Cap Anson's plaque at the Baseball Hall of Fame sums up his career with admirable simplicity: "The greatest hitter and greatest National League player-manager of the 19th century." Anson helped make baseball the national pastime. He hit over .300 in all but three of his major league seasons, and upon his retirement in 1897, he held the all-time records for games played, times at bat, hits, runs scored, doubles and runs batted in. For much of his career, he also served as manager of the National League's Chicago White Stockings (now known as the Cubs), winning five pennants and finishing in the top half of the league in 15 of his 19 seasons. Anson's career coincided with baseball's rise to prominence. As the sport's first superstar, he was one of the best known and most widely admired men in the United States. He took advantage of his fame, starring in a Broadway play and touring on the vaudeville circuit. He toured England, Europe, Egypt, and Australia, introducing baseball throughout the world. Regrettably, he also vehemently opposed the presence of African Americans in the game and played a significant role in its segregation in the 1880s. From Marshalltown, Iowa, to superstar status, this work traces the life and times of Anson and the growth of the national pastime.
Moses Fleetwood Walker was the first black American to play baseball in a major league. He achieved college baseball stardom at Oberlin College in the 1880s. Teammates as well as opponents harassed him; Cap Anson, the Chicago White Stockings star, is blamed for driving Walker and the few other blacks in the major leagues out of the game, but he could not have done so alone. A gifted athlete, inventor, civil rights activist, author, and entrepreneur, Walker lived precariously along America’s racial fault lines. He died in 1924, thwarted in ambition and talent and frustrated by both the American dream and the national pastime.
Think you know how the game of baseball began? Think again. Forget Abner Doubleday and Cooperstown. Did baseball even have a father--or did it just evolve from other bat-and-ball games? John Thorn, baseball's preeminent historian, examines the creation story of the game and finds it all to be a gigantic lie. From its earliest days baseball was a vehicle for gambling, a proxy form of class warfare. Thorn traces the rise of the New York version of the game over other variations popular in Massachusetts and Philadelphia. He shows how the sport's increasing popularity in the early decades of the nineteenth century mirrored the migration of young men from farms and small towns to cities, especially New York. Full of heroes, scoundrels, and dupes, this book tells the story of nineteenth-century America, a land of opportunity and limitation, of glory and greed--all present in the wondrous alloy that is our nation and its pastime.--From publisher description.
This is the definitive biography of the Hall of Fame player who was the most likely model, if any single player was, for the title character in Ernest Thayer's 1888 poem "Casey at the Bat." A year earlier, Mike Kelly became famous when Chicago sold him to Boston for a then-record price of $10,000, about $200,000 today. Until the final year of his life, 1894, he drew exceptionally colorful and informative coverage.
A substantive exploration of bodies and embodiment in theatre Theatre is inescapably about bodies. By definition, theatre requires the live bodies of performers in the same space and at the same time as the live bodies of an audience. And, yet, it’s hard to talk about bodies. We talk about characters; we talk about actors; we talk about costume and movement. But we often approach these as identities or processes layered onto bodies, rather than as inescapably entwined with them. Bodies on the theatrical stage hold the power of transformation. Theatre practitioners, scholars, and educators must think about what bodies go where onstage and what stories which bodies to tell. The essays in Theatre Symposium, Volume 27 explore a broad range of issues related to embodiment. The volume begins with Rhonda Blair’s keynote essay, in which she provides an overview of the current cognitive science underpinning our understanding of what it means to be “embodied” and to talk about “embodiment.” She also provides a set of goals and cautions for theatre artists engaging with the available science on embodiment, while issuing a call for the absolute necessity for that engagement, given the primacy of the body to the theatrical act. The following three essays provide examinations of historical bodies in performance. Timothy Pyles works to shift the common textual focus of Racinian scholarship to a more embodied understanding through his examination of the performances of the young female students of the Saint-Cyr academy in two of Racine’s Biblical plays. Shifting forward in time by three centuries, Travis Stern’s exploration of the auratic celebrity of baseball player Mike Kelly uncovers the ways in which bodies may retain the ghosts of their former selves long after physical ability and wealth are gone. Laurence D. Smith’s investigation of actress Manda Björling’s performances in Miss Julie provides a model for how cognitive science, in this case theories of cognitive blending, can be integrated with archival theatrical research and scholarship. From scholarship grounded in analysis of historical bodies and embodiment, the volume shifts to pedagogical concerns. Kaja Amado Dunn’s essay on the ways in which careless selection of working texts can inflict embodied harm on students of color issues an imperative call for careful and intentional classroom practice in theatre training programs. Cohen Ambrose’s theorization of pedagogical cognitive ecologies, in which subjects usually taught disparately (acting, theatre history, costume design, for example) could be approached collaboratively and through embodiment, speaks to ways in which this call might be answered. Tessa Carr’s essay on "The Integration of Tuskegee High School" brings together ideas of historical bodies and embodiment in the academic theatrical context through an examination of the process of creating a documentary theatre production. The final piece in the volume, Bridget Sundin’s exchange with the ghost of Marlene Dietrich, is an imaginative exploration of how it is possible to open the archive, to create new spaces for performance scholarship, via an interaction with the body.
