On Buck O’Neil and Jackie Robinson

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I told a version this story in “The Soul of Baseball: A Road Trip Through Buck O’Neil’s America,” which is about my year of traveling around the country with the great Buck O’Neil, Negro Leagues player and manager, brilliant scout for the Cubs, the first African American coach in Major League Baseball and the living memory of the Negro Leagues for generations of people who could barely imagine an America where African Americans were banned from the Major Leagues.

* * *

We were in New York in the summertime. It was hot. One thing I remember about all those trips with Buck was how hot it was just about everywhere we went. It was hot in Houston. It was hot in Atlanta. It was hot in Chicago and in Washington. And it was hot in New York.

We woke up early and rode into the city for a morning radio interview. There was an easy pace and rhythm to Buck’s interviews. Everyone, more or less, asked the same questions. What was it like? Can you tell us about Satchel Paige? Was Josh Gibson as good as people say? How good was Jackie Robinson? Who is your favorite player now? What do you make of steroids in baseball? Do you think the game is as much fun as it used to be? Why aren’t more young African Americans playing the sport? And so on. There were rarely surprises, because they were unnecessary. Buck made such good radio and television. His voice was musical. His stories were like great songs — people would just want to hear them over and over again.

For instance, Buck had a story he told many, many times about Jackie Robinson — a story that had been told to him by his good friend Hilton Smith (Buck was at war when Robinson played for the Kansas City Monarchs and so did not witness it). A version of the story actually made it into the new movie “42.” When Jackie Robinson played with the Kansas City Monarchs, the team was riding through Oklahoma and pulled into a familiar gas station. Everybody piled out and stretched, and Jackie Robinson headed for the bathroom. It was a white only bathroom.

“Where do you think you’re going, boy?” the gas station owner said. “You know you can’t go in there.”

Robinson braced himself. How many battles like this would he fight in his remarkable life? He turned to the man and said, “Pull the hose out of the tank.” The man glared back, and Buck knew exactly what that man was thinking (This was Buck’s great gift — he empathized with everyone, even the racists who haunted his life). The man was thinking that this bus had a huge tank on the left side and another huge tank on the right side. The man was thinking that he was a gas station owner in a small Oklahoma town and he wasn’t going to see a vehicle needing this much gas for a long time — maybe forever. The man was thinking that this bus came through every few weeks, a steady customer, and he needed the business.

The man was thinking that the whites-only bathroom didn’t seem too sensible a policy, considering the circumstances.

“All right go on in there,” the man said, and then, to maintain some illusion of control he barked, “But make it fast.”

“Jackie wasn’t built the way we were,” Buck would say. “We were conditioned to segregation. We were conditioned to Jim Crow. We knew it wasn’t right, but we saw it as unchangeable part of the world. Jackie didn’t see it that way. Jackie knew the times would change. He would make them change.”

And then Buck would smile really big and say: “Thank you Jackie.”

When we arrived at the building in New York that day, there were a couple of security guards sitting behind a desk and looking at a wall of little monitors. One of them recognized Buck and asked, “What are you doing here?” Buck, explained that he was there to do a show called “Star and something or other.”

The man’s face fell. “Star and Buc Wild?” he asked.

“Yeah,” said Bob Kendrick, now president of the Negro Leagues Baseball Museum who was along for this trip and most of the other ones we made. The guard looked utterly crestfallen and then he said something I will never forget. He said: “Please don’t do that show, Mr. O’Neil. You are a gentleman. Please don’t do that show.”

The guard explained that the show was a shock jock thing — wilder and crazier than Howard Stern. He was getting frantic. “They talk ignorance on that show,” he said. Buck looked at the man and smiled. He was almost 94 years old. He had seen plenty of ignorance. He had never allowed that ignorance to overwhelm his good will. But he was also touched by the man’s concern for him. He put his hand on the man’s shoulder and said, “Ignorance, eh? Well, we’ll see if we can talk some common sense with those guys, eh?’

I won’t relive the fullness of the interview here. It’s in the book. All you really need to know is that fairly early in the interview — after Buck was introduced to a sidekick called “White Trash” — a question came zinging in: “Jackie Robinson was a sellout, am I right?”

