I’ve seen her, wheeling her child in the caverns of my home town, going shopping, going to the doctor, who knows.
She was Latina, or maybe Asian, or dark-skinned from the States or Haiti or Africa, or white, but I have seen her, trying to navigate the stairways of hell-on-earth, our subway system.
Every so often, I stop and hold out my arm and gesture: I’ll take the front end.
I mean, what else are we men for, but to lug and lift and load?
They see a grandfather type, offering to help, and they make the decision that I mean no mischief, and they nod in assent, and we improvise a step-by-step ballet on the murderous stairs.
(Update: my friend James Barron in the NYT has reported that the medical examiner can find no major trauma from a fall, so the cause of death may be medical reasons. But as Barron points out, the dialogue continues about the brutal conditions in the subways, under Albany and City Hall. All I can say is, lend a hand once in a while.)
(Recently, at my old stop, 179th St. in Queens, I carried two shopping bags up the stairs, to a bus stop, which gave me the opportunity to drop a few words of Spanish on the lady – “muy pesadas,” very heavy – which got me a smile that lit up my afternoon. No medals; I only do it once in a while, when I have time, and am of a mood.)
They are up against it, these mothers with their infants, these abuelas with their groceries, and most of the time they have no alternative. The subways are primitive, and falling apart, despite the elected public officials who posture and prance but put critical offices in a building in the terrorists’ playbook, who ignore climate warnings and put fancy new stations to collect the coming floods, but ignore the infrastructure and the lack of elevators for those who need them.
The Times says: “Only about a quarter of the subway system’s 472 stations have elevators, and the ones that exist are often out of order.”
Malaysia Goodson, 22, was living in Stamford, Conn., but had come back to the city of her childhood on some errand. Somehow, she tumbled down a flight of stairs while maneuvering a stroller holding her 1-year-old. The daughter is reported to be all right but her mother died.
I’ll try to remember her next time I am in the subway.
For Malaysia Goodson: Ravel’s “Pavane for a Dead Princess:”
I watched a film Sunday that had me muttering “Mengele! Mengele!” -- after the infamous Nazi doctor who conducted ghastly procedures on Jews.
In fact, Manohla Dargis of the Times used the same reviled name in her recent review of “Three Identical Strangers,” a documentary about adoption gone way wrong.
The film was on CNN, after a quick theater run last year, reviving the 1980 discovery by three young men that identical versions of themselves lived in the New York area.
Their ecstatic smiles lit up the talk shows – the sensation of the year! -- Boys born on the same date – from the same (unwed) mother – and within six months placed in three separate (Jewish) homes—now reunited.
The boys danced in unison and partied in unison and smiled for the camera in unison. Only slowly and tentatively did anybody ask: why were these three identical boys placed in three non-identical homes, all within driving distance of “researchers” who had somehow acquired permission to take videos of the boys, separately, going through psychological tests? Was it an accident they were placed in what could be judged as three different socio-economic levels? Was that part of this experiment, this playing with lives?
Only slowly does the documentary allow the victims – for victims they were – to disclose there was a dark side, behind the glowing smiles that seem ever more forced and ominous.
The most sane outsider in this documentary is a journalist, Lawrence Wright, who investigated the scandal for the New Yorker. Wright appears frustrated that he never really cracked the heart of darkness of this vile plot by Dr. Peter Neubauer, who had been trained by Anna Freud, and become a “prominent psychiatrist” in New York.
In Wright’s subsequent book about female twins, also separated for Neubauer’s nature-vs-nurture experiment, he describes “an extensive team of psychologists, psychiatrists, pediatricians, observers, and testers.”
A New York foundation that facilitated Jewish adoptions, and a doctor, born in Austria, who escaped the Holocaust in Switzerland, perpetrated this experiment on three families.
These boys, who had once slept in the same crib, nestled against identical bodies, had suffered the double loss of mother (at birth) and brothers (at six months). Only slowly do we understand the gaping holes at the centers of their psyches.
Adoption is tricky enough. Allow me to go personal here: both sides of our families have been enlarged and enriched by adoption, but the process may leave serious gaps.
My father was in orphanages and foster homes before being adopted by a Christian family of Hungarian background, when he was 5. When he was 15, his adoptive father skipped, leaving a wife and their natural daughter. My father, later in life, tried to learn more, knowing only the name he had been given at birth. Alas, the agency told him, all records have been lost. Or sealed. So sorry. Friends often told him he looked Jewish.
