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Bronx Banter Book Excerpt

Last week, I got a copy of Neil Lanctot’s new book, “Campy,” a biography of Roy Campanella. I was duly impressed by Lanctot’s previous effort, a meticulously researched book about the Negro Leagues and so I opened his new book book with considerable anticipation. The prologue was so striking, and so fitting for this space, that I immediately contacted Simon and Schuster for an excerpt. They generously agreed, so here is the prologue to “Campy.”

Please enjoy and then go to Amazon to buy the book. Looks like a keeper.

From “Campy,”

By Neil Lanctot

FOR SOME CITIES, a World Series game is an all too rare event to be savored and debated for years afterward. But for a New Yorker in 1958, the Fall Classic was a predictable part of the October calendar, as humdrum as a Columbus Day sale at Macy’s or candy apples at a neighborhood Halloween party.

The great catcher Roy Campanella was a veteran of the October baseball wars. Between 1949 and 1956, his Brooklyn Dodgers had taken on the New York Yankees five times, coming up empty all but once. On Saturday, October 4, Campy was returning to Yankee Stadium for yet another Series game, but everything had changed since the last time he’d set foot in the House That Ruth Built. The Dodgers no longer played in their cozy ballpark in Flatbush but in a monstrosity known as the Coliseum a continent away. And Campy no longer played baseball at all because a January automobile accident had left him a quadriplegic. For the past five months, he had doggedly worked with the staff and physicians at the Institute of Physical Medicine and Rehabilitation on Thirty-fourth Street in Manhattan to learn how to function in a wheelchair. He had now sufficiently progressed to leave the hospital on weekends.

His doctors had encouraged him to accept Yankee co-owner Del Webb’s invitation to attend Saturday’s game at the Stadium, although Campy was initially not so sure. He had not appeared in public since his accident, nor had he sat on anything except a wheelchair. Nevertheless, he set aside any lingering anxiety to make the early-afternoon car ride to the Bronx, where box seats behind the Yankee dugout had already been set aside for Roy, his wife, two of his children, and a male attendant.

When the family station wagon arrived at Yankee Stadium, Campy could not help but think of the times he had suited up in the locker room in the past. He had never liked hitting at the Stadium, but he had enjoyed his fair share of glory there, whacking a key single in the deciding game of the Negro National League championship game as a teenager in 1939 and a more crucial double in game seven of the World Series in 1955, the year the Dodgers finally bested the Yanks. Today, he would just be another fan.

Campy soon discovered his wheelchair was too wide for the Stadium’s narrow aisles. He had no choice but to be bodily carried by his attendant, two firemen, and a policeman. “I felt like some sad freak,” he later recalled. “It was the most embarrassing thing that ever happened to me. I felt ashamed.”

But the fans whose glances he so desperately wanted to avoid soon began to shout out encouragement. “Hi, Slugger!” one greeted him. “Attaboy, Campy!” yelled another. “Stay in there, Campy, you got it licked.” Before long, virtually every one of the 71,566 present realized that the fellow with the neck brace and “tan Bebop cap” being carried to his seat was three-time MVP Roy Campanella. “By some sort of mental telepathy thousands in the great three-tiered horse-shoe were on their feet and when the applause moved, like wind through wheat from row to row, I doubt if there were many there who didn’t know what had happened,” wrote Bill Corum of the Journal-American. “It was a sad thing. Yet it was a great thing too, in the meaning of humanity. No word was spoke that anybody will know. Yet it had the same effect as that moment when a dying Lou Gehrig stood on this same Yankee diamond and said … ‘I’m the luckiest man in the world.'”

Down on the field, the top half of the second inning took a backseat to the heartfelt hoopla in the stands. With the count 1-1 on Milwaukee’s Frank Torre, Yankee pitcher Don Larsen stepped off the mound as the players in both dugouts craned their necks to see what was causing the commotion and then began to join in the ovation themselves. Upon spotting Campy only a few yards away, Yankee catcher Yogi Berra flipped his mask and waved, while home plate umpire Tom Gorman offered “a clenched fist in a ‘keep-fighting’ gesture.”

Campanella, who had vowed beforehand that he “wasn’t going to cry,” struggled to keep his emotions in check. He smiled back at Yogi (who “kept looking back and hardly could resist the temptation to run over and shake Campy’s hand,” said one reporter) and winked at the mob of photographers who gathered at his seat. For the rest of that warm October afternoon, he tried to focus on the game, even trying to eat a hot dog without success, but he could not stop thinking about the outpouring of love he had just experienced. “It’s hard to explain the feeling that came over me. I don’t believe any home run I ever hit was greeted by so much cheering,” Campanella said later.

It was the first time he had received such applause in a wheelchair, but it would not be the last. For the rest of his life, his presence, whether in a major league ballpark or in front of a Manhattan deli, would evoke similar responses. He was no longer just a ballplayer but a symbol of something much more.

