Posts Tagged ‘Elvis’

Baseball, Las Vegas, and Area 51

Monday, March 20th, 2017

Glitz, glamour, and gambling—escalated, somewhat, by gaudiness, garishness, and greed—fuel Las Vegas.  It is, after all, a desert metropolis built on a foundation of fantasy.  It is also where Elvis Presley made his live performance comeback after eight years of concentrating on movies and albums; where Frank Sinatra led a group of his former Army buddies to rob five casinos on New Year’s Eve in the original Ocean’s 11 film; where the television shows Las VegasDr. VegasCrime StoryVegasVega$CSI, and The Player were set; where the Partridges made their professional début in The Partridge Family; and where Michael Corleone sought to expand his family’s operations by buying out casino owner Moe Greene in the 1972 movie The Godfather.

A destination city for vacationers looking for a hint of sin—if not sin incarnate—Las Vegas also offers recreation for its natives; baseball lovers have the 51s ball club, which traces its genesis to the Portland Beavers of the Pacific Coast League.  From 1903 to 1972—except for the 1919 season, which they played in the Pacific Coast International League—the Beavers formed a cornerstone of the PCL.

In 1973, the team’s tenure shifted to Spokane, where it became the Indians.  After the 1982 season, the Indians moved to Las Vegas and underwent a name change—Stars.  This label lasted until 2001, when the 51s name emerged.  Future stars have populated the 51s, including Jayson Werth, Nomar Garciaparra, and Andruw Jones.

Las Vegas’s baseball team takes its name from Area 51, a part of Nevada about 150 miles from the famed Las Vegas Strip—the stretch of road with the iconic “Welcome To Fabulous Las Vegas, Nevada” sign.

Area 51—also known as Groom Lake—is the subject of conjecture, controversy, and conspiracy.  UFO believers maintain that the United States government houses aliens, alien spacecraft, and time travel experiments at Area 51.  NASA’s Administrator Major Charles Bolden—the top of the space agency hierarchy—dismisses those theories.

“There is an Area 51.  It’s not what many people think,” said Bolden in a 2015 article by Sarah Knapton for Great Britain’s newspaper The Telegraph; Knapton is the paper’s Science Editor.  “I’ve been to a place called that but it’s a normal research and development place.  I never saw any aliens or alien spacecraft or anything when I was there.

“I think because of the secrecy of the aeronautics research that goes on there it’s ripe for people to talk about aliens being there.”

In 2013, the Central Intelligence Agency released a declassified report affirming the existence of Area 51 at Groom Lake; theretofore, the United States government maintained silence about it.  “The report, released after eight years of prodding by a George Washington University archivist researching the history of the U-2 [spy plane], made no mention of colonies of alien life, suggesting that the secret base was dedicated to the relatively more mundane task of testing spy planes,” wrote Adam Nagourney in his 2013 article “C.I.A. Acknowledges Area 51 Exists, but What About Those Little Green Men?” for the New York Times.

A version of this article appeared on www.thesportspost.com on April 16, 2016.

Rhapsody in Blue and Orange

Saturday, December 31st, 2016

Débuting concurrently with the New York Mets in 1962, the song Meet the Mets struck the tone—no pun intended—required to capture excitement for New Yorkers still suffering from the exodus committed by the Giants and the Dodgers after the 1957 season.  Music, indeed, is a powerful conduit for emotion, inspiration, and passion.  A title from the soundtrack to the Elvis Presley movie Speedway conveys the power of music—There Ain’t Nothing Like a Song.

Imagine Rocky Balboa without the accompaniment of Bill Conti’s masterpiece Gonna Fly Now.  Imagine the television show The Wonder Years without Joe Cocker’s rendition of I Get By With a Little Help from My Friends as the theme song reflecting the show’s late 1960s and early 1970s setting awash in nostalgia.  Imagine a baseball game without the National Anthem.

When the Mets front office executives chose Meet the Mets in a contest involving 19 entries, it carved a foothold for worshippers in a culture colored blue and orange.  Written by Ruth Roberts and Bill Katz, Meet the Mets immediately conveyed an invitation to become familiar with the th nascent National League team through its title.

This new squad created to fill the void, heal the wound, and revive the fervor in New York City’s baseball psyche needed an identity for a National League fan base knocked on the canvas by the twin blows of Horace Stoneham and Walter O’Malley moving the Giants to San Francisco and the Dodgers to Los Angeles, respectively.  Meet the Mets fulfilled its obligation to render affection for an infant team with a highly significant number of players past their prime—and many who would never see a prime.

Meet the Mets uses lyrics harmless for a pre-feminist society soaked in the traditional dynamic of a father working and a mother staying home to take care of the kids, clean the house, and volunteer in the community, perhaps for the PTA.  Undeniably, the lyrics indicate a message to the male baseball fan, ignoring the female populus.  Or at least submitting it.  Advocating for a man to have his kiddies and his wife join him in a day at the ballpark symbolized the male dominance structure reinforced in the Eisenhower decade of the 1950s through popular culture, for example, the television shows Leave It to BeaverFather Knows Best, and I Love Lucy.  Today, the lyrics seem antiquated. Condescending, even.