A few years ago, my DNA test revealed that my heritage is half English/Irish and half Ashkenazy Jewish. As a Christian, with many Jewish friends, I was thrilled with the discovery. There was no dancing, no partying, no talk shows, just the melancholy wish my father could have known the truth that was withheld from him by a system that victimizes adopted children who grow up with serious questions, or don't even know.
The three boys in the documentary discovered they had company in this world through the most bizarre circumstances: a young man arrived at a community college in the Catskills and students rushed up to greet him, hug him, kiss him and call him Eddy, which was strange, since his name is Bobby. A mutual friend united the two boys, who stared at each other as if in a mirror. And then the photos in the papers turned up another lookalike – all born on the same day.
Years later, after bonding, and then moving apart, the three young men in the documentary came to realize they were victims of an experiment – but for what?
The Louise Wise Services seemed to have encouraged unethical tactics by the doctor – hardly out of racial hatred, like Jews in the Holocaust, but out of greed, or hubris, or curiosity gone amok. Nazi stuff. Mengele stuff. The agency went out of business in 2004, laying down legal blockades for people who wanted information on their adoptions.
As somebody with half Jewish DNA, I feel contempt for the smug wealthy board members of that now-defunct foundation, who, get this, poured Champagne for each other after fending off the six adoptive parents, who, with such idealism, had adopted these boys.
The documentary touched our souls. Spoiler alert: there are flaws – passing over the implication of one of the men in a serious crime, ignoring the fact that a fourth identical child died at birth, and obscuring some family dynamics, undoubtedly for legal reasons. Only last fall, a legal challenge forced the sealed records to be opened now, rather than in 2065.
My heart aches for those three young men, who were treated like captives during a pogrom in a European shtetl. This happened in my home town, New York.
As the saying goes: Never Again.
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Here's an interesting link critiquing the Jewish angle of the documentary:
The NYT review of the documentary:
An excerpt from Lawrence Wright’s book on the female twins who were reunited:
The psychiatrist at the core of the scandal:
The decision to unseal the records:
An article by Lawrence Wright:
More from CNN:
When I was a little kid, my father used to bring home baseball record books from the newspaper office, including photos of the first class of five players elected to the Hall of Fame.
How stodgy and old-fashioned they looked in old photos – faces and bodies and uniforms that seemed clunky by “modern” standards of 1946 and 1947.
Yet there they were, the first “immortals” – chosen in 1936 for the emerging Hall of Fame: Walter Johnson, Christy Mathewson, Honus Wagner, Ty Cobb and Babe Ruth.
I saw Cobb and Ruth at the first Old-Timers Game in Yankee Stadium at the end of 1947; Ruth was dying, in his camel’s-hair coat, his voice crackling on the primitive public-address system.
He was an immortal, but he was most surely mortal.
In 1947, we were also living in a time of Ted Williams, Joe DiMaggio and Stan Musial – and Jackie Robinson. More immortals. When I saw them play, did I stop to study them carefully, so I would have an engraved memory of their swing, their mannerisms? Nah. Not smart enough.
We live in the moment, but I was minimally wise enough, as a young sportswriter in the ‘60s, to know I was in the presence of immortals -- Koufax and Gibson, as good as it gets; Mays and Clemente and Aaron and Frank Robinson.
And when I was around the New York Yankees from 1995 to 2013, it was a privilege to watch Mariano Rivera break off that cutter that was equal-opportunity unhittable. He dominated in a modest way, no gestures, no celebrating, because, as he often says, he “respects the game.”
I must add, it was also a privilege to watch Jeter and Williams and Posada and Pettitte, year after year; they soothed the ancient sting of my Yankee-tormented childhood as a Brooklyn Dodger fan. How could I hate a team that had those guys?
I recently met a rabbi on Long Island who raved about a trip he had taken to Israel in the company of the evangelical Christian Mariano Rivera.
I am sure Rivera’s rabbinical admirer is celebrating today, as Rivera has become the first baseball immortal to be elected unanimously. Considerating the cranks and crackpots and purists in my colleagues, this is huge.
I did not have the same surety about Roy Halladay and Mike Mussina (NYT writers are not allowed to vote for awards, and I follow those rules in retirement.) The voters have confirmed Halladay and Mussina as Hall of Fame pitchers, so congratulations.
