, as they went along.”
Mincher was traded to the Senators in the middle of the 1971 season, but he returned to Oakland in another deal the following season, primarily as a pinch hitter. He achieved his most indelible highlight as a member of the A’s with his appearance in Game Four of the World Series. Called upon as a pinch hitter in the ninth inning with the A’s down a run, Mincher faced Reds relief ace Clay Carroll. With the count one-and-oh, Carroll threw a fastball over the middle of the plate. “I was lucky enough to be able to get a good pitch I could drive, down in the strike zone,” Mincher said, his memory working in overdrive. “I tried to get a ball that you can drive up the middle or pull in the hole to first base. Those were the things I really thought about, and I thought about on that day. The ball went directly over the second baseman’s head. If it had been on the ground, it’d been a double play.”
But it wasn’t. Mincher’s uppercut swing enabled him to lift the ball over the infield. “I remember it just like it was yesterday,” Mincher told me in 1997. “I got it in the right-center field gap, which probably should have been for a double, but I was cold and couldn’t run.” Mincher’s golf shot into the alley scored pinch-runner Allan Lewis with the tying run and sent Gene Tenace, representing the potential game-winning run, to third base.
“It’s the last hit I ever got,” Mincher said in recalling the key RBI single that tied the game and set the table for Angel Mangual’s game-winning single, “and certainly it’s the most vivid in my memory.” Mincher’s pinch-hit RBI helped the A’s win Game Five of the Reds, on their way to a stunning upset in the 1972 World Series. It was also marked the final at-bat of Mincher’s career; he retired after the season, rejecting an overture from Finley to become the team’s first DH in 1973.
Mincher’s career ended with Oakland, but there was much that transpired in his other major league stops. Drafted and signed by the original Washington Senators, he then moved with the franchise when it became the Minnesota Twins. As the starting first baseman, he played an important on the 1965 American League pennant winners, hitting a home run against Don Drysdale in a seven-game World Series loss to the Dodgers.
From there he went to the California Angels, where he put up a productive season before ending up on the receiving end of a Sam McDowell fastball early in 1968. The ball struck him squarely in the face; Mincher slumped to the ground, his face bleeding. Limited to 120 games and plagued by dizzy spells throughout the summer, Mincher muddled through one of his worst seasons. Concerned that Mincher might never be able to return to form, the Angels left him unprotected in the expansion draft. That’s how he ended up with the Seattle Pilots in 1969. He had a good year for a bad team, while becoming the only All-Star representative in the franchise’s one-year existence.
The Pilots moved to Milwaukee, but Mincher never made the trip. He was traded to Oakland for a package of catcher Phil Roof, outfielder Mike Hershberger and pitchers Lew Krausse and Ken Sanders. He then moved on as part of a trade package to Washington for Mike Epstein and Darold Knowles, moved with the Senators franchise to Texas, and then made his last pitstop in Oakland. By the time he called it a career, he had hit exactly 200 home runs, put up an OPS of better than .800 seven times, and accumulated nearly as many walks as strikeouts. He was a hitter with power and smarts, and there is always value in that kind of player.
Yet, Mincher’s story did not end there. Remaining in baseball, he made a smooth transition to the front office, eventually becoming the GM and then the owner of the Double-A Huntsville Stars. (It was while he was owner that I interviewed him for the book on the A’s, and began to understand why he was beloved in the Huntsville community.) From there, he was promoted to president of the Southern League. Along the way, he became a revered figure in Huntsville, the unofficial “Mr. Baseball” of the community. They loved him for his work ethic, his easy going personality, his willingness to talk to just about anybody.
I interviewed Don only once, but I miss him. I can only imagine how much the people of Huntsville, who knew Don Mincher very well, are missing him today.
Bruce Markusen writes “Cooperstown Confidential” for The Hardball Times.
The late Gary Carter never played a game for the Yankees, a fact that should be regretful for any Yankee fan who remembers the 1980s. If Carter had played even one season in the Bronx, the Yankees might just have won a World Series title that proved so elusive during that decade of frustration.
The winter of 1984-85 brought me some of the most difficult times of my life. My mother was dying from abdominal cancer, a horrible experience under any circumstances but particularly difficult for me as I was trying to muddle through a challenging sophomore year at Hamilton College. One of the few diversions that helped me forget about my mother’s terminally ill condition involved the winter meetings that December. Both New York teams made blockbuster trades at those meetings, the Mets acquiring Carter for a package of Hubie Brooks-plus, while the Yankees nabbed Rickey Henderson for a group of young players headlined by Jose Rijo. The news of those two trades, which happened within five days of one another, made that December and that January, when my mother finally passed, a little bit more bearable.
The Yankees ended up with a good team in 1985, a 97-win club that finished only two lengths behind an exceptional group of Blue Jays. Led by Billy Martin, who replaced Yogi Berra after a handful of games, the Yankees came within whiskers of matching the Blue Jays for the AL East title, even with little contribution from their starting catcher, Butch Wynegar. A two-time All-Star, Wynegar was well past his prime at the age of 29, and would later undergo treatment for debilitating depression. What would have happened if the Yankees had added Carter for the 1985 season? Carter, buttressed by a strong left-handed hitting backup in Ron Hassey, would have given the Yankees one of the missing links to an otherwise sterling lineup.