What followed seemed to go in slow motion. Again and again and again — for what seemed like hours — there was question after question about Jackie Robinson being a sellout for abandoning the Negro Leagues and going to play with white players. Buck was bewildered. At one point, he went into his bit about how important Jackie Robinson was:

“When Jackie Robinson went to the Major Leagues, that was the beginning of the modern-day civil rights movement. That was before Rosa Parks said, ‘I don’t feel like going to the back of the damn bus today.’ That was before Brown vs. Board of Education. Martin Luther King was a sophomore at Morehouse College at the time. Jackie Robinson went to the Major Leagues and that’s what started the ball rolling. That was the start, man! Are you listening.”

The argument raged on for another full segment and it grew nastier and more intense. I don’t know what it sounded like on the radio. For me, watching my friend, it was heartbreaking.

When it ended, we went into the city — Buck had a lot more to do. The rest of the interviews went off without any surprises — everything seemed back in rhythm. But not quite. That morning interview had taken much of the life out of Buck. You have to understand, Buck was more joyous, more filled with life, more filled with hope than anybody I ever knew. By that time that day ended, Buck was as tired and deflated as I ever saw him. He was a man who cherished the two meals a day he allowed himself — always ate dessert — but when we got to the hotel he announced he was too tired to eat. He was going to his room to sleep.

And then as we walked toward the hotel, we saw a woman in a red dress. As I have written many times, this wasn’t any ordinary red dress. It was bright red, fire red, lipstick red. a Marilyn Monroe red dress. It was a Broadway show all in itself. As I walked into the hotel, I turned to Buck to ask him what he thought … only he was gone.

I looked around. Did he slip into the bathroom? Did he sneak upstairs without me? Did he stay in the car? There was a moment confusion and then, only then, did I look out the glass revolving door. And there was Buck, talking with the woman in the red dress. Well, they were laughing mostly. Talking and laughing. And hugging also, yes. Talking and laughing and hugging. Then a man came over — her husband maybe? Her boyfriend? Buck started talking with him. Talking and laughing. Talking and laughing and hugging. They were probably out there for 10 minutes, all of them, complete strangers, only not strangers at all.

When Buck returned to the hotel, he announced in his loud and happy voice: “Let’s get some dinner!” He was reborn. He practically bounced toward the hotel restaurant when suddenly he stopped. He turned to me. He said, “Let me ask you something. Did you see that woman in the red dress?”

I nodded.

And he shook his head and he said this: “Son, in this life, you don’t ever walk by a red dress.”

I’ve told that story hundreds of times by now — to me, it summed up Buck O’Neil. The “red dress” wasn’t really a red dress. It represented the joys of life. Buck never walked by a baby without having it grab his finger. He never walked by a friendly face without asking a question like “Do you remember your first day of school?” He never walked by a worker without asking how the day was going. He never stood in an elevator without striking a conversation. He never passed up a chance for a hug, or a smile, a slice of cake, a scoop of ice cream or a chance to learn something new.

I once asked Buck if he could have been the first black man play in the Major Leagues. He said no. He said that task needed someone extraordinary, someone fierce, someone who would not stand for injustice, someone who would not bend to ease of inaction or the force of hatred. I said, “You could have done it.” He said, “No, that was for Jackie. I had a different role.”

And as I tell this story one time I realize something: I have never once said whether the woman wearing the red dress was white or black. And the honest truth is, after all the years, I don’t remember.

There is no need to lament the loss of “The Great Hollywood Baseball Movie”

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Today in the New York Times Jay Caspian Kang writes about what he calls the loss of “The Great Hollywood Baseball Movie.” About how there are few if any big baseball movies anymore. Movies which traffic in baseball-as-metaphor-for-America with Jimmy Stewart (or Kevin Costner)-types playing characters which seem to transcend time, elevate our emotions and rack up the dollars at the box office.

