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When we arrived in Monterey Bay, we headed down to Cannery Row to find a restaurant; though it's overpriced and touristy, you can't beat the view from the open air tables on the deck at the Fish Hopper. A few rain squalls passed thru while we were eating so we lingered over our meal a long time, while we stayed warm and dry under the heat lamps.
"ADDA DADA in Leah Garchik 's DATEBOOK column in the San Francisco Chronicle !
"This year's winner of Hunky Jesus Contest was 'CHEER JESUS' who wore a cheerleader outfit and roused the crowd to their feet with a great pep cheer.", reported ADDA DADA !
Among the other standouts were RIPPED JESUS, RETRO JESUS, ZOMBIE JESUS , 'OVERDOSE JESUS' and BURNING MAN JESUS.
"TV REALITY SHOW FOXY MARY with her pregnant tummy, bottle of booze, & pills easily won the FOXY MARY CONTEST. "
I'm having trouble getting her name, but it is said that she returned the prize money to the Sisters thereby providing eternal holiness."
ps: "J" is used in the title because apparently ADDA has been reported several times over posting HUNKY JESUS CONTEST photos...some people do not have a sense of humor. the photos are marked correctly : SAFE !
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THANK YOU for visiting my virtual art gallery! Enjoy my social documentary photos of various events !
ADDA DADA's photography represent a variety of people. All photos are 'raw' (no photoshop & no airbrushing).
NOTE: The photos are from different public events with many different people from around the world attending. These photos do NOT imply the person's sexual orientation in any way. Everyone was asked and they consented to be photographed.
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I missed the azaleas, but I'm happy to report the rhododendrons are out in pinkly colorful force in Central Park. #spring #springflowers #flowers #rhododendrons #🌸 #newyork #nyc #manhattan #centralpark #offthebeatenpath #share
A build for Guilds of Historica on Eurobricks.
My family, the Conzaga family, attack the leader of Varlyrio, known as the Rego. They attack a watchtower near a small river crossing where the Rego taxes passing merchants.
Some background:
The Mitsubishi J2M Raiden (雷電, "Thunderbolt") was a single-engined land-based fighter aircraft used by the Imperial Japanese Navy Air Service in World War II. The Allied reporting name was "Jack".
The J2M was designed by Jiro Horikoshi, creator of the A6M Zero, to meet the 14-Shi (14th year of the Showa reign, or 1939) official specification. It was to be a strictly local-defense interceptor, intended to counter the threat of high-altitude bomber raids, and thus relied on speed, climb performance, and armament at the expense of manoeuvrability. The J2M was a sleek, but stubby craft with its oversized Mitsubishi Kasei engine buried behind a long cowling, cooled by an intake fan and connected to the propeller with an extension shaft.
Teething development problems stemming from the Kasei engine cooling system, and the main undercarriage members led to a slowdown in production. The first few produced J2M2s were delivered to the development units in December 1942 but severe problems were encountered with the engines. Trials and improvements took almost a year and the first batch of the serial built J2M2 Model 11 was delivered to 381st Kōkūtai in December 1943. Parallel with the J2M2, production of the J2M3 Raiden Model 21 started. The first J2M3s appeared in October 1943 but deliveries to combat units started at the beginning of February 1944.
Primarily designed to defend against the Boeing B-29 Superfortress, the type was handicapped at high altitude by the lack of a turbocharger. However, its four-cannon armament supplied effective firepower and the use of dive and zoom tactics allowed it to score occasionally. The Raiden made its combat debut in June 1944 during the Battle of the Philippine Sea. Several J2Ms operated from Guam and Saipan and a small number of aircraft were deployed to the Philippines. Later, some J2Ms were based in Chosen airfields, Genzan (Wonsan), Ranan (Nanam), Funei (Nuren), Rashin (Najin) and Konan under Genzan Ku, for defence of these areas and fighting against Soviet Naval Aviation units. Insufficient numbers and the American switch to night bombing in March 1945 limited its effectiveness.
A continual set of modifications resulted in new variants being introduced with the ultimate high-altitude variant, the J2M4 Model 34 flying for the first time in August 1944. It had a 1,420 hp Kasei 23c engine equipped with a turbo supercharger (mounted in the side of the fuselage just behind the engine) that allowed the rated power to be maintained up to 9,100 m (29,900 ft). Two upward-aimed, oblique-firing (aimed at seventy degrees) 20 mm cannons, mounted in the German Schräge Musik style, were fitted behind the cockpit with the four wing cannons retained. Unresolved difficulties with the turbo supercharger caused the project to be terminated after only two experimental J2M4s were built.
A few J2Ms survived the war. Two Raiden of the 381 Kōkūtai were captured in flightworthy condition at Johore in British Malaya and tested by the Allied Technical Air Intelligence Unit - Southeast Asia (ATAIU-SEA for short), a joint RAF-USAAF intelligence unit in charge of investigating Japanese aircraft capabilities. Tests were conducted in Singapore at RAF Seletar air base in late 1945, right after the end of hostilities in the Pacific theatre. The machines were evaluated by Japanese naval aviators under close supervision of RAF officers, and for the trials they received RAF roundels and new tactical codes, “BI-01” and “BI-02”, respectively.
Two other captured J2Ms were examined by the U.S. Technical Air Intelligence Command (TAIC), using 92 octane fuel plus methanol. One machine, an early J2M2 (“Jack11”) achieved a speed of 655 km/h (407 mph) at 5,520 m (17,400 ft), and the other one, a J2M3 (“Jack21”) even reached a top speed of 671 km/h (417 mph) at 4,980 m (16,600 ft).
General characteristics:
Crew: one, pilot
Length: 9.70 m (32 ft 8 in)
Wingspan: 10.80 m (35 ft 5 in)
Height: 3.81 m (13 ft 0 in)
Wing area: 20 m² (216 ft²)
Empty weight: 2,839 kg (6,259 lb)
Loaded weight: 3,211 kg (7,080 lb)
Powerplant:
1× Mitsubishi MK4R-A Kasei 23a 14-cylinder two-row radial engine, 1,379 kW (1,850 hp)
Performance:
Maximum speed: 596km/h (370 mph, 322kt)at 5.450m
Range: 1467 km (912 nmi, 795 mi)
Service ceiling: 11,430 m (37,500 ft)
Rate of climb: 1402 m/min (4,600 ft/min)
Wing loading: 174 kg/m² (35 lb/ft²)
Power/mass: 0.42 kW/kg (0.26 hp/lb)
Armament:
2x Type 99-2 inboard wing-mounted 20x101mmRB cannon with 190 rpg
2x Type 99-1 outboard wing-mounted 20x72mmRB cannon with 210 rpg
2× 60 kg (132 lb) bombs or 2 × 200 L (53 US gal) drop tanks under the outer wings,
or a single, larger drop tank under the fuselage
The kit and its assembly:
This is a real-world build, depicting one of the two J2Ms tested by the RAF in late 1945 at Seletar air base, and an entry to the “Opposites attract” contest of the Arawasi Wild Eagles blog in early 2018, covering warbirds from Japanese and Allied side carrying opposing markings.
The kit is the Hasegawa kit of the J2M3 from 1977, with some cosmetic updates, based on the more detailed Hasegawa 1:48 kit of the J2M3 and taken from that kit's English language instructions for additional information, primarily concerning painting details (see below).