And did you see Tyler Kepner’s absorbing insider explanation of what Rivera taught Halladay about the cutter? It would cost Rivera a few bucks in a clubhouse kangaroo courthouse.
In Rivera’s first season, 1995, I got to watch one of the best post-season series ever played, a best-of-five division thriller between the emerging Yankees and what seemed to be the emerging Seattle Mariners.
The difference in that series was Edgar Martinez, a designated hitter at the peak of his game. He was unspectacular in demeanor but dominant in hitting a ball.
Just before the fifth and final game, I wrote an “early” column – for the first national edition – quoting Reginald Martinez Jackson, Yankee star and by then Yankee advisor, raving about Edgar Martinez, no relation. Reggie’s raves are best read in context of my revised column, after Martinez had clubbed the Mariners into the next round:
Do I think of Edgar Martinez the way I think of Ruth, or Mays, or Koufax, or Rivera? No, but there are four or five levels of Hall of Fame players. I hate the designated-hitter rule; it has led to the current plague of launch-arc/strikeout flailers. But Edgar was not a launch-arc guy. Read how Reggie dissected his professional swings in that marvelous 1995 division series.
I cannot hold being a designated hitter against Martinez; he played where they told him to play. Designated hitters gotta live, too.
I remember Edgar dominating an epic series, sending Junior Griffey sliding home with a joyous cat-in-the-hat smile,
(Think Buck Showalter ever wonders why the Yanks did not activate young Derek Jeter for the post-season….or why Buck did not keep young Mariano Rivera on the mound after getting two outs?)
That epic coastal series was the time of Edgar Martinez, not Mariano Rivera. Now they go into the Hall together.
Like Johnson, like Mathewson, like Wagner, like Cobb, like the Babe himself – by definition, tightly monitored by baseball fans and players and officials and voters: immortals, all.
My birth-date pal, John McDermott, ex-difensore del club Italo-Americano di San Francisco, is better known as master photographer of subjects moving and still.
Not to stereotype him, but he is at his best covering the world sport of soccer. (Yes, that is Roby Baggio's voice on his cellphone.)
John is now living in Italy, making art out of the Dolomites and the streets of Napoli. He recently put together the video above for a sports seminar he was giving in Verona. You will recognize Maradona, Baggio, Beckham, Klinsmann, Ronaldo, plus Olympic sports. Click it on, above.
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Lonnie Shalton is a financial-services lawyer in Kansas City who issues occasional sports blogs that never fail to entertain and stimulate me. (I know him through Bill Wakefield, the Kansas City kid who had a very nice 1964 season for the NY Mets.)
Lonnie's latest, in honor of the birthday of the Rev. Martin Luther King, Jr, is about Negro League Baseball, a passion of his. On this blog, he presents the history,with photographs, of the only woman selected for the National Baseball Hall of Fame:
Hot Stove #90 - Martin Luther King Jr. Day (2019) - Effa Manley and the Newark Eagles
[When my law firm added Martin Luther King Jr. Day as a holiday in 2002, I began an annual message within the firm about why we celebrate the holiday. The distribution was later expanded outside the firm, and since 2016 the message has been circulated as a Hot Stove post. Below, my 18th annual MLK message.]
One of the best ways to appreciate Martin Luther King Jr. Day is to visit the Negro Leagues Baseball Museum in Kansas City. Not just for the memorabilia collection – although that is well worth the trip. There is also a compelling civil rights lesson. As one walks through the baseball exhibits, there is a parallel timeline along the lower edge that places Negro Leagues history in context with civil rights milestones.
In a new exhibit added last year – “Beauty of the Game” – the museum honors the contribution of women both on and off the field. The exhibit features three women who played in the Negro Leagues (Mamie “Peanuts” Johnson, Toni Stone and Connie Morgan), plus one executive, Effa Manley.
Effa Manley is also featured in another well-known museum. She is the only woman ever inducted into the National Baseball Hall of Fame. There are 324 men. Below is her plaque at Cooperstown:
Abe and Effa: Effa Louise Brooks grew up in Philadelphia and moved to Harlem after graduating from high school in 1916. She met Abe Manley in the early 1930’s and they married in 1933. They were both baseball fans. Effa went to games at Yankee Stadium (“I was crazy about Babe Ruth”). Abe went to Negro League games when he lived in Pennsylvania and became friends with many of the players. He also once owned a semipro team. Legend has it that Abe and Effa met at Yankee Stadium during the 1932 World Series.