© 2011 Neil Lanctot

Oh, yes, please.

David Lebovitz, again and again.

Here’s Kim Morgan on “Taxi Driver.”

[Photo by Steve Schapiro]

Dear Alex, please don’t break.

In the Daily News, John Harper has a piece about Alex Rodriguez.

Ted Barron captures Robert Frank taking Tom Waits’ picture…from the New York Times.

Another winter day filled with thoughts of summer…

[Picture by Bags]

The Yanks and Sox, together again.

Exhibition baseball tonight on YES.

Last Sunday evening, I was at work, editing down the AP obituary of Duke Snider to a word count that would fit our available space. There was one sentence that caught my attention, and I debated for a moment whether I should cut it, because I thought it was unclear:

Snider hit at least 40 homers in five straight seasons and led the NL in total bases three times. He never won an MVP award, although a voting error may have cost him the prize in 1955. He lost to Campanella by a very narrow margin – it later turned out an ill voter left Snider off the ballot, supposedly by mistake.

There are a few things that are odd there – why mention that the voter was ill? Do we not have his name, and why not? Why “supposedly” by mistake? Didn’t anyone ask?

Anyway, I decided to leave it in, after confirming the loose outline of events on Wikipedia – which said, at the time (it has since been amended), that a BBWAA writer in the hospital had mistakenly put Campanella down twice, in first and fifth place, when he’d meant to put Snider in one of those spots. If he had, Snider would have won the MVP. That still seemed odd (again, why mention the hospital? Did he die later and they couldn’t ask him? Then why not say that?), but fine. I finished editing it down, ate a sandwich  and went on to other work.

Joe Posnanski, on the other hand, wondered about some of those same things and then started digging. That response is one of the reasons why he is – for my money, and a lot of other people’s – the best sports writer going at the moment. He doesn’t simply accept things at face value. I also take his ensuing post on the subject as a good lesson about following up when something seems off. If a story doesn’t make sense, there’s probably a different story behind it – I should listen to those instincts and, more than that, follow up on them. (And also, for the love of god, never rely on Wikipedia. I know this – and I never do when I’m writing or reporting – but I often use it as something of a fact checker. Nine times out of 10 it’s accurate, but for anything work-related or important, that’s not good enough).

You should go read Posnanski’s whole post, but the general thrust is:

Here’s is what the box says happened: There was indeed a writer who put Roy Campanella first and also sixth on his ballot, just like Feller said. Whether this was done by a writer who was sick and/or from Philadelphia is not made clear, and is probably not important. The BBWAA could have invalidated the ballot, and that must have been considered. But they did not. And they also did not just give Campanella the top spot and erase the fifth spot.

What they did was this: They moved everybody below No. 5 up a spot — six to five, seven to six, and so on. And for the bottom spot they inserted, yep, our favorite Philadelphia relief pitcher Jack Meyer.

There’s more to it than that and plenty of context, but I don’t want to quote too much of Posnanski’s post – I want you to go read it.

I also want to see if we can’t get “a hospitalized BBWAA writer” to catch on as a description of something a little fishy. E.g., “Joba says the weight he added is all muscle? Yeah, I dunno, that sounds a little like a hospitalized BBWAA writer to me.”

The foul ball that nailed Francisco Cervelli’s foot earlier this week has turned into a worst-case scenario, as further tests reveal a fracture.  Cervelli will miss a minimum of four weeks, with some estimates extending to eight weeks.

Paging Jesus Montero!

There is a show of Charles H. Traub’s photography at the Gitterman gallery through April 23rd.

While watching the 94 year old Kirk Douglas mugging at the Academy Awards this past Sunday night, my mind jumped to one of Douglas’s most acclaimed films, Vincente Minnelli’s “The Bad and the Beautiful.” Minnelli’s 1952 film is considered one of the great “inside-baseball” movies about Hollywood and it had been on my “to see” list for ages. The following day, I got my hands on a copy and rectified the situation and was not disappointed. “The Bad and the Beautiful” is a real treat for anyone who loves the great Hollywood movies of that golden era (roughly from the advent of sound into the 1950s) and the stories about the men and women who made them.

“The Bad and the Beautiful” is full of smart, strong performances from Dick Powell, Walter Pidgeon, a gorgeous Lana Turner, Barry Sullivan and the great Gloria Grahame, but there’s no denying that despite Turner’s top billing, this is Douglas’ picture. Douglas is Jonathan Shields, a brilliant, ruthless, unscrupulous producer and studio bigwig and he commands the screen in every scene he appears in. He manages the neat trick of being both loathsome and likeable, kind and cutting, often at the same moment. It may well be Douglas’ best moment as an actor, though he lost the Academy Award that year to Gary Cooper, for “High Noon.” (I’m as big a Gary Cooper fan as the next guy, but “High Noon” is an overrated film and Douglas was robbed.) Oddly, the film was nominated for 6 Oscars and won 5 of them, without being nominated for Best Picture, or Minnelli being nominated for Best Director.