In a 1963 critique, New York Times scribe Leonard Koppett analyzed how classical music icons might have fared in creating a song for the team.  “Think of the Mets as they really are,” wrote Koppett.  Puccini would have oversentimalized them; Wagner could write for the Giants or perhaps the Yankees, but not the Mets; Beethoven would have become too furious; Brahms, poor soul, would have tried and tried; Verdi might have captured the essence of a Chris Cannizzaro and a Cookie Lavagetto, but a Charles Dillon Stengel would have been beyond him.

“Only Mozart could have done it, because, like so many others, would have loved the Mets—with genius added.”

A new version of Meet the Mets débuted in the mid-1980s with an updated arrangement plus lyrics indicating the appeal of the Mets throughout the New York City metropolitan area, with the exception of the Bronx, however, because of its status as the Yankees’ home.  Certain tribal loyalties set by geographical boundaries cannot be crossed, not even by the power of a song.

A version of this article appeared on www.thesportspost.com on July 16, 2015.

The Decade of Baseball Migration

Tuesday, November 22nd, 2016

The 1950s was a decade of change.

Elvis Presley spearheaded the introduction of rock and roll, television replaced radio as the preferred mass medium for news and entertainment, and several baseball teams migrated westward—way westward for two teams, mid-westward for two others.

With a pedigree dating back to 1871, the Braves resided in Boston until moving to Milwaukee after the 1952 season.  Milwaukee offered abundant parking spaces, a welcoming fan base, and a new stadium.  When the Braves went on the migration warpath from Braves Field to Milwaukee County Stadium, it ignited Midwestern pride throughout a minor league city elated at graduating to the next level of professional baseball.  Boston still had the Red Sox, though.

Until it lost the Athletics to Kansas City, Philadelphia was also a two-team town.  After the 1954 season, the A’s said goodbye to Shibe Park, bolted the City of Brotherly Love, and left the Phillies behind for the folks from the Liberty Bell to the Main Line suburbs.

Once a bedrock of baseball, the Philadelphia A’s racked up nine National League pennants and five World Series championships.  Connie Mack managed the A’s from 1901 to 1950.  It is the longest managerial tenure in Major League Baseball.

After the 1967 season, the A’s left Kansas City for Oakland.

New York City suffered the loss of two teams when the Brooklyn Dodgers and the New York Giants moved to California after the 1957 season.  The Giants played in the cavernous Polo Grounds, with a distance of 483 feet between home plate and the center field fence.  The distances down the foul lines were 279 feet for left field and 258 for right field.

As manager of the Giants, John McGraw defined a pugnacious approach to early 20th century baseball at the Polo Grounds.  It was, indeed, a site synonymous with baseball history.  Bobby Thomson hit his Shot Heard ‘Round the World to win the 1951 National League pennant against the Dodgers.  Willie Mays made his famous catch of a Vic Wertz drive in the 1954 World Series with his back to home plate while sprinting toward the center field fence.

San Francisco inherited the rich history of the Giants, opened its arms, and helped further set the Manifest Destiny mentality of baseball.

When the Dodgers left Brooklyn, they found an exploding southern California population base ready to move up the ranks of professional sports.  In their first 10 years with “Los Angeles” as part of the team’s full name, the Dodgers won three National League pennants and two World Series championships.

From 1958 to 1961, the Dodgers played at Los Angeles Memorial Coliseum.  In 1962, Dodger Stadium débuted in Chavez Ravine once a massive abyss in the middle of Los Angeles.

Dodgers owner Walter O’Malley thought about staying in Brooklyn, albeit with a new stadium to replace aging Ebbets Field.  He evaluated proposals, but ultimately chose to move 3,000 miles west of the baseball nirvana where Jackie Robinson, Pee Wee Reese, and several others became, as author Roger Kahn knighted them, the boys of summer.

Not all migrating teams planted their flags in the Pacific time zone.  After the 1953 season, the St. Louis Browns moved to Baltimore and became the Orioles.

A version of this article appeared on www.thesportspost.com on May 15, 2014.

Happy Anniversary, Elvis!

Sunday, July 7th, 2013

On this date in 1954, the Memphis airwaves debuted a singer.  And rock and roll was never the same.

The singer was Elvis Presley.

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Nancy Sinatra and Elvis Presley

Thursday, March 7th, 2013

When Nancy Sinatra co-starred with Elvis Presley in the 1968 film Speedway, she fulfilled a prophecy of sorts that began about eight years prior. (more…)

Nancy Sinatra Goes To Vietnam

Sunday, March 3rd, 2013

Seductive songs.  Soft sounds.  Sex symbol.  Sinatra.

No, not that one!  Nancy Sinatra.

Any discussion of Nancy Sinatra logically begins with the song turned anthem for the women’s lib set.  Undeniably, Nancy Sinatra secured her place in popular culture with her #1 song — These Boots Are Made For Walkin’ in 1966.

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