Effa and Abe each brought an interesting backstory. Effa’s maternal grandparents were German and Native American. Her father might have been her mother’s black husband or white boss. Whatever the correct story, Effa lived her life as a black woman married to a black man (actually four, the marriage to Abe plus three short-termers). Abe was in the numbers racket and some of his excess funds would come in handy to own a baseball team. At least two other Negro League teams were similarly capitalized – it’s not like there was a lot spare capital in the black community.
Negro National League (NNL): The original Negro National League was formed in 1920 at the Paseo YMCA in Kansas City. The KC Monarchs joined the league and became one of its premier teams. The league was forced to disband during the Depression, but it was revived in 1933. However, the Monarchs did not rejoin, but instead became a member of the new Negro American League (NAL) formed in 1937.
In 1935, Abe Manley formed the Brooklyn Eagles as a franchise in the NNL. He moved the team to Newark the following year, and the team played as the Newark Eagles from 1936 to 1948. Effa became Abe’s partner in the business and soon took over the day-to-day operations. Abe liked the social side – traveling with the players and swapping stories – the team was his “hobby” according to Effa. She did almost everything else: setting playing schedules, booking travel, managing payroll, buying equipment, negotiating contracts, dealing with the press and handling publicity. She was a trailblazer on creative promotions to draw fans. She was also very active in the community and counselled her players to do the same. She became the public face of the Eagles.
Effa was also an active participant in league matters. There, not to the pleasure of some owners, she was outspoken and demanding. Gus Greenlee, owner of the Pittsburgh Crawfords (and, like Abe, a numbers runner), was president of the league in the early years. His initial take on Effa: “The proper place for women is by the fireside, not functioning in positions to which their husbands have been elected.” Sportswriter Dan Burly wrote that Effa was a “sore spot” with other owners “who have complained often and loudly that ‘baseball ain’t no place for no woman. We can’t even cuss her out.’”
Greenlee learned to deal with Effa, and this leads to a Satchel Paige story. In Larry Tye’s biography of Satchel, the author writes that “[Effa] also was renowned across blackball for her willingness to battle on behalf of both the Newark Eagles and civil rights, her pioneering role as the sole woman of consequence in the fraternity of the Negro Leagues, and her flirtations and more with her husband’s ballplayers.” It is that last item that lends some context to the Satchel story.
Paige had played for Greenlee’s Pittsburgh Crawfords in 1936 and then jumped to a Dominican Republic team for 1937. He was potentially returning to the states in 1938, but Greenlee was tired of chasing him and sold his contract to the Eagles. As Effa told the story in a 1977 interview, “Satchel wrote me and told me he’d come to the team if I’d be his girlfriend…I was kind of cute then too…I didn’t even answer his letter.” Satchel’s letter was a little ambiguous: “I am yours for the asking if it can be possible for me to get there…I am a man tell me just what you want to know, and please answer the things I ask you.” Satchel instead pitched in Mexico in 1938 and never joined the Eagles. But Effa’s role was memorialized in the press:
Effa became a force in the league. She pushed for a more businesslike operation and rules to deter players from jumping teams. She argued for an outside commissioner. Her hard work and perseverance brought a grudging respect. In the end, as shown in the photo below, she was “in the room where it happens.”
Effa as Civil Rights and Community Activist: Rosa Parks and Martin Luther King, Jr. came to national attention in 1955 in the bus boycott in Montgomery. That was 21 years after Effa Manley led a civil rights boycott.
Effa was an influential member of the local chapter of the NAACP and the Citizens League for Fair Play. In 1934, she spearheaded the “Don’t Buy Where You Can’t Work” campaign that called for a boycott of Harlem retail stores that would not hire black clerks. One of the key moments was a pivotal meeting between Citizens League leaders, including Effa, and the owner of Blumstein’s, a major department store. The result was a big success.
In April of 1939, Billie Holiday (below) released “Strange Fruit” – the protest song that reenergized the fight for anti-lynching laws. Effa took up the cause that summer with the first of her “Anti-Lynching” days at the ballpark. The ushers wore “Stop Lynching” sashes and collected money from the crowd for anti-lynching causes. [Anti-Lynching Law Update: Since 1901, some 240 attempts have been made in Congress to pass an anti-lynching law. All have failed. In 2005, the Senate issued an apology for its past legislative failures. Lynching is no longer the common form of racist killing, but symbolically, it has remained a blemish. Last month, the Senate unanimously passed an anti-lynching bill – ironically, the presiding officer during the Senate vote was Cindy Hyde-Smith who recently used the term “public hanging” as an “exaggerated expression of regard” for a campaign supporter. The bill was not brought up in the House before the session ended, so the process will need to start again in 2019.]