The old, 1:72 Hasegawa Raiden is primitive: the cockpit has only little detail (e. g. blank side walls, moulded side consoles without any surface detail, a single-piece canopy) and the landing gear is pretty basic, too (the wells are bleak, some struts are completely missing an part numbers were moulded into the inside of the covers!). But all these are just minor weaknesses, which were mended with improvisations through white glue, styrene bits and some thin wire - after all, much of this additional work cannot be seen inside of the finished kit.
Nevertheless, the overall fit of this old kit is surprisingly good and it features fine, recessed panel lines. Only little PSR work was necessary, it’s IMHO a very good model basis and basically a pleasant build.
Painting and markings:
The plan to build an ATAIU-SEA Raiden was settled from the start. The original plan was to re-create “BI-01”, but in the course of the build I eventually settled upon the less known “BI-02”, because the more information concerning its sister ships’ outer details I dug up from different sources, the more contradictive things became. Too much input is certainly not helpful!
“BI-01” is better known because it’s the machine you see in the foreground of the aircrafts’ most popular picture, showing both in flight in echelon formation (in B/W). Material for this machine in 1:72 scale is available to modelers through aftermarket decal sheets (PrintScale, MaxModels), and there’s even an OOB option in the form of a Hasegawa “Prisoners of War” kit (even though 1:48 scale), which lets you build “BI-01” or “BI-02” and also comes with the alternative decals for one of the American J2Ms in bare metal livery with “stars & bars”.
My build was based on the relatively new PrintScale decal sheet for the J2M which only allows to create “BI-01” – and a pair of wing roundels is completely missing! But, on the other side, the sheet is not pricey, and model kit building is much about DIY and creative solutions.
From this starting point, things went pretty straightforward, Since the captured aircraft retained its former IJN livery, things were relatively simple. But I wanted to create a worn and makeshift look, inspired by pictures of the ATAIU-SEA aircraft – they looked pretty shaggy!
The cockpit interior was painted in a guesstimate of Mitsubishi’s cockpit green, a mix of Humbrol 159 and 94. The landing gear wells became light grey – I did not use the ModelMaster IJN Grey used on the undersides (see below), but rather a very similar tone in order to create a subtle contrast.
The model’s painting process started with a primer coat of aluminum on the wings’ leading edges and on the fuselage. Next the uniform dark green was applied on the uppers surfaces. In order to come close to the IJN Green used by Mitsubishi, I used Modelmaster’s 2116 (IJN Green from the company’s Authentic line, a relatively dark tone), mixed a little FS 34092 (~3:1 ratio), for a brighter and less bluish hue. A
All paint was applied with a brush, and - on purpose - not 100% evenly, so that some of the aluminum below would still shine through. This effect was further enhanced and fine-tuned with thinner and careful “scrubbing” with a hard, flat brush in the fresh paint, trying to simulate chipped and worn areas. The anti glare panel was painted with a mix of Humbrol 33 and 77, for a dark blue-grey. On the lower surfaces, pure Modelmaster 2115 (IJN GREY) was used, but with less tuning effects.
Once the basic painting was done, I added overpainted hinomaru and other markings, done with RAF Dark Green on the upper and Sky on the lower surfaces – I am not certain whether the real aircraft were painted this way (again, information is corny), but I consider this practice to be plausible, since the ATAIU-SEA machines appear to have otherwise remained in their original colors?
At this stage the yellow ID bands on the wings’ leading edges were added – in a mix of paint (Revell 310, RAL 1028 a.k.a. Lufthansa Yellow, which comes IMHO close to the reddish original tone) and decal sheet.
In the next step, the surfaces received a thin black ink wash and a post-shading treatment through dry-brushing with lighter and uneven variations of the basic tones.
After some corrections and more fine-tuning the decals followed. Most of them came from the PrintScale sheet (beware, they have a VERY thin and have a wobbly carrier film that makes any handling hazardous!), and the missing RAF roundels under the wings came from the scrap box (they actually belong to a post-war Spitfire).
The tactical code was changed into “02 yellow” with more decal parts from the scrap box. This change of color is a courageous interpretation of the real aircrafts’ BW pics, which suggest that the individual aircraft numbers were painted in a slightly darker tone than the white “BI-“ in front of them. The PrintScale sheet suggests the same – and offers modelers the option to alternative use white or yellow numbers.
Once the decals were dry, some more dry-brushing with light grey and aluminum was done, and some panel lines across the markings added with a soft pencil.
Some details of the aircraft are speculative, though. This includes, for instance, the color of the spinner and the front of the propeller blades. The funny thing is that, after I finished the kit, I found photo footage of “BI-02” at Seletar, and it confirms my assumptions and guesses, e .g. the bare metal propeller blade front sides. The green spinner remains uncertain, though. ;-)
Towards the finish line some soot stains around the gun ports and the exhaust stubs were created with grinded graphite, and finally the kit was sealed with acrylic varnish (Italeri). I used a mix of matt and semi-gloss varnish in a roundabout 3:1 ratio, for a sheen finish. Some worn areas were treated with 100% matt varnish, though, adding to the worn look of the aircraft.
This POW J2M3 looks simple, but the painting process was a complex feat. But I am quite happy with the result and the impression the model leaves.
I normally wouldn't upload any pictures which I haven't taken myself but there were quite a few interesting EV's on the Scottish 6 o'clock news last night and though I'd upload some pictures of them. Images are copyright of the BBC and I'll take them down if asked.
P.S does anyone know what the Scottish Ambulance Service Land Rover Discovery (bottom left) is used for ? Never seen it before
Mingle Media TV and Red Carpet Report host Cathy Kelley were invited to come out to the 7th Annual 5K Run/Walk on the Horizon hosted by Glee star, Lauren Potter, at the Hansen Dam Aquatics Center in Lake View Terrace, CA and join in the festivities.
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About New Horizons 7th Annual 5K Run/Walk on the Horizon
The 7th Annual 5K Run/Walk on the Horizon fundraiser, hosted by New Horizons, was held at the Hansen Dam Aquatic Center in Lake View Terrace with actress Lauren Potter serving as Grand Marshal, kicking off the “dress in your favorite decade” run/walk fundraiser. Following the event, both run and walk participants stay for the awards ceremony with commemorative medals given to the top three 5K finishers (Men’s and Women’s Division) and awards given to the top fundraisers. For more information, visit www.walkonthehorizon.dojiggy.com.
New Horizons is a non-profit organization dedicated to helping indivividuals with special needs reach their potential and fulfill their dreams. Founded in 1954 by eight parents whose children had mental retardation, the agency has evolved to provide services and support each year to nearly 1,000 individuals (age 18 and older) and social/recreational services to nearly 3,000 individuals from throughout the greater San Fernando and Santa Clarita Valleys of Los Angeles.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
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Follow our Host, Cathy Kelley on Twitter at www.twitter.com/CatherineKelley
The KOM League
Flash Report
for
July 12, 2019
Christmas for 2018 came to an end on July 10, 2019. That is the date my Christmas present from the family name drawing pool concluded. I had been given subscriptions to a couple of Internet newspaper sites.
With the time drawing near the conclusion I decided to insert the names of some former KOM leaguers. A couple of names appeared who had left this world in the previous seven months and other items appeared that were of special interest regarding the early lives of some former players.
