215. Al Fowler: The New York Knights Ace

After spending all that time researching and then illustrating real life Chicago Cubs Hall of Famers, I thought it would be a nice change of pace to pick a fictitious character from literature or movies. Because this is The Infinite Baseball Card Set and there are no set rules, guys like Mayday Sam Malone of "Cheers", Henry Wiggen from "Bang The Drum Slowly" and J.D. Salinger's Chief Gedsudski all take their place beside Babe Ruth and Mickey Mantle.

Bernard Malamud’s “The Natural” has always been my favorite baseball novel, and over the years I've created cards and back stories for two of the main characters, Roy Hobbs and Bump Baily. I thought today I’d create a card and biography for the New York Knights’ ace, Al Fowler.

Detroit Tigers scouts signed the 17 year-old Al Fowler right off the Rochester sandlots where he was regularly striking-out 15 batters per game. Rated one of the best pitchers in the minors, the New York Knights traded a handful of proven veterans to get the services of the young left-hander.Fowler debuted in the majors just before his twentieth birthday and he finished with a 3-1 record and what looked to be a promising future.

Fowler’s detractors say he tried to strike out every single batter he faced, there-by tiring himself out before the ninth inning. While this criticism may be true, it was something Fowler felt necessary due to the poor offence and defence provided by his Knights teammates. Contemporary sportswriters liked to quip that besides being among the leaders in strike-outs, Fowler also led the league in suspensions for breaking training rules. His late night cavorting with teammate Bump Baily was often cited as the only thing that stood in his way of becoming the best southpaw in the National League. Syndicated columnist Max Mercy famously described Fowler as “the 23 year-old who looks 30”.

Fowler’s luck turned around completely in 1939 when the 35 year-old rookie Roy Hobbs joined the Knights. With a potent offence finally behind him, the right-hander won a career high 15 games. He also picked up the win in the one-game playoff against Pittsburgh, though he pitched poorly. Rumors persist to this day about Fowler’s role in a plot by gamblers to “fix” the pennant, though he was never formally accused or prosecuted. Fowler tried to dispel any suspicions by pitching magnificently in the World Series, and his 3-hit shutout in Game 2 was the only Knights victory in the 5 game loss the Yankees.

Fowler suffered an arm injury warming up before the 1940 All-Star Game and never pitched effectively again. He was traded to the Cubs in 1942 and retired a year later. He worked as a salesman for the Ballentine Brewery and later owned a successful chain of liquor stores in the Rochester area.

83. Roy Hobbs: A Tale of 2 Roy's

Like most baseball fans, I ran out to watch Barry Levinson's 1984 movie "The Natural." As a budding baseball history geek, I was enthralled with the attention to detail the set decorators, costume designers and graphic artists had spent bringing to life the sights and sounds of 1939 baseball. As a testament to the talent of those men and women, the New York Knights jersey is still sold by many companies and I spy at least one at every major league ballgame I go to. I've talked about all this before in the story and card I did of his teammate on the Knights, Bump Baily.

The movie begins with the teenage Roy and girlfriend Iris (very distractingly and unconvincingly played by Glenn Close and Robert Redford who were, what, 50 something at the time?) making love on the eve of Roy's call-up to the Chicago Cubs. As most everyone knows, Hobbs gets shot by a deranged woman and his career and life gets sidetracked and 16 years later he reemerges as a 35 year-old rookie for the moribund New York Knights. An all-around good guy with the virtues of a slightly-jaded Christy Mathewson, Redford's Roy Hobbs smiles his way through a doomed love affair with his manager's fem-fatale niece Memo Paris, mid-season batting slump and temptations from shady gamblers. The spectacular final scene during the playoff game against the Pirates caps off an inspiring movie as the hero finds out he is indeed the father of Iris's kid and sends a Spalding baseball into the Knights Field lighting system, winning not only ownership of the team for Pop Fisher, but baseball immortality, Hobbs' life-long dream. The closing sequence shows Roy playing catch with his son, safe and sound back on the farm where he started from. I assume Iris, who's not featured in the shot, is in the kitchen putting the finishing touches on a pie or something. The newly reunited Hobbs' family lives happily ever after.

Nice. So years later I snatched up a used paperback copy of the book by Bernard Malamud that the movie was based on. I sat on it for a while, not really all that gassed up to just read what the movie ably portrayed on screen. But when my buddy Charlie Vascellaro, the famed sportswriter and raconteur, saw it laying around and told me it wasn't anywhere near what I thought it was, I finally did crack it open. Boy was I surprised! The Roy Hobbs in the novel was the exact opposite of Redford's sugary version.

The book had a dark tone to it. Hobbs wasn't a fresh-faced teen in the beginning but a normal jock who just cares about himself. There was no teenage love affair with a corn-fed Iris from back home. In the book Iris was a frumpy middle-aged single mom and groupie he alternately bangs and ignores whenever the Knights are in Chicago to play the Cubs. He finally drops her like a bad habit when she tells him that she is a grandmother. He's mean to kids, doesn't get along with his teammates and is driven by that one thing: "When I walk down the street I want people to say: There goes Roy Hobbs. The best there ever was..." He doesn't really care about Pop Fisher and his sob story about losing the Knights to his partner, the evil Judge Banner. Hobbs is constantly preoccupied with turning a buck, continually complaining to The Judge to give him a raise because of how good he is. He even takes the Judge's money to throw the final game so he has a nest egg to run off with the manager's niece. When he finally gets pangs of regret after Iris lets him know she's knocked up with his kid he decides to become the hero and win the game. But unlike in the movie, he strikes out to end the game. The last scene in the book reveals a broken Roy Hobbs, passing a newspaper seller hawking papers reporting his expulsion from baseball and the compete erasure of his name and statistics from the record book.

Wow.

Now imagine if that was the movie. Would you have liked it better? Would "The Natural" have stayed such a popular baseball movie with an anti-hero and an ending like that? Would I see New York Knights jerseys with the number 9 on the back at major league ballgames? I don't know, probably not. Leaving the theater after seeing Hobbs blow up the scoreboard at Knights Field fills you with such a sense of euphoria and child-like glee that I think if the movie ended as sudden and demoralizing as the book it would not have had the same lasting impact. I do, however, feel like THAT would have been a movie I would have liked much better. Watching Redford as Roy Hobbs now 25 years later I see how schmaltzy his acting is. And his ever-present 70's man foppy hair-do bothers my historically accurate nerves (I read that he has a clause in his contracts that makes him exempt from changing his dopey hair style!). The silly love story with Iris is just a patch-work ploy to find a place for Glenn Close in the script. Here's a little something to show you how deep the scriptwriter was: did you realize that the young pitcher who gives up Hobbs' homer at the end of the movie is supposed to be the kid in the beginning of the movie who receives the baseball from young Roy after he strikes out "The Whammer"?

Anyway, flaws aside, I'd still watch this movie over any other baseball movie, even, yes, I'm going to say it: even over the darling of the baseball crowd: "Bull Durham." I'm sorry, I really didn't buy Tim Robbins as a ballplayer back then and I sure as hell don't now. And you know, I thought Annie Savoy was friggin' annoying. Yeah, I said that too. I went to art school and knew whole roomfuls of Annie Savoy's, chicks from medium-sized towns that talked like a thesaurus and believed that a few Edith Piaf LPs and becoming a self-appointed aficionado of something as pedestrian as baseball would make them the big, cool fish in the stagnant pond of whatever mediocre burg they were from. Yeah, see, I dated a few of them, trust me. But I will say this: Kevin Costner was good as catcher Crash Davis. And speaking of him, how about that movie where he relives his life story while pitching a no-hitter at Yankee Stadium? My Mom rented me that movie one Christmas when I was visiting. I really didn't want to watch it, but was glad I did because I thought it was pretty good. Quite a few baseball guys I know quietly admit to liking it as well. Just don't tell anybody...

But anyway, Back to Roy Hobbs. When I decided to do a Hobbs card, I was torn between the good Hobbs of the movie and the bad Hobbs of the novel. Liking the novel much more, I decided on the bad one when writing the back of the card. To save everyone's eye sight I'll reproduce the text below:

Roy Edward Hobbs
Bats: Left Throws: Left
Born: Aug. 10, 1905 Sabotac Valley, Iowa
Died: March 18, 1966 Grainger, Texas

Signed as a pitching phenom by the Cubs in 1923, Hobbs’ promising career was cut short when a deranged woman shot him. Hobbs slowly regained his skills playing semi-pro ball and at age 35 made a come-back with the New York Knights. He made a splash from the start by knocking the cover off the ball in his first major league at bat. He broke the record for doubles by a rookie and his 46 home runs spearheaded the Knights drive to the pennant. After he went 0 for 4 in the one-game playoff against Pittsburgh it was shown that Hobbs and pitcher Al Fowler were bribed by Knights owner Judge Albert Banner to lose the game. The commissioner of baseball banned Hobbs from baseball and removed all traces of him from the record books. A broken man, he died an oil field accident in 1966.

32. Bump Baily

Like many baseball fans, I was fascinated by the 1984 movie "The Natural" when it came out. The story was pretty mediocre and in fact it took me a few watches to realize that Glen Close's son was actually Roy Hobbs' son also. Maybe I was too busy paying attention to Kim Basinger at the time to fully comprehend such a slow curve of a plot twist. But anyway, the one thing that truly stands out is the great portrayal of baseball in 1939. I mean everything looked good, the uniforms, the outfield wall advertising, the stadiums, the way the ball players looked and talked, even the newspaper articles they showed close-ups of. It all looked absolutely fantastic. As a designer, I have to tip my hat to the artist that developed the uniforms for the fictional New York Knights because they looked like they would have been around in 1939. As someone who does graphic props for Hollywood, one of the hardest things for a movie designer to do is to get the right feel and look for a particular time period. So many details can throw the piece off like typeface, color, phrasing or style. So many movie sets fail to get the details right and it ruins the whole movie for nit-wits like me who spent way too many hours studying such minutia as typography and design history and wonder why the stupid artist couldn't do the same. But that's enough about films that didn't do it right because "The Natural" did.

I mentioned earlier about the mediocre plot. When I found out the movie was based on a book by Bernard Malamud I dug up a copy and read it expecting to read the same story as the movie. What a big shock, but it wasn't the same story. Not even close. The beginning was basically the same, young phenomenon on his way to a sure-thing tryout with the Chicago Cubs gets shot by a deranged psychopathic nymphomaniac. But now Malamud's Roy Hobbs becomes a dark, mean spirited jerk. He had a dishonest streak perhaps driven into him by the hard road he travelled after being shot and now that he has crawled his way back to the majors after 16 years he will let no one stop him in his quest to become the best there ever was. Robert Redford's Hobbs seemed like a nice guy, humbled by his experiences. Malamud's Hobbs is the opposite. He is just out for himself. Guy doesn't even like kids who ask him for his autograph. I won't spoil the rest of the book, because it will make a good, fast summer read for anyone who hasn't read it, but I will say the ending sure ain't like the movie!

Now back to the cards. I have been wanting to do a card of a New York Knights player and settled on one of Bump Baily. He was the Knights' star outfielder who died when he crashed through the outfield wall, paving the way for Roy Hobbs to get into the lineup. Bump was also a thug, womanizer and crooked. He was being bribed by the Knights owner to throw games so the team did not win the pennant. In the movie tough guy Michael Madsen portrayed Bump rather well. He had a rough voice and the proper thuggish attitude that the book described. When I decided to do a Bump Baily card, I made my depiction a hybrid of Madsen and another great slugger of the late 1930's - Joe Medwick. I leaned heavily on Medwick because he was exactly as I would picture Baily - a rough, mean and a powerful slugger. He was cocky because he was that good, he even won the Triple Crown in 1937. He was quick with is fists to the point of KOing his own pitcher during a game when he dared to criticize Medwick's error in fielding a ball. Teammate Dizzy Dean said of Medwick "Dawgonnit. That Medwick don't fight fair at all. You argue with him for a bit and then he beats you before you've even had a chance to speak your piece." (To set the record strait, Medwick was all these things BUT not a dishonest ballplayer.) For the fictional 1939 statistics on the card I went through some old newspapers and figured out what Medwick was batting in mid-May of '39, the time when Bump Baily met his demise in the outfield of Knights Field. The drawing leans heavily on the facial features of Michael Madsen combined with the scowl and slouching, cock-sure body language of Joe Medwick. The last thing was how to spell his name. In the book Malamud spells it "Baily" and in the movie it is spelled "Bailey". I like the story in the book better so I stuck with the original. Malamud must have had his reasons and who the heck am I to change it. So here you have it, Batholomew "Bump" Baily on his first and only baseball card.