Other civil rights and charitable causes were regularly given fund raising nights at Eagles games. During the war, funds were raised for bonds and relief efforts. Effa recruited or shamed other teams into participating to raise funds for the NAACP, the Red Cross and community hospitals, among others. As a local paper wrote, “She was one of the few blacks who had a little money, and she put some back into the community.”
And by her actions if not her words, Effa fought for the equality of women in management long before it was fashionable.
The Eagles Players: Abe and Effa’s Eagles had three future Hall of Famers in the infield in the late 1930’s. They were referred to as the “Million Dollar Infield” although this was hyperbole – most players (black or white, stars or not) were not making big money in those days. The first baseman was Mule Suttles, one of the great power hitters in the Negro Leagues. [That’s Mule with Effa below. Effa always dressed fashionably, usually with a fine hat, even at the games. But a photographer talked her into wearing a team cap for this photo op.]
The third baseman was Ray Dandridge. It was said that a train could go through his bowlegs, but that a baseball never did. Shortstop Willie Wells was so good that he was touted as a replacement for the Dodgers’ Pee Wee Reese who had been drafted for the war in 1942. It was the right major league team, but the wrong year – the Dodgers would break the color line with Jackie Robinson five years later.
Newark continued to add good players who helped the Eagles to mostly winning seasons in the 1940’s. The Million Dollar Infield was joined by four more future Hall of Famers: Leon Day, Biz Mackey, Monte Irvin and Larry Doby. The team won the NNL pennant in 1946 and then beat the NAL Kansas City Monarchs in the Negro League World Series.
The World Series glory was short lived. The good young ballplayers were being recruited by the majors and the Negro Leagues began to decline.
Effa Manley v. Branch Rickey: Even before the successful 1946 season, Effa felt the sting of losing a star to “organized” baseball. After Brooklyn’s Branch Rickey signed the Monarchs’ Jackie Robinson in 1945, his next two big signings were in April of 1946: Roy Campanella of the Baltimore Elite Giants and Don Newcombe of Effa’s Newark Eagles. Robinson made it to the majors in 1947, and the other two soon followed.
Effa of course did not like losing good players, but she realized that integration of baseball was a victory for the community. But what rankled her was that Rickey was poaching players without any recognition that Negro League teams had developed the players. She thought compensation was justified, but Rickey refused. Despite some bad press for interfering with the integration of baseball, Effa would not be silenced. And her perseverance paid off. Her stars Larry Doby and Monte Irvin both had feelers from Branch Rickey, but ended up with teams who were willing to compensate the Eagles.
Branch Rickey was set to sign Doby, but backed off when Cleveland owner Bill Veeck entered the picture. Rickey knew it would be good to have a second team integrate, especially one in the American League. So Doby signed with the Indians in July of 1947. Veeck knew that Effa had no leverage to get compensation for Doby. But Veeck was no Branch Rickey. The Indians paid $15,000 to the Eagles. More importantly, Effa had established a precedent that ultimately benefitted all of the Negro League teams (as so noted on her Cooperstown plaque).
The Manleys sold the Eagles after the 1948 season, but Effa still had a connection to her star Monte Irvin: the terms of the sale provided that the Manleys and the new owners would share any money received if a major league team paid for one of the players. This was potentially a moot point when Branch Rickey signed Irvin with no intent to pay the Eagles. Effa fought back claiming that the Irvin had a contract and that she would contest the signing. Rickey backed off and Effa made a deal with Horace Stoneham of the Giants for $5,000. After paying lawyer fees and giving a share to the new owners, Effa got $1,250. She used the money to buy a mink stole.
Some Major League Highlights of Former Eagles: Larry Doby broke the color line in the American League in July of 1947. The next year, he became the first black player to hit a home run in a World Series, helping the Indians win their second title (they have not won since). Newcombe was the NL Rookie of the Year in 1949 and was both the MVP and Cy Young winner in 1956.
