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Tuesday, Oct 16, 2001 7:00 PM UTC2001-10-16T19:00:00Zl, M j, Y g:i A T

Art Howe

The laid-back manager of the hard-charging Oakland A's does it his way, laconically and happily. And that drives his critics crazy.

Art Howe
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Some labels are hard to shake. Get tagged as a self-promoter, or a horn dog, or a cheapskate, and that characterization is going to follow you around like a strip of toilet paper trailing from your heel. But none of those is half as tough to overcome as that most lethal of putdowns: being dismissed as a nice guy, mild but harmless. That was the situation Art Howe faced when he arrived in Oakland, Calif., late in 1995 to take over the job of A’s manager from Tony La Russa, an intense man who vibrated like a Chihuahua and often gave the impression he would bite your nose off if you did not show him sufficient respect.

How did Howe handle that? His first move was to do nothing, and I mean that literally. It was my job back then to cover the A’s for the San Francisco Chronicle, but I was gone in the off season, so the Chronicle’s slash-and-burn columnist Glenn Dickey was handed the task of writing up Howe’s arrival in town. Dickey had wrongly speculated in print earlier in the week that a likable bullshit artist named Jim Lefebvre, a former A’s hitting coach, was the leading candidate to replace La Russa. In his article announcing Howe’s hiring on the front page of the Chronicle sports section — the morning Howe arrived for his welcome press conference — Dickey went on at length about Lefebvre and made clear his low regard for Howe. He even ridiculed his hiring as “just another step toward anonymity for the A’s, once the most colorful team in baseball.”

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Steve Kettmann, a regular contributor to Salon, is the author of "One Day at Fenway: A Day in the Life of Baseball in America."  More Steve Kettmann

Tuesday, Nov 15, 2011 1:00 AM UTC2011-11-15T01:00:00Zl, M j, Y g:i A T

The Marlins’ bizarre new look

The team's revamped logo involves a whimsical rainbow swoosh. The effect is anything but intimidating

rainbow png

So far the biggest story to come out of baseball’s early off-season isn’t some splashy free agent signing or the abrupt retirement of St. Louis Cardinals manager Tony LaRussa, but that of the logo and uniform redesign of the Florida Marlins. The new look was officially announced on Friday, and if you haven’t seen them already, you might not believe your eyes. In fact, when some of the images of the new logo were leaked there was such shock and disbelief by the baseball world, most people assumed it was a farce, calling the look everything from “Hawaiian Shaved Ice” to “Push-up Pop” to “Rainbow Bright.”

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Tuesday, Oct 25, 2011 5:15 PM UTC2011-10-25T17:15:00Zl, M j, Y g:i A T

Exonerating Bill Buckner

25 years after the Red Sox infielder's infamous World Series error, we look at what really happened that October

buckner final

 (Credit: AP)

Bill Buckner’s error in the 1986 World Series – 25 years ago today, a day of infamy for Red Sox fans — is one of the two most famous plays in World Series history. (Willie Mays’ catch in the 1954 fall classic is the other.)

Like Mays’ over-the-shoulder catch, Buckner’s booboo is entrenched in American folklore. Jimmy Fallon’s Red Sox fanatic in “Fever Pitch,” distraught over breaking up with his girlfriend, watches Buckner’s play over and over on his VCR. During congressional hearings in 2008, U.S. Rep. John Yarmuth, D-Ky., called former Treasury Secretary John Snow, then-SEC chief Christopher Cox and former Federal Reserve Chairman Alan Greenspan “three Bill Buckners.” On “Curb Your Enthusiasm” this season, Larry David loses a softball game when a ball rolls between his legs; his coach screams, “You Buckner-ed me!”

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Allen Barra's next book is "Mickey and Willie -- The Parallel Lives of Baseball's Golden Age," from Crown.   More Allen Barra

Friday, Sep 30, 2011 11:01 AM UTC2011-09-30T11:01:00Zl, M j, Y g:i A T

What baseball tells us about racism

Most home-plate umpires are white -- and they seem to be hurting the careers of minority pitchers

What baseball tells us about racism
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Despite recent odes to “post-racial” sensibilities, persistent racial wage and unemployment gaps show that prejudice is alive and well in America. Nonetheless, that truism is often angrily denied or willfully ignored in our society, in part, because prejudice is so much more difficult to recognize on a day-to-day basis. As opposed to the Jim Crow era of white hoods and lynch mobs, 21st century American bigotry is now more often an unseen crime of the subtle and the reflexive — and the crime scene tends to be the shadowy nuances of hiring decisions, performance evaluations and plausible deniability.

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David Sirota

David Sirota is a best-selling author of the new book "Back to Our Future: How the 1980s Explain the World We Live In Now." He hosts the morning show on AM760 in Colorado. E-mail him at ds@davidsirota.com, follow him on Twitter @davidsirota or visit his website at www.davidsirota.com.  More David Sirota

Friday, Sep 23, 2011 8:59 PM UTC2011-09-23T20:59:00Zl, M j, Y g:i A T

What's the best baseball movie?

And why are great films about the national pastime so rare? As "Moneyball" hits theaters, baseball writers weigh in

Tim Robbins and Kevin Costner in "Bull Durham."

Tim Robbins and Kevin Costner in "Bull Durham."

If two of America’s biggest pastimes (and industries) are baseball and the movies, why are there so few truly great baseball films?

That’s the question we posed to several experts — novelists, sports journalists, even a former baseball commissioner — as  “Moneyball” hits theaters. We also asked each to name a favorite baseball movie (“Bull Durham” turns out to be, as one writer put it, “the gold standard”), and discuss whether baseball is better suited to prose — fiction or journalism — than it is to the big screen. Below are the responses we received.

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Emma Mustich is an assistant editor at Salon. Follow her on Twitter: @emustichMore Emma Mustich

Friday, Sep 23, 2011 12:01 AM UTC2011-09-23T00:01:00Zl, M j, Y g:i A T

“Moneyball”: Brad Pitt’s wonk-friendly Oscar contender

A baseball bestseller becomes a lovable star vehicle about a classic American underdog -- and somehow it works

Brad Pitt and Jonah Hill in "Moneyball"

Brad Pitt and Jonah Hill in "Moneyball"

I’m damned if I understand how a nonfiction book that’s largely a wonky study of systems and information, and a story about the clash between empirical data and subjective wisdom, became an Oscar-friendly star vehicle for Brad Pitt. But that’s exactly what happened with the long-delayed and troubled film production of “Moneyball,” which has to be described as an example of what Hollywood does best. Baseball fans and statistics buffs will no doubt have numerous nits to pick with this lovingly crafted underdog fable from director Bennett Miller (his first film since the terrific “Capote”), which exists at several removes from journalist Michael Lewis’ acclaimed bestseller. (The screenplay has been through numerous iterations, and a pair of heavyweights, Aaron Sorkin and Steven Zaillian, share the official credit.) But what we get in the end is a richly detailed and enjoyable American yarn, built around a warm and expansive performance by Pitt as Billy Beane, revolutionary general manager of the Oakland Athletics.

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Andrew O

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