For a very long time my wife and I have subscribed to Ancestry.com and I recently located a section in that forum that heretofore I was unaware. The “new find” was the U. S. Baseball Questionnaires from 1945 through 2005. I was aware of those documents for Bill Weiss shared many of them with me. For those of you who subscribe to Ancestry.com you might find those old files interesting.
One thing that was quickly obvious is that the fellows filling them out “cheated” a bit on their real age. Most of the fellows wanted to appear younger, especially those returning from WW II. The reason was simple, they wanted a chance at playing professional baseball. With few exceptions they all listed their goal as being able to play major league baseball. One fellow stated it in an unique manner by saying “I want to attend the day they have for me, in about 20 years, at the Polo Grounds.” Another, more realistic young man had as his goal “Just being able to get out of Class D.”
After spending some time in those old files I came across some items, again, of which I was aware many years ago. It may not be obvious, in my writings, but I’m a bit partial to one team. That being the Carthage Cubs and the 1951 team in particular. They were burdened with putting up with a batboy that wasn’t the brightest light in the firmament.
In researching some of those names I came across the high school career of a fellow from Oshkosh, Wisconsin, a catcher, who teamed with a pitcher, who hurled one of the most fabulous games ever, at any level. That pitcher signed with the Detroit Tigers and the catcher would have as well had he been given the chance to play professionally in 1950. When the Tigers wouldn’t agree to that the catcher signed with the Cubs and would become one of the guys I got to know and like in 1951 and the feeling still remains 68 years after the fact.
So, this report, which was initially intended to be just a listing of some basic trivia items, turned into much more. While looking at the career of the catcher of the Carthage Cubs for part of 1950 and all of 1951 a decision was made to check on the rest of the surviving members of that team.. Unfortunately, when pulling up the name of John David Mudd, one of the top pitchers on that club out of Lane Technical High School, in Chicago, I discovered he passed away in Mesa, Arizona on June 6th of this year. Quickly, that information was shared with the surviving members of the 1951 Carthage team, with whom I have access. Within a short time feedback was being received and some of that is shared in this report.
In looking at the 1951 Carthage roster it seems like a long time ago in some respects and like last week in other ways.
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Donald Louis Gebbs Obituary
Obituary for Donald Louis Gebbs
Donald Louis Gebbs, age 86, of Oneonta passed away on Friday, April 19, 2019. He was a minor league pitcher in the Pittsburg Pirates Organization and a member of the First Baptist Church of Oneonta.
Mr. Gebbs is preceded in death by his parents, John and Corinne Gebbs; his son, Donald Louis Gebbs, Jr.; sisters, Ione Gebbs, Norma Gebbs, and Lynn Gebbs; and his brothers, John Gebbs, Jr. and Clyde Gebbs. Survivors include his wife, Penny Gebbs; daughter, Shelley Bausch (William); step-daughters, Phyllis Lawrence, Donna Turner (Rick), and Sherri Zeigler (Joey), and step son, Dwain Lawrence (Patricia); grandchildren, Eric Bausch (Samantha), Brian Gebbs, Kurt Gebbs, and Lauren Gebbs Lewis; great grandchildren, Grayson Gebbs, Gabriel Gebbs, Connor Lewis, Keegan Lewis, Hastings Hayden Bausch, and Elodie Starr Bausch; step grandchildren, Scott Herda, Ethan Nichols, Korbin Nichols, and Wesley McDowell (Danielle); step great grandchildren, Erika Herda, Kaylee Herda, Isabella Herda, Emily McDowell, Megan McDowell, and Drew McDowell; and sister, Eunice Stevens.
Services for Mr. Gebbs will be held at 11 AM on Tuesday, April 23, 2019 in the Chapel of Lemley Funeral Home. The family will receive friends at Lemley Funeral Home from 10 AM until service time on Tuesday, April 23, 2019. In Lieu of flowers, the family asks donations be made to the American Heart Association or to the First Baptist Church of Oneonta.
To send flowers or a memorial gift to the family of Donald Louis Gebbs please visit our Sympathy Store.
Ed comment:
When Don Gebbs showed in mid-season, of 1951, with the Bartlesville Pirates he was a “one of a kind.” He was the only lefty on the pitching staff. Bartlesville had some good right handers in Ronnie Kline and Donny Cochran but was short of portside help. The Harvey, Louisiana native had played a lot of amateur baseball in New Orleans and in the process had hurled a few no-hitters.
The early 1950’s wasn’t the best time to enter professional baseball and Gebbs was limited to brief appearances in the Evangeline league before Uncle Sam came calling. He didn’t play after the Korean War concluded.
One of the better photos in the book, “The KOM League Remembered,” is found on page 102. It is of Gebbs in his pitching form. He and his first wife attended some of the KOM league reunions before she passed away. For a few years nothing was heard from Gebbs. On Father’s Day of 2014 a call was received from the “new” Mrs. Gebbs and she inquired if it would be possible to meet her and Don at a local motel.
My wife sensing a good way to get me out of the house told me to go see them. They were traveling between Iowa and Alabama and gave me the honor to meet the new Mrs. Gebbs and the old Lefty. It was a pleasurable time together and we parted ways. Father’s Day of 2014 is the last time I have met face-to-face with a former KOM leaguer.
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Former Ponca City Dodger pitcher from Panoka, Alberta, Canada
The following link is for extra reading credit and will not be covered in the final exam which will be forthcoming and without warning. Anyone flunking the test will be required to remain on the mailing list for this report, indefinitely.
www.canadiancattlemen.ca/2010/08/09/ralph-vold-launchesth... Ralph Nassen “Whitey” Vold.—1952 Ponca City Dodgers.
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The Life of John H Gilbert Sr.-- www.remembermyjourney.com/Memorial/17783663
John H. Gilbert, Sr., 87, a longtime resident of Prospect Park, Pa., passed away peacefully on December 9, 2017 at Crozer-Keystone Hospice Residence at Taylor Hospital surrounded by his loving family. John was born in Glenolden, Pa., the son of the late George and Effie Gilbert. He was a resident of Prospect Park for over 60 years.
He was a 1949 graduate of the former Glen-Nor High School, where he was a star pitcher on the high school baseball team. He was signed to a professional baseball contract right out of high school with the Pittsburgh Pirates. His contract was sold to the Brooklyn Dodgers and he played AA baseball for them in Mobile, Alabama. He played pro-baseball from 1949 to 1953. John worked as a machinist for Gulf Oil for many years until his retirement.
He married his high school sweetheart, Joyce Kahlert, and they were married for 69 wonderful years. He will be remembered as a loving husband, father, grandfather, and great-grandfather, who was devoted to his family.
John is survived by his loving wife, Joyce; his sons, John Gilbert, Jr., Glenn K. (Laurie) Gilbert, and David (Patty) Gilbert; his four grandchildren; his three great-grandchildren; and his brother, George Gilbert.
His burial will be in Arlington Cemetery in Drexel Hill, Pa.
In lieu of flowers, contributions made in John's memory to Crozer-Keystone Hospice Residence at Taylor Hospital, 175 E. Chester Pike, Ridley Park, Pa. 19078 would be appreciated by his family.
Ed note:
Mr. Gilbert played in the Pittsburgh chain in 1949 at Keokuk, Iowa, Bartlesville, Okla. in 1950 and Butler, Penn. in 1951. He was then purchased by the Brooklyn Dodgers and spent three seasons at Asheville, N. C. in the Tri-State league.