In 1951, Monte Irvin led the NL in RBI’s and was instrumental in the famed comeback by the Giants to catch the Dodgers to force a three-game playoff for the pennant. Irvin got a hit in each playoff game, including a homer to help win the first game. In Game 3, Newcombe started the game, but was relieved in the ninth by Ralph Branca who gave up the famous 3-run homer to Bobby Thomson. The Giants then met the Yankees in the World Series where Irvin became part of history by playing in the first all-black Series outfield alongside two fellow former Negro Leaguers (Willie Mays of the Birmingham Black Barons and Hank Johnson of the Kansas City Monarchs). Irvin ignited a Game 1 victory for the Giants by stealing home in the first inning on Yogi Berra. Irvin went on to hit .458 in the Series, but the Yankees won in six games. Irvin was on a Series winner in 1954 when the Giants beat the Indians.
After the Eagles: After the Eagles were sold, Effa continued her work in community and civil rights organizations. But her true cause was keeping alive the history of the Negro Leagues and pushing for the induction of Negro League players into the National Baseball Hall of Fame. She finally saw some movement in the early 1970’s as Satchel Paige was inducted in 1971, followed by five other players through 1975.
To emphasize that many more should be inducted, Effa self-published a book with sportswriter Leon Hardwick in 1976 titledNegro Baseball – Before Integration. Included are 73 biographies of players she felt should be considered for enshrinement. Progress remained slow with only three more players being added before the special committee to add Negro Leaguers was disbanded in 1977. The 80-year-old Effa Manley still had her voice, “Why in the hell did the Hall of Fame set that committee up, if they were going to do the lousy job they did?”
She fired off letters to the Hall of Fame, Commissioner Bowie Kuhn and C. C. Johnson Spink, publisher of The Sporting News: “I would settle for 30 players, but I could name 100.” Spink’s column of June 20, 1977, seemed receptive to this crusade by a “furious woman.” She liked that description and saved the clipping.
In 1978, Effa was the special honoree at the Second Annual Negro Baseball League Reunion. Monte Irvin was there and saw Effa wearing her mink stole. He asked if it was the one she got from her sale of Irvin’s contract to the Giants. “Yes, it still looks good and keeps me warm.”
It would take another quarter century, but some 35 Negro Leaguers now have plaques alongside Babe Ruth, Ty Cobb and other greats in Cooperstown. Effa’s Newark Eagles are well represented. The team played from 1936 to 1948, just 13 years. But that was enough time for seven Hall of Famers to play a good part of their career in Newark. [To put this in perspective, the Royals have played 50 seasons and produced one Hall of Fame player, George Brett.]
The Eagles of course have another representative in the Hall of Fame – the team’s top executive, Effa Manley. She was inducted in 2006.
Effa’s Hall of Fame induction was a posthumous award. She died in 1981 at age 84. Inscribed on her gravestone: “She Loved Baseball.”
Lonnie’s Jukebox: Three selections today. For those of a certain age (teenagers in the 50’s/60’s), you may remember that you paid a quarter for three plays on the jukebox. These are free.
First, the Negro Leagues Baseball Museum. I urge everyone to attend and buy a membership. When you walk through the Field of Legends, you will see two of Effa’s players, Ray Dandridge at third base and Leon Day in right field. The player she could not sign, the elusive Satchel Paige, is on the mound. This clipshows NLBM President Bob Kendrick describing the “Beauty of the Game” exhibit (2:30).
Second, the 1992 movie A League of Their Own. This is on my mind because director Penny Marshall died last month, and scenes from the movie have been popping up on social media. I have always been a fan of the movie. From Geena Davis to Tom Hanks to Madonna, the acting is superb, although I single out as my personal favorite Jon Lovitz as the hilarious baseball scout.
Joe Posnanski did a column on his 10 favorite things about the movie, and one of his points reminded me of the subtle civil rights message. The real-life “league of their own” was segregated just like its male counterpart. In a mere 15 seconds, the movie tells a very big story of the times. A black woman has left her seat – from what is obviously the segregated seating area down the right field line – to retrieve and throw back an errant ball. She does so with obvious talent, and the message is that she is not racially eligible to play in the game. See the cliphere.
In 2014, Penny Marshall announced that she planned to direct another baseball movie, this one about the life of Effa Manley. The screenplay is by writer Byron Motley, the son of Bob Motley, the Negro League umpire who this past year was honored with his own statue on the Field of Legends (behind the catcher at home plate in the NLBM photo above). I checked in with Byron, and he tells me that the project is still moving forward and to “stay tuned.” Byron’s tribute to Penny is here.