It’s a bit of meandering column, with just as much time spent on Kang’s seeming dissatisfaction with modern baseball and baseball telecasts as his dissatisfaction with baseball cinema, but he winds it up with this, which sums his argument up well enough:

Baseball’s cinematic vision of Middle America no longer means what it once did. The failing family enterprise and the old, forbearing white — or Negro Leagues — ballplayer now remind us of an extinct vision of the country and the growing distance between Middle America and the coasts. The attempts to update the archival, sun-kissed, Midwestern vision — whether on last year’s “Pitch,” the Fox TV show about a woman pitching in the majors, or “Million Dollar Arm,” the 2014 Disney movie in which Jon Hamm goes to India to convert cricket bowlers into pitchers — are canceled or bomb at the box office.

You won’t be surprised that I take a great deal of issue with all of this.

Mostly because it only talks about one specific kind of baseball movie being AWOL from cinemas: the broad works which appeal to the masses and which speak to both the past, present and future, often with a hazy nostalgia in which love of baseball and love of America are portrayed as one and the same.

It’s worth noting, though, that such films are extraordinarily rare. There was a brief time when such things existed and did well at the box office — the 1980s had “The Natural,” “Field of Dreams,” “Bull Durham” and “Major League” in a relatively short period of time — but that’s the exception, not the rule.

Baseball movies are almost always niche flicks. Biopics made of recently deceased stars like Babe Ruth and Lou Gehrig. Weird slices of life like “The Bad News Bears” or “The Sandlot.” Quirky comedies that are baseball offshoots of larger cinematic trends like “Little Big League,” which was just the latest in a series of “kids doing adult things” movies popular at the time. Or “Rookie of the Year” which is essentially baseball’s version of one of those body-switch movies that come and go. Or “Mr. Baseball” which was just a fish-out-of-water comedy like any other.

We still get those kinds of smaller baseball movies fairly often. They’re still pretty decent and still do pretty decently at the box office, even if they’re no one’s idea of a blockbuster.

“Moneyball” was done well and did well, not as a mass appeal movie, but as one of many business/Silicon Valley flicks that have popped over the past few years. “Sugar” was a great movie, but a small movie, exploring a culture about which most people aren’t aware and basically serving as a character study. “42” is just an updated (and much better) version of those old biopics of baseball stars. “Everybody Wants Some” may be the quintessential niche baseball movie in that it’s a story about characters which just happen to have a lot of baseball in their lives. “Bull Durham” was like that too, but it just came along at the right time to become a massive hit. As many have noted, baseball was more background than plot in that movie, even if the background was amazingly well done. I’d argue that most good baseball movies use baseball like that rather than put it squarely in the foreground.

There will likely always be baseball movies, but they will almost always be smaller ones, not large blockbusters or Oscar bait with an epic sweep. Most baseball movies are like baseball itself in that they lack a grand consensus. Baseball is not The National Pastime anymore — it’s just one of many forms of sports and entertainment available to the masses — so it follows that the movies which deal with it will likewise not have that massive cross-market appeal.

I think that’s a good thing. Smaller baseball movies more accurately reflect the sport’s place in the culture. To portray baseball as something larger than what it actually is opens the door to a lot of artistic and cultural dishonesty and runs the risk of creating some really bad art.

I mean, have you seen “Field of Dreams?” Bleech.

The Yankees set up “The Judge’s Chambers” cheering section for Aaron Judge

New York Yankees
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The Yankees aren’t well-known for going all-in on goofy, fan-friendly fun. While some organizations are happy to jump on new and even silly or ephemeral trends for the yuks of it, the Yankees have tended to keep things rather businesslike when it comes to promotions and things. They’ve always played the long game, assuming — not always unreasonably — that their brand is best defined by the club’s history and greatness and quiet dignity and stuff.

Aaron Judge and his breakout rookie season is changing things. His fast start has caused fans to dress up in judge’s robes and stuff, so the team is having fun with it. They’ve set up a special section called “The Judge’s Chambers,” complete with a jury box vibe:

 

Fans will be selected to sit in the special section, which is in section 104 in right field, right behind where Judge plays, and will be handed foam gavels with “All Rise” written on them. To be selected at the moment it’d help if you wear one of those judicial robes with Judge’s number 99 on the back or his jersey or an English judge-style powdered wig. Going forward, the Yankees will also use the section for groups and charity events and stuff.

Judge is on a 58-homer pace right now. It’s unlikely he’ll keep that up, but he certainly looks like the real deal. And, for the Yankees and their fans, he’s giving them the chance for some real fun.