For those of you who only know Minnelli from his great musicals like “An American In Paris” (1951) or “The Band Wagon” (1953), check this film out, as well as the other exceptional melodramas he made, like “Some Came Running” (1958) with Frank Sinatra, Dean Martin and Shirley Maclaine and “Home From The Hill” (1960) with Robert Mitchum. Minnelli’s widescreen compositions, use of color, depth and design, elegantly moving camera, and the occasionally overwrought emotion of the films had a big impact on later directors like Martin Scorsese,  Peter Bodganovich and Richard Linklater. Minnelli used Cinemascope brilliantly, to express subtle nuances and changes in personal relationships between characters, and those of class and social standing. “The Bad and the Beautiful” is in black and white and in the standard academy 4:3 ratio, but it lead the way to the sorts of stories Minnelli would be telling throughout the decade to come. Don’t sleep on this underrated and important American artist.

“A best friend is someone who gives me a book I’ve never read,” Abraham Lincoln.

Today’s game, brought to you by Cliff Corcoran and Chad Jennings.

[Photo Credit: 24-7 A Painting a Day ]

I had dinner at my aunt and uncle’s on the Upper West Side a few weeks ago and we got to talking about Morris, the deli counter man at the old Daitch Shopwell that used to be on Broadway. They loved Morris and the little old ladies who would visit him. This is what they overheard, back when.

Old Lady: Is the potato salad fresh?

Morris: Yes, we made it today.

Old Lady: It looks like yesterday.

Morris: Lady, you’re from yesterday.

Old Lady: How’s the roast beef?

Morris: It’s gorgeous.

Old Lady: Give me a half of a quarter pound of baloney.

Morris: You’re having a party?


Here’s Roger Angell on Duke Snider:

I still feel that I owe him. I saw him play plenty of times, but carry only a fragmented memory of him in action: rounded shoulders, and that thick face tilting while the finish of his big, left-side stroke starts him up the baseline, his gaze fixed on the rising (and often departing) ball. A first-class center fielder, who eagerly closed the angle on line drives. Great arm. Good guy, terrific smile. Hall of Famer. Something smug in me used to relish him, even while I rooted against him. Growing up in Manhattan, I was a Giants fan first of all, a huge Yankees booster in the other league, and caught the Dodgers pretty much only when they played at the Polo Grounds. Which is to say a Willie Mays fan first and always; an awestruck admirer of Mickey Mantle when he succeeded Joe DiMaggio in center for the Yankees, in 1952, and aware of Snider, of course, over there in Ebbets Field: the third-best, or—since he overlapped Joe D.’s tenure by three seasons—maybe the fourth-best fabulous center-field slugger in town but a guaranteed superstar as well. If Snider was great, how much better did that make my guys? I met the Duke once or twice, long after he’d left the game—he was gone before I started writing about baseball—and wanted to apologize for patronizing him in my fan’s heart. He didn’t mind; he was a self-punisher, not a self-aggrandizer, and I don’t think he worried about status.

And click below for and excellent profile on Snider by Dick Young from “Inside Sports.”

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Here’s George Kimball on Sly Stallone and “Rocky”:

If Ali remains the most recognizable boxing figure of the 20th century, Rocky Balboa, at least in the public consciousness, probably ranks a close second.

Stallone had drawn his inspiration for Rocky, which won the Academy Award for Best Picture that year (the defeated competition included All The President’s Men, Network, and Taxi Driver) from a real-life title fight in Cleveland a year earlier, when a journeyman heavyweight named Chuck Wepner lasted until the 15th round against the great Ali. Wepner, who was known for reasons devoid of irony as “The Bayonne Bleeder,” was even credited with a ninth-round knockdown.

On the evening of that bout, The Bayonne Bleeder presented his wife with a filmy blue negligee and instructed her to wear it later that night when, he promised, “you’re gonna be sleeping with the heavyweight champion of the world.”

Much later that night, having been taken first to a hospital to have his face stitched back together, Wepner stumbled back to his hotel room, to find his wife sitting up in bed wearing the filmy blue negligee.

“Well,” Mrs. Wepner asked her husband, “is he coming up here, or do I have to go to his room?”

ESPN writer Howard Bryant was arrested last weekend for allegedly physically assaulting his wife in public. The story was covered on the home page of ESPN.com:

“I am so sad today,” Bryant said [in a statement]. “I am sad today because this attack on me by the Massachusetts State Police and the Buckland Police has made it necessary for me to defend untrue allegations and repair my reputation when one conversation with either Veronique or with me would have diffused the entire situation. Instead, the police chose aggression first over dialogue, threatened to taser me whenever I tried to speak, and all in front of my 6-year-old son.