Was or was not Ty Cobb a racist? For three years, there has been an unresolved standoff between two 2015 biographies of the Hall of Fame player. One of the two, as of March 2018, was in the top 25 of baseball bestsellers on Amazon.com: the paperback version of Charles Leerhsen's Ty Cobb: A Terrible Beauty (Simon & Schuster). That book has been publicized well. A five-minute video that Leerhsen commissioned for 2017, as an exclusive to the Web site of conservative commentator Dennis Prager (https://www.prageru.com/videos/calling-good-people-racist-isnt-new-case-ty-cobb), has had around 3.5 million views, according to the link above. Although the paperback edition was issued in early 2016, the conservative news Web site the Federalist named it one of its notable books of 2017 (http://thefederalist.com/2017/12/15/the-federalists-notable-books-of-2017/). The other 2015 Cobb biography is Tim Hornbaker's War on the Basepaths: The Definitive Biography of Ty Cobb (Sports Publishing). One major subsequent try has been made to weigh in on Cobb and his alleged racism: Steven Elliott Tripp's 2016 Ty Cobb, Baseball, and American Manhood: A Red-Blooded Sport for Red-Blooded Men (Rowman & Littlefield). Tripp's book, while a worthy scholarly work, did not explicitly try to reconcile Leerhsen and Hornbaker. Howard W. Rosenberg is the definitive biographer of 19th-century Hall of Famer Cap Anson. That includes being the horse's mouth on Anson's racism (https://howardwrosenberg.atavist.com/racism-bbhistory), especially its alleged impact on the drawing of the sport's "color line" in the 19th century. In Ty Cobb Unleashed, he applies a similar comprehensive approach to Cobb, who is considered among whites the most disliked star white player of pre-steroid times. For weighing in on the two 2015 books, an effort that also includes redoing big parts of the Cobb story, Ty Cobb Unleashed may be among the most impactful baseball books in recent memory. Most previous books are not worth revisiting with the closest of scrutiny. But the two Cobb ones no doubt are, especially because, in media coverage, Leerhsen's more revisionist one has so dominated the other.
In the world of sports, Iowa is probably best known for wrestling but the state has also produced more than 200 major league baseball players. Sixteen of them are profiled here, including six Hall of Famers, the game's brightest star of the 19th century, an American League batting champion, the only pitcher to lead the National League in strikeouts seven years in a row, the only catcher to catch two back-to-back no-hitters and one of the most dominant pitchers in American League history. They made their presence felt off the field, too. One helped fortify the game's racial barriers. One helped tear them down. One invented devices that changed the game. Two wrote instructional books on baseball. One became famous so young that he graced the cover of national magazines before graduating from high school. Each has a compelling story, some interwoven with the game's greatest moments.
The Chicago area today hosts two of the most historic major league franchises and half a dozen minor or independent league teams. Baseball's roots run deep in the Windy City. Indeed, it was Chicago businessman William "I'd rather be a lamp-post in Chicago than a millionaire in any other city" Hulbert, who, according to baseball lore, staged the coup that in 1876 would put the National League on the map. The Chicago White Stockings (now ironically called the Cubs) were one of eight charter members, winning the inaugural NL Championship with such legendary names as A.G. Spalding, "Cap" Anson, and Roscoe Barnes. But The National Pastime arrived in Chicago well before the 1876 season, as is proven in this fascinating new book, 19th Century Baseball in Chicago, illustrated with over 150 vintage images.Any local fan of the modern game-whether the action takes place at the "Friendly Confines," 35th & Shields, or the cozy setting of a minor league ballpark out in Kane or suburban Cook County-will enjoy the wealth of information offered in 19th Century Baseball in Chicago.
"Every magnate in the country is indebted to [Harry Wright] for the establishment of baseball as a business, and every patron for fulfilling him with a systematic recreation. Every player is indebted to him for inaugurating an occupation in which he gains a livelihood, and the country at large for adding one more industry to furnish employment"--The Reach Guide (1896). This full-length biography resurrects perhaps baseball's foremost-unrecognized legend, "The Father of Professional Base Ball," Hall of Famer Harry Wright. The son of a premier cricketer, Sam Wright, Harry converted (together with his Hall of Fame brother George) to baseball after emigrating to America from England. Harry Wright went on to become one of baseball's most successful players, managers, and innovators. Among his lasting contributions to the game were not only the implementation of spring training, doubleheaders, and the modern uniform, but the advent of professionalism, which contemporaries contended never would have been successfully established without him. Drawing on contemporary sources including his own papers, this book covers all of Wright's life: his arrival in America; his experiences with the undefeated Cincinnati Red Stockings of 1869-70; his relationship with his wives and children; his experiences in Boston, Providence, and Philadelphia; his death at age 60 in 1895; and his election to the Hall of Fame in 1953.
A fascinating and charming encyclopedic collection of baseball firsts, describing how the innovations in the game—in rules, equipment, styles of play, strategies, etc.—occurred and developed from its origins to the present day. The book relies heavily on quotations from contemporary sources.