And third, the classic protest song “What’s Going On” by Marvin Gaye. As the turbulent 1960’s were coming to an end, Gaye was reevaluating his concept of music. He was “very much affected by letters my brother was sending me from Vietnam, as well as the social situation here at home.” So Marvin was receptive when Renaldo “Obie” Benson of the Four Tops brought him an untitled song that he was working on after seeing war protestors beaten by the police. Benson did not classify his piece as a protest song, “No man, it’s a love song, about love and understanding. I’m not protesting, I want to know what is going on.”
Gaye added some of his own lyrics and gave the song its title. He went to Barry Gordy at Motown, but Gordy said that it was really a protest song and would be bad for business. When Gaye persisted, Gordy relented because he did not want to offend his star. The single was released in 1971, and it turned out fine for business – the song went to #2 on the pop charts and topped the R&B charts for weeks.
The song is a soulful anthem about war abroad and socio-economic problems at home. Some 48 years later, the lyrics of the song continue to resonate:
We don’t need to escalate
You see, war is not the answer
For only love can conquer hate
Don’t punish me with brutality
C’mon talk to me
So you can see me
What’s going on
Preview YouTube video Billie Holiday Strange Fruit 1939
Billie Holiday Strange Fruit 1939
Preview YouTube video Women of the Negro Leagues
Women of the Negro Leagues
Preview YouTube video A League Of Their Own Black Woman Scene
A League Of Their Own Black Woman Scene
Preview YouTube video Marvin Gaye - What's Going On
Marvin Gaye - What's Going On
In the fall of 1988, our son and I went to Lincoln Center to see a revival of "Waiting for Godot."
Robin Williams and Steve Martin were quite fine in the two lead roles, and F. Murray Abraham was properly domineering as Pozzo, leading his abject slave, Lucky, played by the master kinetic actor, Bill Irwin.
I was thinking of that master-slave relationship Friday night when The New York Times broke the story that the FBI had begun an investigation in early 2017 of the apparent master-slave relationship between Putin and Trump.
In the real-life version, Lucky snarls and yaps at just about everybody else, but when Pozzo fixes his Lubyanka-basement glare at him, Lucky rolls on the floor and whimpers.
How did poor Lucky come to be led around on a leash? Beckett does not say. I am hoping this will soon be explained to us by Robert S. Mueller, III.
Hal Boyle’s columns were big wherever the Associated Press was used. He was Everyman, from Kansas City, writing for Middle America, with no political bias and plenty of heart.
I knew Boyle, from bowling in the Associated Press league when I was a 16-year-old copyboy. He was a jovial man whom I recall with cigar and perhaps a beer, laughing easily with everybody.
He had won a Pulitzer Prize in 1945 – for his coverage of the European war -- but you would never know it.
Now, as a recovering columnist, I am reading Hal Boyle’s columns. In 1954, he visited my Irish-born grandaunt in Brussels and wrote about the atomization of her family from World War II. (I recently came upon my mother’s cache of photos and clippings of her lost Belgian-Irish relatives.)
Decades later, Hal Boyle holds up in hard-cover form; very few columnists do -- Mike Royko, Jimmy Breslin, a few story-tellers, writing about the human condition.
Like the best journalists, Boyle has a fine eye for details – the bullet hole in Madame Duchene’s front doorway -- from the day a Scottish soldier she had been hiding bolted from the Gestapo, and was gunned down in the street. (He lived to old age but Madame Duchene’s daughter, Florence, and her son, Leopold, did not.)
I cannot access Boyle’s column on line, but I wrote about that family in 2006: https://www.nytimes.com/2006/06/09/sports/soccer/09vecsey.html
Boyle paints a portrait of the grandaunt I never met. On the 10th anniversary of following the Allies into Europe, he spent a few hours at her home – get this -- 7, rue Sans-Souci. (Street Without Care)
Again, like the best journalists, Boyle is there to observe, to ask questions. His compassion for the old lady with her memories and her medals, surely has roots in his mother’s childhood in poverty-ridden Ireland.
I never finished his collection – the aptly-named “Help, Help! Another Day!” – from a poem by Emily Dickinson – but now I am enjoying his changes of pace: communing with the graves of men who died on the Normandy killing beach, or staying in a camp deep in the Catskills, listening to the sounds of night.