Sure, it would have been a lot to ask Yankee GM Clyde King to swing blockbuster deals for both Carter and Henderson in the same winter, but the Yankees had both the minor league resources and the major league talent to make it happen. They could have centered a package for Carter around Dan Pasqua, who at the time was a top-tier hitting prospect coveted by numerous teams. They could have included a young Doug Drabek (whom they would eventually trade in a regrettable deal for Rick Rhoden) and tossed in a young infielder from among a group of Rex Hudler, Bobby Meacham, and Andre Robertson.
Not only would have Carter solidified the chronically weak catching corps that plagued the franchise in the mid-1980s, but he also would have given the Yankees exactly the kind of rah-rah leader that would have perfectly complemented guide-by-example types in Don Mattingly and Dave Winfield. With Carter behind the plate, improving both a potent offense and perhaps coaxing more from a thin pitching staff, the 1985 Yankees could well have leapfrogged over the Blue Jays into the postseason. And then who knows what might have happened?
Of course, all of this is wishful thinking, and more than 25 years after the fact. Perhaps the Expos would have preferred an established infielder like Brooks, who had the ability to play both shortstop and third base while hitting with game-changing power. Maybe the Expos foresaw that Pasqua would fall well short of the stardom forecast for him. But the idea of Carter-as-a-Yankee was just one of the thoughts that has gone through my mind in the aftermath of his premature death at the age of 57.
I had the privilege of meeting Carter several times; he never failed to deliver the goods with his friendly nature, boyish enthusiasm, and sincere regard for the concerns of others.
Back in 2003, I interviewed Carter at the Waldorf Astoria, exactly one day after he had been elected to the Hall of Fame. Bruce Brodersen, a friend of mine who heads up the Hall of Fame’s multimedia department, arranged and oversaw the interview. Bruce, a diehard Mets fan like few others, immediately took notice of Carter’s 1986 World Series ring. Noticing the interest, Carter told Bruce that he could wear the ring during the duration of our 20-minute interview. I cannot imagine many players, Hall of Fame or otherwise, offering to let a perfect stranger wear a cherished world championship ring. But that was Carter.
Gary Carter as a Yankee? It’s nothing more than a dream. But imagine if it had happened. Any Yankee fan who cares about integrity, character, and winning would have been proud to watch the man known as “Kid” wear the pinstripes.
***
In contrast to yours truly, Yankee hitting coach Kevin Long is legitimately excited about the addition of free agent Raul Ibanez, whom he calls an “RBI machine.” For the Yankees’ sake, I hope Long is right; batting in the lower third of the Yankee order, Ibanez figures to have plenty of RBI opportunities batting behind the likes of Alex Rodriguez, Mark Teixeira, and Nick Swisher.
Of course, while Long drools over the RBI possibilities, he doesn’t mention Ibanez’ relative lack of power in 2011 (as evidenced by a slugging percentage below .450) and an inability to draw walks or to reach base in any kind of consistent manner. These could be concerns for the Yankees, whose collective offense will be one year older and will have to hope for bounce back seasons from A-Rod and Tex. At the very least, the Yankees will have a capable offense in 2012, but will they have a dominant one? If they don’t, Ibanez will be exposed as a less-than-effective DH.
Having said all of that, I’ll be rooting for Ibanez. He visited Cooperstown last summer, accompanying his son during his week-long participation in the Cooperstown Dreams Park. According to my sources, Ibanez made a good impression with his friendly and receptive manner. That jives with what baseball people have said all along, that Ibanez is one of the game’s good guys, a man of character and a powerful presence in any clubhouse.
So this is no Elijah Dukes here. It will be easy, if somewhat frustrating, to root for Raul Ibanez. I just hope that Joe Girardi uses Ibanez with caution. He cannot hit left-handers anymore, so his at-bats against southpaws should be restricted as much as possible. Furthermore, Ibanez needs to be kept out of the outfield. A brutal defender with little arm, Ibanez should only the play the outfield if the game is a blowout–or if the Yankees simply run out of outfielders. If Girardi follows this plan, he can minimize the damage that Ibanez can do, and allow his other role players to pick up the slack.
[Picture Credit: Aya Francisco]
Bruce Markusen writes “Cooperstown Confidential” for The Hardball Times.
For more on The Kid, check out tributes by Greg Prince and Jason Fry at Faith and Fear in Flushing, Ted Berg over at Ted Quarters, and Jay Jaffe at Baseball Prospectus.
Ben Gazzara died today. He was 81. I was friendly with his daughter Liz for a while in the 1990s when she worked in film editing. She was a smart and funny lady–still is, I expect.
I met the old man on the set of “The Big Lebowski.” It was night and I was on crutches. I hopped from my car down to the set. The Coens filmed Treehorn’s pad in a fantastic and weird house in the Hollywood Hills (a location that has been used many times in movies and TV commercials). As I approached the house, Gazzara came out, wearing his white suit, and holding a drink. He walked to his trailer, accompanied by two production assistants. There was nothing about the drink that looked like a prop.
Gazarra was the real deal, the original Brick in the Broadway production of “Cat on a Hot Tin Roof,” and best known for his work with John Cassavetes. He was a New Yorker.
Rest in Peace.
[Featured Image by Jeremy Pollard]