“As a result, I have to defend a charge that I attacked both the woman I love and the police when nothing could be further from the truth.”

“This is all so unfair,” Veronique Bryant said. “There was no investigation. The police made assumptions about my husband that weren’t true. I was never abused or in fear of Howard on that day or any other day. I wasn’t running from him or trying to get away from him. The police weren’t listening to me and they attacked him with violence with our 6-year-old watching.”

Here is Bryant’s laywer, Buz Eisenberg:

Eisenberg, being interviewed on WHMP’s 9 O’Clock Show with Bill Newman and Monte Belmonte, said Bryant was singled out by witnesses and by police simply because he was black and in Buckland. With Buckland being 96.5 percent white, according to the US Census, Bryant naturally stood out no matter what he did, Eisenberg said.

Even before the police came, Bryant could feel people staring at him on Main Street, Eisenberg said.

Eisenberg did not deny that Bryant and his wife argued on Main Street but he denied that the argument ever became physical. Witnesses told police they saw Bryant put his hands around her neck, which Eisenberg and the Bryants have disputed.

He also disputes charges by the Massachusetts State Police that he resisted arrest.

He said the witnesses, who he said were a group of 14- and 15-year-olds, watching the scene from Buckland Pizza overreacted and called police.

“What they saw was an African-American man and a Caucasian woman. It probably never entered their minds that they were married,” he said.

I got an e-mail from a friend the other day who happens to be black. He wrote:

What gets me is that E#$% chose to list this story on their front page, while others who have worked for them and were accused of or involved with similar issues were buried in the site so you had to do a search for their story. They have so many blatant double standards, it’s a wonder they don’t get kicked in the nuts with big lawsuits on a regular basis or are targeted by rights groups. Even if you don’t like the guy, the way they chose to trumpet this over others who have done similar or worse things is out of line.

In regard to what happened, that’s not surprising. Someone has it in for him; where can a professional brotha go without getting f***** with these days?

I know Howard Bryant, not well, but I consider him a friend professionally. I believe him and stand by him.

The light continues to change. The Sun is high in the sky now when I get off the subway and walk a few blocks east to my office building. People shield their eyes as they move. It is winter cold today but the spring is near.

Down in Floriday, A.J. Burnett pitched yesterday and showed off his new delivery.

Fight fans as well as movie fans will enjoy this—George Kimball’s wonderful piece about Budd Schulberg’s memorial service back in the fall of 2009.

“On the Waterfron,” for which Budd received the Academy Award, might not have been in the strictest sense a “boxing movie,” but Marlon Brando’s character Terry Malloy is the ex-pug who “coulda been a contender,” and at Budd’s insistence, a trio of charter members of the Bum of the Month Club — Two-Ton Tony Galento, Tami Mauriello, and Abe Simon — were cast as burly longshoremen in the film. One highlight of the program was the telecast of the 1954 Oscar ceremony, when, after director Elia Kazan and Brando had already won their statuettes, Bob Hope and Brando opened the ‘Best Screenplay’ envelope and summoned Budd from the audience to receive his. (And let history record that he didn’t even try to look surprised. He knew what he’d done.)

Pete Hamill recalled having first met Budd at the 1962 Sonny Liston-Floyd Patterson fight in Chicago, an occasion far more memorable for the press room cast publicist Harold Conrad had assembled than for the barely two minutes of action in the ring. “You’d look in one direction and there would be Norman Mailer and A.J. Liebling,” recalled Hamill, then just in his second year as a newspaperman, “and you’d look the other way and there would be Nelson Algren and James Baldwin and Budd Schulberg.”

(Liebling, recounting the same scene in the New Yorker, wrote that “the press gatherings before this fight sometimes resembled those highly intellectual pour-parlers on some Mediterranean island; placed before typewriters, the accumulated novelists could have produced a copy of the Paris Review in forty-two minutes.”)

Hamill also recalled that on the evening of June 6, 1968, he and his brother Brian had driven across Los Angeles to pick up Budd in their rental car, and driven from there to the Ambassador Hotel, where Robert F. Kennedy would be speaking once the returns were in from that day’s California primary. Budd, said Hamill, remembered the hotel from his youth as the scene of some memorable Hollywood debauchery. Both Hamill and Schulberg were waiting in the kitchen that night when Sirhan Sirhan shot Kennedy. Hours later, once the east coast deadlines had passed, everyone reconnoitered, still battered by the shocking assassination. Everyone was grieving, but Schulberg made it his particular point that night to console Hamill, who he knew had lost a close personal friend.

They don’t make ’em like Budd anymore. Hell, they don’t make ’em like Kimball anymore either.

[Photo Credit: Boston.com]