Perhaps his most poignant column came from defying the third or fourth rule of journalism – never succumb to the cheap device of quoting taxi drivers. But Boyle happened to ride in the cab of a philosopher who was mourning a beloved wife who had died years earlier. The man advised Boyle to cherish his own wife, and life itself, and Boyle was wise and talented enough to make a column out of his encounter. (Boyle’s own wife would die young, and he would follow, from a heart attack, at only 63.)
Many great journalists are full of themselves, to the point of grimness, but Boyle was jolly, in a melancholy Irish way.
He was as much at home in the camaraderie of a beer frame as he had been with the sights and sounds of combat.
One thing I just learned from skimming his columns: his own meter was always running.
I am convinced: what I am about to tell you is no coincidence:
At that bowling alley – Beacon Lanes, 76th and Amsterdam, second floor – the coat-check was run by a highly loquacious and secure black man, who seemed to have the word “autodidact” glowing proudly like theater lights on his forehead.
The man liked to chat about the books and poems he had read – most notably “Thanatopsis,” by William Cullen Bryant, using the Greek word for “consideration of death.” At 16, I looked forward to my weekly chat with the brother.
Now, 63 years later, I pick up Hal Boyle’s collection. His latest column is from Jan. 9, 1964, called “Nostalgia Is a Medicine to Cure the Blues,” with one-line observations about things you don’t see much anymore. One of them was:
“Anybody with a claim to culture could prove it by reciting aloud the concluding lines of William Cullen Bryant’s “Thanatopsis.”
This means, to me, without a doubt, that Hal Boyle, Pulitzer-Prize winning columnist of the Associated Press, had been chatting with the same vibrant coat-check man at the Beacon Lanes in the season of 1955-56.
With that discovery, I feel a great kinship with the man who visited my grandaunt in war-ravaged Brussels. I wish I had read more of Hal Boyle, had asked more questions, back in the day. But I did bowl with him.
In the final hours of an ugly year, I stuck with the tried and true.
Our local classical station, WQXR-FM, was playing the top 100, as chosen by listeners. It was reassuring to hear music that stirred people and soothed people in other dark times, with other crackpots and despots flailing around, and the music survived.
Then again, we have seen votes go wacko in a democracy. When the Gilbert and Sullivan spectacle, “Pirates of Penzance,” popped up in 10th place, my reaction was, “Wait, WTF, how did that get in there?”
The WQXR–FM web site had the same reaction:
Was it was the work of Gilbert and Sullivan superfan sleeper agents? Or is everyone just really excited about the end-of-year New York Gilbert and Sullivan Players production of Pirates at the Kaye Playhouse. (It turns out that it very well might be both, as the New York Gilbert and Sullivan Players staged a campaign to launch the opera into the countdown — and it clearly worked.
Trolls. Bots. Hacking. Malware. Whatever they are. Sounds like a job for Super-Mueller, but Our Civic Protector is said to be otherwise occupied with his investigation into more serious shenanigans.
Other than the jolt of Gilbert and Sullivan coming in 10th in any classical music ranking, it was a joy to hear oldies soothe the dark days and nights as 2018 slunk off into history.
Beethoven had four symphonies in the top 10, including his Ninth, with the rousing “Ode to Joy,” now becoming a staple ‘round midnight on Dec. 31.
Some of the most familiar music can be considered chestnuts, but I was happy to hear them, knowing that new and adventuresome and inventive music will be presented by John Schaefer on “New Sounds” and by Terrance McKnight on his weeknight show.
Plus, as 2018 ebbed, I heard some of my favorites, Dvorak and Copland and Vaughn Williams and Smetana and Bartok and Barber and Ravel and Satie and Lenny Himself, conducting his “West Side Story: Symphonic Dances,” which always makes me feel 16 again, walking the streets of my home town, feeling, “could be, who knows?”
In the symphonic version, I could hear the lyrics of Stephen Sondheim:
Could it be? Yes, it could
Something's coming, something good
If I can wait
Something's coming, I don't know what it is
But it is gonna be great.
Happy New Year.
has filed an interview with, of all people, me.
It's on his blog. (Just past photo of rat!) My thanks for his interest. GV
David Vecsey's sweet tale of distant love before the Web, now NYT Podcast, narrated by Griffin Dunne. Please see: