Dodger Devotee

One of the benefits of being retired is to immerse oneself into hobbies.  One of mine is following the Los Angeles Dodgers.

I’ve been a Dodger fan all my life.  In fact, the Dodgers moved from Brooklyn to Los Angeles when I was born in 1958. One of the first memories I had was watching Don Drysdale pitch at Dodger Stadium in 1969, his last year of his career.

Back then, only road games from San Francisco and San Diego were televised so I’d listen to Vin Scully on the radio and keep score of the games. 

I followed the Dodgers as they won world championships in the 1960’s, 1980’s and now the 2020’s.

For the past few years, I’ve settled into a routine, immersing myself with all things Dodgers. On game day in the morning, I’ll read the sports articles in the Los Angeles Times including ones written by beat reporter Jack Harris, columnists Bill Plaschke, Dylan Hernandez and Bill Shaikin and editor Houston Mitchell. On The Athletic website, I’ll read any Dodger-related coverage.

At noon, I’ll turn on 570 KLAC, the Dodger radio station, and listen to Roggin and Rodney dissect the previous game and pontificate on that day’s game.

A couple of hours before game time, I’ll go to YouTube to find pressers with manager Dave Roberts.

I’ll turn on the Dodger TV station an hour before the game to watch John Hartung, Jerry Hairston and Nomar Garciaparra analyze what’s to come, then return to the postgame show with interviews from the players.

Then I go to the radio for Dodger Talk with David Vassegh where he takes calls from fans.

Finally, I watch the DodgerHeads podcast where a few hosts dissect the game for 90 minutes.

When the Dodgers are in the playoffs, as they have been for 13 consecutive years, I’ll turn on KLAC at 6:00 a.m. to hear host Tim Cates and former Dodger Steve Sax for the next three hours.

After each Dodger playoff game, Jack Harris and his fellow columnists upload a 15-minute video discussing that night’s action.

This year, the Dodgers are trying to become the first team in 25 years to repeat as champions, and the first Dodger team to ever win back-to-back World Series.

As of this publishing, the Dodgers have gone 7-1, winning both games in the Wild Card round against the Reds, three of four games in the Division round against the Phillies and the first two games in the Championship Series against the Brewers. 

They are six victories from reaching their goal.

Earlier this week, pitcher Black Snell pitched eight superb innings of shutout ball, allowing only one hit and no walks, striking out 10.  The next night Yoshinobu Yamamoto pitched a complete game.  After giving up a homerun on the very first pitch, he allowed just two more hits and one walk, striking out seven.

That was the first playoff complete game in eight years, 21 years since a Dodger pitcher had one by Jose Lima in 2004.  The L.A. Dodgers have had 23 postseason complete games, with Sandy Koufax pitched three alone in the 1965 World Series.

Both of my sons who are in their 20’s were amazed to witness something they had never seen before in their lifetime:  a complete playoff game by a Dodger pitcher.  One son told me, “Dad, it’s so weird to see a pitcher end a game and still be there shaking the catcher’s hand!”

Last year, the Dodgers’ bullpen catapulted them to a championship having only two good starters.  This year, the script has flipped.   Their bullpen is in shambles while their starting rotation has four ace-level pitchers.

Here’s how Times columnist Bill Shaikin describes it.

“In 16 games last October, the Dodgers had more bullpen games (four) than quality starts (two), and the starters posted a 5.25 earned-run average.  In eight games this October, the Dodgers have seven quality starts, and not coincidentally they are 7-1. The starters have posted a 1.54 ERA, the lowest of any team in National League history to play at least eight postseason games.

“The Dodgers have deployed four silencers. In dramatic lore they are known as famine, pestilence, destruction and death. These are only aliases. Their real names are Snell, Yamamoto, Glasnow and Ohtani.”

What a storybook ending it would be if future Hall of Fame pitcher Clayton Kershaw, the face of the Dodgers for the past 18 years, was put into the final inning of the last game of the World Series so he could experience the joy of hugging his catcher, last man standing on the mound.

I tell you one thing:  This team is on a mission.  Dodger fans can’t wait to see what they do next.

Hello Dolly vs. Groundhog Day: the Classic Musical vs. the Classless One

Whenever I visit New York, two items are always at the top of my to-do list:  eat fantastic food and see exciting Broadway musicals.   The food rarely disappoints (Peter Lugar Steakhouse and Katz Delicatessen); it’s the musicals that sometimes can be a crapshoot. To hedge our bets, my wife and I try to see one classic and one new one each trip so that at least the tried and true show will not fail.

 

This summer we went to see Tony Award winner Bette Midler in “Hello Dolly” which has received rave reviews since the revival opened in April.   Premiering in 1964, Jerry Herman’s classic remains so even 53 years later.   Hummable tunes, colorful costumes, imaginative lighting and set design, and a chorus of singers and dancers.

 

The new musical we saw was “Groundhog Day” based on the 1993 Bill Murray comedy about a man who keeps waking up to the same day over and over again.  Since our teenaged sons had seen the film, we thought this would get them excited to see the musical version.

 

Even though the film was rated PG, we live in the age of “The Book of Mormon” so I researched “Groundhog Day” to make sure it would be appropriate for my kids.

 

After multiple sources verified it as family-friendly, I bought the tickets.

 

Anytime I am about to attend a live performance of a musical or an opera, I listen to a recording of it beforehand to get familiar with the story and the lyrics, and so I bought the “Groundhog Day” cast recording.

 

I knew I was in trouble when in the second number “erection” was used.   The language went down from there, literally and figuratively.  The producers turned a PG film into an R-rated live performance.  Finding a clean piece of entertainment these days is as hard as finding a piece of watermelon that actually has a taste.

 

In addition to the requisite four-letter words that a modern piece of entertainment can’t be without, here is a partial list of the sexual and scatological references that are put to music:   nipples, pubic hair, masturbation, foreskin, enemas, semen, defecating in one’s pants and swallowing vomit.

 

It was as if the composer was paid by the number of off-color word and bodily functions he could fit in a Broadway show.

 

Hardly any of the 17 songs were clean, or memorable for that matter.  I’m sorry, but hearing pretty voices sing ugly words does not sound good.  All the parts of the body in the key of C doesn’t change the fact that they are singing dirty words.  Also, it does not reflect well on the composer who goes in the gutter for rhymes instead of creating more imaginative word choices.

 

The filthy language also will date this musical quite quickly.

 

Clearly, what I consider family-friendly and others differs greatly.  Just this week Times columnist Bill Plaschke wrote a piece on an 85-year-old grandmother who once she saw herself dancing on the huge video screen at Dodger Stadium, decided to pull up her shirt and flash her breasts (thankfully in a bra).  To me, that behavior should not be cheered, yet I recognize I may be in the minority.

 

Meanwhile, “Hello Dolly” without the obscenities remains timeless.  And that is why it is a classic. “Put on Your Sunday Clothes,” “Before the Parade Passes By,” “It Only Takes a Moment,” and the title song stay in your mind long after leaving the theater.

 

I doubt that in 2037 there will be a revival of “Groundhog Day.”  Unlike the main character who continues to relive Feb. 2, no one should relive this musical.