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Death of another member of 1951 Bartlesville Pirates
In searching for the current status of a former KOM leaguer here is what was found.
RICHARD MICHAEL "DICK" SUTTER --Sep 9, 1930 - Nov 14, 2018
OKLAHOMA CITY— Sutter, Richard Michael "Dick:" 88, died Nov. 14. Private services (Mercer-Adams, Bethany). Share your memories of Richard Michael "Dick" Sutter on social media:
Ed comment:
From that terse obituary listing in the newspaper I decided to “Share my memories” regarding Richard Michael Sutter. He was born on 9/9/1930 Tulsa, OK. There are many stories about his baseball prowess as an American Legion pitcher going back to 1946. His Tulsa team took on the Mosier Tire company team, from Oklahoma City, in the Oklahoma State American Legion tournament and Sutter was the losing pitcher. The pitcher for the Oklahoma City was Tom Sturdivant. www.google.com/search?q=tom+sturdivant&oq=Tom+Sturdiv...
During the rest of his high school days at Will Rogers High School, in Tulsa, Sutter was a top flight American Legion hurler. In 1947 he wore #13 on his jersey and also “wore out” opposing batsmen by tossing three no-hitters. That year the Tulsa American Legion team went to the regional tournament at Davenport, Iowa where a perennial power from St. Louis, Mo., the Stockham Post team didn’t hit Sutter either. That St. Louis team had a second baseman who went to the National Baseball Hall of Fame. However, he went as a manager, not a player, and that was, Earl Weaver.
Just out of high school, Sutter married in 1948 and then entered professional baseball in 1949 with New Iberia, Louisiana and Tallahassee, Florida. He compiled a 7-18 combined record and was on his way to Class C the next year with Oil City, Penn. and Hutchinson, Kansas where he had a combined record of 5 wins and the same number of losses.
Then came 1951 and Sutter’s “big chance.” He was sent to the Bartlesville Pirates and it was loaded with pitching, mostly right handers. In nine appearances he won five and lost three and had was in the top 10 in earned run average. His career appeared to be on track for advancement but along came the Korean War and at the age of 21 he was in more demand by Uncle Sam than he was by organized baseball.
For the record he pronounced his last name as “Sutt-er” not like Bruce of big league fame who pronounces his as “Suit-er.”
To see a photo of Dick Sutter there is one in “The KOM League Remembered” book published by Arcadia. It is located on page 107 and he is in the back row, second from far right wearing a big smile and spectacles.
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Trivia found in many sources
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Nicholas Louis Najjar. Played for two KOM league teams from 1946-48 and umpired in the KOM league in 1950. Until this past week I only had his middle initial on my database. Nick was a real interesting guy and he and his wife Anne were the last people to travel the Central Artery in Boston. It was once known as the “Highway in the Sky.” To prove Nick wasn’t kidding me back in 2003 and to let the readers know that “some” effort was put forth in preparing this report here is the story. archive.boston.com/news/local/articles/2003/12/21/drivers...
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Norbert Bauers—Pitched briefly for the Blackwell, Okla. Broncos in 1952. Later became a Police Captain for Broward County, Florida out of Ft. Lauderdale. - Biggest headline of his police career was when he ran over a black panther on the Alligator Alley, in the dead of night. Bauers was a Pittsburgh, Pa. native but lived many years in Clover and Wagram, North Carolina.
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John Michael Roth—Ponca City. Signed by Bert Wells off the Holdrege, Nebraska amateur team. He was born April 12, 1934 making him being one of the youngest former KOM leaguers known to mankind. His questionnaire sent to Bill Weiss had been typed and they erroneously listed his place of birth as Aurora, Illinois. That was half right. He was born in same town but in Colorado.
Roth was the subject of a Sporting News article in late 1952 which stated there were two John Roth’s on the same Ponca City team. That wasn’t the case. I discussed that with John Michael Roth and my old friend and book editor (Majoring in The Minors), Bob Dellinger and they have convinced me there was only one Roth on that club. Dellinger was the long time sports editor of the Ponca City News before taking up his position at the Oklahoma City Oklahoman. He was also one of the prime movers to establish the wrestling hall of fame in Stillwater, Oklahoma.
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Finally, figured it out.—Donald Wagner.
For a third of my life, time and effort (very little) has been expended in an attempt to identify a name on my Bartlesville 1948 database -- Don Wagner. He was a “one game wonder” for that team.
In recent days, with the help of the U. S. Baseball Questionnaires, I began looking at some clues and figured out the person was Donald Theodore Wagner who was born Dec. 30, 1928 in Flint, Michigan.
Following a short-lived KOM league career Wagner was headed to Santa Rosa, California where he had a good year as a rookie joining with another rookie by the name of Vernon Law. www.google.com/search?q=vernon+law+baseball&oq=Vernon...
In 1949 Wagner was sent back east to Hutchinson, Kansas of the Western Association and when that didn’t work out he was back in Class D ball with Mt. Vernon, Ill. of the Mississippi-Ohio Valley league. At the mid-point of the 20th century Wagner was playing at Yuma, Arizona and in 1951 split his time between the Yuma and El Centro, Calif. clubs. By that time he had established his residence in Laverne, California and stayed in that state until passing away on March 14, 2004 in San Bernardino.
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Article from a loyal follower of this report
I thought you'd be interested in this minor league baseball article I wrote for Oklahoma Today magazine.
www.oklahomatoday.com/history-culture/diamond-dogs
I hope all is well. Greg Echlin
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Former KOM leaguers who still are a mystery:
For lack of evidence to the contrary I still believe some former KOM leaguers are still living. Any help in contacting these guys would be welcomed or in the case of death where they were living at the time.
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Salvatore John Campagna.—Born Nov. 21, 1931 in Omaha, Nebraska. He was a third baseman for the 1950 Bartlesville, Okla. Pirates. He was living in San Carlos, California by 1953 and my best efforts at being a bloodhound leads me to think he is still in that neck of the woods, assuming they have any trees. San Mateo might be where he pitches his tent these days.
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Willis Frank Carruth Jr. was born September 22, 1922 in Bosqueville, Texas. He has lived in a number of towns in the Lone Star State, the last one being McKinney. However, every attempt at locating him, over the past quarter century, has failed to generate any response. He was a member of the 1948 Bartlesville Pirates.
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William R. Waggener—Born 10/20/1923 in Beardstown, Illinois. He joined the Army on June 6, 1942. After WW II he was signed by the St. Louis Browns and sent to Pittsburg, Kansas. He played for both Pittsburg and Bartlesville in 1946 and then was with Bartlesville once again, in 1947.
Until recently his middle name was just “R” to me. In looking at the U. S. Baseball Questionnaires it revealed his middle name is Ruel. In searching the Internet for Ruel Waggener it was learned that was his father’s first name. When the elder Waggener passed away, in the 1980’s, his obituary listed a son, Ruel, as living in Peoria. Thus, I’m confident William Ruel Waggener is in a Peoria Nursing home and is pressing the century mark in regard to birthdays.
•
James Parker Williams was a pitcher in the Pittsburgh Pirate chain starting in 1949. For a short time in 1950, he was with the Bartlesville Pirates. He was listed as being from McRae, Arkansas in the Bartlesville papers. He was born January 3, 1931. He is either living or the Social Security Number I have on file for him is incorrect. This fellow has been a real enigma for me and conferring with “real” baseball historians has not led me any closer to determining his whereabouts or fate.
•
Donald Anthony Bussan was born June 13, 1931 in Jersey City, New Jersey to parents with the last name of Bussanich. He played for the 1951 Bartlesville Pirates and passed away on June 28, 2002. He had received his Social Security card in California but his place of death has eluded me.
Bussan played at Eugene, Oregon as well as Bartlesville in 1951. He played at Brunswick, Georgia in 1952 and then took some time off to serve in the Army. He came back to professional baseball in 1954 and played for Lubbock, Texas. In 1955 he left for the “Land of the Rising Sun. He played for the Tombo Unions in the Japanese Pacific league where he was a .220 hitter but tied for the team lead in homers with two other players by hitting six.
Well, that is a quick summary of some questions still bugging me about former KOM leaguers. If anyone wants to chime in feel free so to do.
______________________________________________________________________________
The passing of John David Mudd—Carthage Cubs 1951.
B. 4/22/1932—D. 6/16/2019
This note was sent to some of the surviving members of the 1951 Carthage Cubs
“Guys, I was trolling this Internet this afternoon and was shocked to find the notice of the death of your old teammate, John Mudd. I was going to send along his obituary but this is all I could find. www.dignitymemorial.com/zh-cn/obituaries/mesa-az/john-mud...
For some reason the lack of detail doesn't surprise me. Hope the rest of you are doing well. Kathy, I don't know if sharing this with Leonard would mean anything to him or not. Anyway, wanted to let all the known living 1951 Carthage Cubs, with whom I have contact, know about Mudd.”
The living members of the 1951 Carthage Cubs are: Don Biebel, Fred Bade, Bernie Tomicki, Jim Conroy, Wayne Baker, Dick Gintert, Orville Jacobs, Bill Eastburn, Leonard Vandehey, Walt Babcock and Len Bourdet. From that list I have regular to sporadic contact with five of them. I heard from two of them regarding Mudd’s passing.
•
Walt Babcock’s reply:
JOHN, I LOOKED UP JOHN ONCE WHILE I LIVED IN CHICAGO. NEVER DID AGAIN.
Don Biebel’s reply:
Thanks John, sorry to hear this, I loved John as did all of his teammates. My condolences to his family.
A short time later:
John: just a follow up to let you Biebel is hanging in there. Feeling good with the exception. Of a severe case of neuropathy in my feet and hands. Walk around like a drunk trying to stay on my feet. Had to give up golf but I keep busy. I collect cigar bands now and have over 57,000 in my collection. Yeah, I turned into a nerd. Hope you're well and even though you don’t hear from me I love your updates and look forward to seeing them although there is far too many obits these days. Take care, John and thanks again for the info on John (Mudd)
Ed reply:
Good hearing from you. In the last few days I have read a lot about your high school days with Billy Hoeft. That game where he struck out every batter must have been quite an experience. Of course, you had to be responsible for calling such a good game.
Do you have any special memories from that game? I read where the Detroit Tigers were after you as well.
Nothing wrong with being a nerd. Always good hearing from you.
Biebel’s reply:
Yeah the Tigers wanted to sign me for 51 and I was not about to wait until then. Wanted to get my feet wet right away. The Hoeft game was something else and it was against a pretty good team but he was something else. www.google.com/search?q=billy+hoeft+baseball&oq=Billy...
We ended up together again when he joined the Cubs in 64 or 65. Did you know my senior class in HS had three us make the majors, Bill as a pitcher, me as an official and Dutch Rennert as an umpire? Take care John and keep doing what you're doing you're loved
Ed reply:
Now that you mention it I do recall your telling me about Rennert.
Just think how your journey in life would have been changed had you signed with the Tigers. For sure you would have missed the bright lights of Carthage and the "dim bulb" batboy who fetched the drinking cup from the bottom of the water pail.
Closing remarks:
John Mudd was a graduate of Lane Technical High School in Chicago. He was not only a good pitcher but he was a magnate to a few of the Carthage “bobby soxer’s” and some of my buddies who admired his baseball smarts. This note came from one of my “bestest” friends. “Johnny: Johnny Mudd was very kind to us as kids, spent quite a bit of time talking to us. Somewhere, probably in a very old shoe box, I have a picture of him at Muny Park. If I ever find it I will send it to you. Thanks for telling me about his passing. One of my early Class D heroes -- and you know what? They meant as much as most of the big leaguers I've met. -- Corky Simpson
P.S. I once interviewed ____ _____ in the ______ clubhouse. He was naked and eating linguine. True story. Other players came and went as if, heck, nothing strange about this. Truth be told, the clubhouse is THEIR house and if you're there, you're a guest, a visitor or a trespasser. But they can be gross, just the same.”
Ed comment:
Just to protect my friend I expunged the name of the famous guy and the team he represented who ate in the nude during an interview. I read that note to my wife and her remark was “There is something wrong with that guy.” My wife never met the guy, but I have. I think my wife was spot on in her remark.
John Mudd was another of those guys who had it before his military service and not after it concluded. He was 14-8 at both Carthage and Sioux Falls, SD in 1951-52. He then went into to service and pitched for Ft. Chaffee, Ark. during 1953-54. After returning to professional baseball he pitched in the Sally, Three-I and Pioneer leagues in 1955-56 and compiled a 10-12 record before returning to his native Chicago and working many years for the city. In his latter years he moved to Arizona.
_____________________________________________________________________________
Well, sports fans it’s time to bring another “action packed” edition of the KOM League Flash Report to a conclusion. Yes, it will retain that title due to the “great outpouring” of support for it to not got through a name change. Great outpouring, in this instance was 1%. That is how many of the readers cast their vote for either change or retain the status quo. That kind of “support” has and will cause many in the presidential sweepstakes for 2020 to step aside. Do you think maybe the readership is sending along a message?
Despite suffering from being confined to really bad journalism beyond what any normal person could imagine, {Reporter X} has, for this one shining, glorious moment, overcome their handicap, pluckily proving that the miracle of Bingo Cards really can make a difference if they're just determined enough!
Wikipedia reports that the mosque was built on reclaimed land, with almost half of the surface of the mosque extending over the waters of the Atlantic. This was reportedly inspired by the verse of the Qur'an which says that "the throne of God was built on the water". Part of floor is glass so that worshippers can realize that they are kneeling directly over the sea.
The mosque was built to withstand earthquakes and has a heated floor, electric doors, and a sliding roof. It displays strong Moorish influence and the architecture of the building is similar to that of the Alhambra and the Mezquita in Spain.
Source: Wikipedia
Working The 0Z30 07.08 Oxwellmains Lafarge Colas To Rugby
Oxwellmains Lafarge Colas 07.08 . 07.07 1E
Oxwellmains Crossover 07.21 1/2 To 07.25 1/2 No Report
Innerwick G.S.P. 07.30 . 07.29 RT
Cockburnpath 07.32 . 07.31 RT
Grantshouse 07.37 . 07.35 2E
Reston 07.43 . 07.40 3E
Reston 07.44 . 07.40 1/2 3E
Burnmouth 07.49 . 07.44 3/4 3E
Reston Signal Eg402 07.51 . 07.47 4E
Berwick-upon-Tweed 07.54 . 07.49 3/4 4E
Tweedmouth S.B. 07.55 . 07.50 3/4 4E
Beal L.C. 08.01 No Report
Crag Mill Loop 08.07 1/2 No Report
Belford L.C. 08.09 . 08.02 1/2 6E
Chathill 08.13 1/2 . 08.07 6E
Chathill Apco 08.13 1/2 No Report
Little Mill Lc 08.19 . 08.12 3/4 5E
Alnmouth 08.22 1/2 . 08.17 5E
Wooden Gate Jn 08.23 1/2 . 08.17 1/2 5E
Acklington 08.28 . 08.22 1/4 5E
Chevington Loop 08.30 . 08.24 5E
Widdrington 08.32 1/2 . 08.26 3/4 5E
Butterwell Jn 08.34 1/2 . 08.28 1/2 5E
Pegswood 08.36 1/2 . 08.31 1/4 5E
Morpeth North Jn 08.37 1/2 . 08.32 1/2 4E
Morpeth Loop 08.39 1/2 To 08.44 1/2 No Report
Morpeth 08.46 1/2 . 08.45 1/4 1E
Cramlington 08.52 . 08.51 1E
Benton Nth Jn 08.57 . 08.56 RT
Heaton North Jn 08.58 . 08.57 1/4 RT
Heaton Sth. Jn 08.59 . 08.59 1/4 RT
Manors 09.01 . 09.01 1/4 RT
Newcastle [NCL] 09.02 1/2 To 09.19 1/2 09.03 . 09.22 1/2 3L
King Edward Bridge N. Jn 09.21 . 09.24 1/4 3L
King Edward Bridge S. Jn 09.21 1/2 . 09.24 1/2 3L
Low Fell Jn 09.23 1/2 . 09.26 3/4 3L
Birtley Jn 09.25 1/2 . 09.28 1/2 3L
Chester-le-Street 09.28 1/2 . 09.31 1/2 3L
Durham 09.33 . 09.37 4L
Tursdale Jn 09.39 . 09.43 1/2 4L
Ferryhill Sth. Jn 09.41 . 09.46 5L
Bradbury Apco 09.43 1/2 No Report
Aycliffe 09.47 No Report
Darlington North Jn 09.51 . 09.59 1/4 8L
Darlington [DAR] 09.52 To 10.20 1/2 09.59 1/2 . 10.25 4L
Darlington South Jn 10.21 1/2 . 10.25 3/4 4L
East Cowton Xovers 10.26 1/2 No Report
Northallerton 10.33 . 10.39 6L
Longlands Jn 10.34 1/2 . 10.40 5L
Thirsk 10.41 1/2 . 10.47 3/4 6L
Pilmoor 10.48 . 10.54 1/2 6L
Tollerton Jn 10.53 1/2 . 11.00 1/4 6L
Skelton Bridge Jn 11.00 1/2 . 11.10 9L
Skelton Jn (York) 11.03 1/2 . 11.12 3/4 9L
York [YRK] 11.06 1/2 To 11.17 1/2 Pass 11.16 1/4 1E
York Holgate Jcn 11.18 1/2 . 11.17 1/4 1E
Colton North Jn 11.22 1/2 . 11.21 1E
Colton Jn 11.23 1/2 . 11.21 1/2 1E
Hambleton North Jn 11.30 . 11.28 3/4 1E
Hambleton South Jn 11.30 1/2 . 11.29 1/2 1E
Temple Hirst Jn 11.34 1/2 . 11.36 3/4 2L
Joan Croft Jn 11.41 1/2 . 11.44 3/4 3L
Shaftholme Jn 11.42 . 11.45 1/4 3L
Arksey Loop 11.44 1/2 . 11.48 1/4 4L
Donc. Marshgate Jn 11.46 . 11.50 1/2 4L
Doncaster 11.46 1/2 . 11.52 1/2 6L
St James Jn 11.47 1/2 . 11.54 1/4 6L
Hexthorpe Jn 11.50 1/2 . 11.56 1/4 5L
Conisbrough 11.53 . 11.59 3/4 6L
Mexborough 11.55 1/2 . 12.03 1/2 8L
Swinton (South Yorkshire) 11.56 1/2 No Report
Aldwarke Jn 11.59 No Report
Thrybergh Jn 11.59 1/2 . 12.07 1/2 8L
Aldwarke Jn 12.00 1/2 . 12.09 8L
Masborough Jn 12.05 1/2 . 12.13 7L
Masbro S.S. Jn 12.07 1/2 No Report
Canklow Loop 12.08 1/2 No Report
Treeton Jn 12.10 . 12.16 3/4 6L
Beighton Jn 12.14 1/2 . 12.20 5L
Renishaw Park (Flhh) 12.19 1/2 . 12.24 1/4 4L
Foxlow Jn 12.21 . 12.25 1/4 4L
Barrow Hill North Jn 12.22 1/2 . 12.26 1/2 4L
Barrow Hill South Jn 12.23 1/2 . 12.27 1/4 3L
Tapton Jn 12.26 1/2 No Report
Chesterfield 12.28 1/2 . 12.30 1L
Chesterfield South Jn 12.29 1/2 . 12.31 1L
Hasland 12.30 1/2 . 12.31 1/2 1L
Clay Cross North Jn 12.32 . 12.33 1/4 1L
Morton 12.36 . 12.37 1L
Blackwell South Jn (Derbs) 12.38 . 12.39 1/2 1L
Alfreton 12.39 . 12.40 1/4 1L
Ironville Junction 12.42 . 12.44 2L
Codnor Park Jn 12.42 1/2 . 12.44 1/2 2L
Langley Mill 12.45 1/2 . 12.48 3/4 3L
Ilkeston 12.51 . 12.53 1/2 2L
Ilkeston Junction 12.52 1/2 . 12.54 3/4 2L
Trowell Jn 12.53 1/2 . 12.55 1L
Stapleford & Sandiacre 12.57 1/2 . 12.58 1/4 RT
Toton Centre 12.58 1/2 . 12.59 1/4 RT
Toton Jn 12.59 1/2 . 13.00 RT
Long Eaton Town X 13.00 1/2 . 13.00 3/4 RT
Trent East Jn 13.02 . 13.02 1/2 RT
Trent South Jn 13.03 . 13.03 3/4 RT
Ratcliffe Jn 13.03 1/2 . 13.05 1/4 1L
East Midlands Parkway 13.04 . 13.05 1/2 1L
Kegworth 13.05 1/2 . 13.07 1/4 1L
Loughborough North Jn 13.09 1/2 . 13.11 1L
Loughborough 13.10 . 13.11 1/2 1L
Loughborough South Jn 13.10 1/2 . 13.11 3/4 1L
Barrow upon Soar 13.13 . 13.14 RT
Mountsorrel Gbrf 13.14 . 13.14 1/2 RT
Sileby Jn 13.15 . 13.15 1/2 RT
Sileby 13.15 1/2 . 13.15 1/2 RT
Syston North Jn 13.17 1/2 . 13.19 1/4 1L
Syston South Jn 13.18 . 13.19 1/2 1L
Syston 13.18 . 13.19 1/2 1L
Humberstone Rd Jn 13.23 . 13.23 1/4 RT
Leicester North Jn 13.24 . 13.25 1L
Leicester 13.24 1/2 . 13.25 3/4 1L
Leicester South Jn 13.25 . 13.26 3/4 1L
Knighton Jn 13.26 . 13.27 3/4 1L
Wigston North Jn 13.28 . 13.29 3/4 1L
South Wigston 13.29 . 13.31 2L
Glen Parva Jn 13.29 . 13.31 1/4 2L
Narborough 13.33 1/2 . 13.34 3/4 1L
Croft 13.36 . 13.36 3/4 RT
Hinckley 13.45 . 13.45 1/4 RT
Nuneaton South Jn 13.49 . 13.55 1/4 6L
Nuneaton [NUN] 13.50 To 13.55 13.52 1/4 . 13.54 3/4 RT
Nuneaton Sig NI9550 13.56 1/2 To 14.01 1/2 No Report
Nuneaton 14.04 . 13.56 8E
Nuneaton South Jn 14.04 1/2 No Report
Attleborough North Jn 14.05 1/2 No Report
Attleborough South Jn 14.06 . 13.56 1/4 9E
Shilton 14.10 . 14.01 1/4 8E
Brinklow 14.13 1/2 . 14.05 8E
High Oaks Junction 14.16 . 14.08 7E
Newbold Junction 14.17 . 14.08 3/4 8E
Rugby Trent Valley Jn 14.18 . 14.10 1/4 7E
Rugby North Junction 14.18 1/2 . 14.11 7E
Rugby [RUG] 14.20 . 14.12 7E
Seen it got it got the T-shirt a bit of touch of class on the 2/2A for once and a fine vehicle today seen here in Sunderland making an odd apperarance on Simplicity Service 2 to Washington in place of an Optare Versa
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www.scpr.org/programs/patt-morrison/2011/04/12/tentative-...
www.michiganautolaw.com/auto-lawyers-blog/2010/07/13/new-...
dgriffinlaw.com/ri-dui-traffic-stop-guide-defend/
www.univision.com/noticias/racismo/hey-siri-me-estan-dete...
patch.com/california/temecula/temeculas-10-most-accident-...
www.billsbills.com/blog/be-careful-when-using-credit-card...
www.thetrafficticketattorneys.com/blog/avoid-a-speeding-t...
www.cityofgloversville.com/what-you-can-do-to-increase-yo...
www.trafficticketoffice.com/tips-fight-traffic-ticket/
www.ambridgelaw.com/en/must-know/toronto-traffic-tickets/
usa.streetsblog.org/2019/10/16/new-app-helps-to-slow-down...
www.kellycardonlaw.com/legal-services/criminal-law/
www.onlyinyourstate.com/southern-california/awkward-momen...
awesomelytechie.com/dui-electronics-law/
washingtonmonthly.com/magazine/september-october-2018/do-...
medium.com/@boisterousblackness/traffic-tickets-systemati...
www.facebook.com/wedefendcalgary/photos/675796959197965
delajusticia.com/2007/10/26/de-excusas-extravagantes-por-...
www.kuettnerlegal.com/2017/09/25/cheese-it-the-cops-polic...
creditscorekeys.com/be-careful-when-using-credit-cards-to...
offtherecord.com/blog/how-to-get-a-speeding-ticket-off-yo...
www.faleslaw.com/textalyzer-make-roads-safer.html
chs-law.com/getting-rid-of-traffic-tickets-in-bankruptcy/
garagem360.com.br/leis-de-transito-mais-estranhas/
daneshha.akairan.com/maghalat-persia/etlatoomoomi/news201...
www.dailykos.com/stories/2017/4/3/1649863/-What-Should-Co...
Mingle Media TV and Red Carpet Report host Tamara Krinsky were invited to cover the ABC Family "The Fosters" Season 2 Set Visit and Press Junket at Warner Brothers Studio in Burbank.
"The Fosters" Return Monday, June 16 at 9 PM on ABC Family.
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The Fosters is a compelling, one-hour drama about a multi-ethnic family mix of foster and biological kids being raised by two moms. Stef Foster, a dedicated police officer, and her partner Lena Adams, a school vice principal, have built a close-knit, loving family with Stef's biological son from a previous marriage, Brandon, and their adopted twins, Mariana and Jesus. Their lives are disrupted in unexpected ways when Lena meets Callie, a hardened teen with an abusive past who has spent her life in and out of foster homes. Lena and Stef welcome Callie and her brother, Jude, into their home thinking it's just for a few weeks, until a more permanent placement can be found. But life has something else in store for the Fosters.
The series stars Teri Polo as Stef, Sherri Saum as Lena, Jake T. Austin as Jesus, Hayden Byerly as Jude, David Lambert as Brandon, Maia Mitchell as Callie, Danny Nucci as Mike, and Cierra Ramirez as Mariana. From executive producer Jennifer Lopez and created by Bradley Bredeweg and Peter Paige ("Queer As Folk"), who will also serve as writers and executive producers comes The Fosters.
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The KOM League
Flash Report
for
Friday, November 13, 2020
For those who care, this Flash Report is accessible by going to: www.flickr.com/photos/60428361@N07/50597060261/
In a note shared with a few readers on November 12 the following statement was made. “Can you imagine having a Friday 13th in the year 2020? I’m optimistic and believing it will not be a bad omen—Amen?” That message elicited many responses. However, around 5:00 a. m. a message was received from a faithful reader that stated “Charlie Pride RIP.” That was news to the old batboy and this response was sent in response to that terse e-mail. “He and Mickey Mantle used to run around together in Dallas. Mickey's mother-in-law told him she'd like to meet Charlie. Mrs. Johnson told me that around two in the morning, shortly thereafter, Mickey came into her bedroom and announced that Pride was in the living room and to get out of bed and meet him.”
Since it was now Friday the 13th a decision was made to look further into the Charlie Pride story and as a result this message was sent to the person apprising me of Pride’s passing.
“Charlie's death has been greatly exaggerated. He is not dead nor doth he sleep in Biblical jargon” www.wideopencountry.com/charley-pride-death-hoax/
With that rumor out of the way it might bode well that this Friday the 13th will be a great day.
_____________________________________________________________________________
A great loss
In the October 18, 2020 edition of this publication the following paragraph concluded that report. “This publication regrettably carries the news of many deaths. Someone who has read this and other KOM league publication since their inception is now facing the end of their days. That person happens to have known me longer than anyone currently living. It has become my task, duty, honor or whatever to write that person’s obituary. It is a difficult assignment to reduce to a few paragraphs the scope of a life that has now reached 85 years and if the Good Lord permits will be 86 within the next five weeks.”
On Halloween the person mentioned in the previous paragraph left this world for a much better place. The obituary along with a picture of the deceased is carried on this link: www.knellmortuary.com/obituaries/Janice-Elaine-Pinter?obI...
If you availed yourself of perusing that link you will know that the deceased was the sister of this here guy writing the story. But, there is more to the story. Very few people had as much confidence in the KOM league publications than the deceased. When it was opined the writing effort should come to an end my sister would always have a reason why that shouldn’t happen. On one occasion her opinion was that her little brother did more good befriending the old ballplayers and helping them than he ever did in the various churches he pastored. After thinking over that observation for a little while the little brother concurred.
It was always “Little Brother’s” idea that something would cause the KOM league reports to come to a merciful end if not by death but due to another happenstance. When my sister departed, although she hadn’t read any of the material for a few years, the first inclination was that now was the time to shut it down.
A coincidence?
On the same day of the death of Janice Pinter a letter was penned by a long time reader. It didn’t reach the “KOM League Office and Dusty Baseball Register Archives” until November 2. The letter, which was sent in place of an e-mail, had some things that are direct quotes. “A strong suggestion—quit attempting to stop writing. It is not possible to stop.”
Since the aforementioned came from a guy calling himself “Ol Clark” it was necessary to keep reading. Bill Clark is the real name and he has been around the sports world and the actual world many times. He is a living storehouse of great stories which he promises he’s going to share with the world in the form of three books. This writer is dubious that three will be sufficient.
Much of Clark’s baseball archives were destroyed in a fire, two years ago, but I’m sure much of that remains in his total recall memory bank. So, I await his upcoming literary works as much as pondering what to do about continuation of these reports. However, a constant reminder will be ever present. Clark concluded his remarks by stating “So—writers write even when no one reads them.” And for clinchers he said “No charge for the sermon.”
______________________________________________________________________________
In the spirit of the times
With the spread of the Chinese plague one is always concerned about the elderly and those with immune deficient conditions. As readers are aware most of the former KOM leaguers are either at least 90 or are so close to it they can see it on the horizon.
At the start of 2020, the top five oldest living former KOM leaguers included Nicholas Timothy Kucher. In going through the listing of Nick or Nicholas Kucher’s, who passed away, there wasn’t anything located in an obituary listing. On a whim his name was entered into Ancestry.com and there was a Find-A-Grave citation for the former KOM leaguer. www.findagrave.com/memorial/214613060/nicholas-kucher
At that juncture an even more concentrated effort was made to find an obituary for the former Ponca City Dodger was undertaken. Even the standby source, Jack Morris, couldn’t locate one either. At that point Morris was advised that an attempt would be made to come up with some information on the deceased.
Nicholas Timothy Kucher was born November 1, 1924 in New York City to Alex and Mary Kucher who were Polish immigrants. On his Sporting News card the word “Ukrainian” is typed on the top of that document as shown here. digital.la84.org/digital/collection/p17103coll3/id/112856...
Upon reaching the age of 18 he signed up for the draft and was listed as living at 315 E. 9th St. in New York and was employed by the Baker and Taylor Company at 55 5th Avenue. He filled out his card as being 6’ and weighing 170 with a scar on his left forehead. It would not have been possible for him to call his employer to report being unable to come to work, for any reason, since the family didn’t own a telephone.
Upon reporting to Ponca City in late April of 1947 this profile was shared under the heading “Meet the Dodgers.” Nick Kucher—is an outfielder, 22 years old and played his first competitive baseball with the Seward Park high school in his home town, New York city. A first baseman in prep school, he worked both the initial sack and the outfield with a semi-pro club last season (1946). He served three years in the marines, including duty at Okinawa and Saipan, and was discharged in 1945. He stands an even 6 feet, weight 172 pound and is single. A lefthanded batter and thrower, Kucher trained at Thomasville, N. C. this spring.”
What led to Kucher coming to Ponca City is contained in this late April, 1947 edition of the Ponca City News. “…Business Manager Owen Martinez announced the trade of George Schneider, 18-year-old New York city lad who has been here since last weekend, for Nick Kucher of the class C Three Rivers, Quebec, club. Schneider left Ponca City by plane in an effort to arrive at Three Rivers in time for the Canadian-American league’s opening game today. Kucher is due here this weekend.”
Upon Kucher’s arrival the KOM league season had not commenced but the Ponca City club was playing exhibition contests around the area. The first game he ever saw was from the bench as his new team was playing the Oklahoma A & M Agvets at Stillwater. This was long before that school was known as the Oklahoma State Cowboys. The Ponca City News reported “Nick Kucher, an outfielder who came in last weekend from Thomasville, N. C., on a trade with Three Rivers, Quebec was on the bench at Stillwater with a sprained ankle will probably be out of play a week, his doctor says.”
When the KOM league season began Kucher was in the outfield playing both right and centerfield but not at the same time. In his first nine games he hit nearly .300 but by his 18th contest his average slipped to the .200 level and his baseball days in the KOM league were history. In a long ago conversation with Kucher he blamed the bad ankle for his not being able to perform at the level he wanted.
Not long after leaving Ponca City Kucher returned to New York and married Anne Zatowsky on January 16, 1948. They lived happily ever after until her death in 2017. When this source communicated with the Kucher’s they lived in East Northport, New York at 154 Cedar Road. They later moved to Commack, New York. I believe that Nick even lived in Scottsdale, Arizona for a time in his later years.
It can’t be determined the day and month Kucher passed away but it was in 2020. Thus, he was either 95-96 when St. Peter came calling.
The ninety two year-old penny
Most of what is contained in this article came from scrapbooks kept by a young female fan of the 1946-48-49 and 1950 Ponca City Dodgers. It is my belief she fell in and out of love with someone on each of those teams. Her scrapbooks followed her to California where they were kept for over 60 years before she finally contacted Gale Wade and offered them to him. Wade, who had played at Ponca City in 1947 and 48, didn’t want those items and suggested she get in touch with a fellow who writes about the KOM league.
In those scrapbooks are hundreds of photos of Ponca City and other KOM league players that included future big leaguers Jim Baxes, Chris Kitsos, Gale Wade and former Dodger Boyd Bartley. The scrapbooks featured many social events such as picnics. Most every box score of Ponca City home games is in those scrapbooks along with a comment about the game inserted by the “keeper of the scrapbooks.” In some places a memento of a game or from a social gathering was included.
For over a decade Yours truly has looked at those scrapbooks, from time to time. One item placed under a box score was a penny scotch taped thereto. It dawned on me, in looking at that page, to decipher the number of games in which Nick Kucher played, that the tape was still holding the penny in place. Peeling back the taped it was a bit exciting to anticipate the date on the penny knowing it had to have been minted in 1947 or earlier. What was on the front of the Lincoln head—wheat ear coin was “1928-D.” On top of that it was in good condition. At the time it was placed in the scrapbook it was only 19 years old.
So, I guess I could offer that penny to some reader for their thoughts. Do I have to say “A penny for your thoughts?”
Who remains?
When a former KOM leaguer passes away a quick check is made to see how many of his teammates remain. As of this moment I believe the list includes: William Skeen, Dale Hendricks, George Fisher, Larry Tarbell and Gale Wade. Robert Clark Taylor and Phillip Adams were never located although there is a high level of suspicion where they currently reside.
In reviewing the list of the members of the 1947 Ponca City Dodgers who were once contacted and then nothing being heard from or about them in a long time included John Dominic Ferluga and Donald Andrew Tisnerat.
John Ferluga was a native of Seattle, Washington born 10/28/1926. He graduated from Queen Ann High School in 1946 and was the opening day hurler for the 1947 Ponca City Dodgers. That was the only game in which he played with them. There has never been an obituary located for him but a listing from his high school alumni publication shows he passed away on 2/13/2017 in Renton, WA.
Donald Andrew Tisnerat was born 4/14/1927 in Long Beach, CA . He also pitched for the 1947 Ponca City Club. He had graduated from David Starr Jordan high school in Long Beach and served in the U. S. Navy during WW II. He lived in a number of places and when this source contacted him a couple of decades ago he was living in Las Vegas, NV. That is where he passed away on 6/29/2014. He was buried at the Riverside National Cemetery in Riverside, CA. That is a spectacular and somber place. en.wikipedia.org/wiki/Riverside_National_Cemetery
Spielberg movie posters - Minority Report
Close Encounters of the Third Kind - 1977
E.T. The Extra-Terrestrial - 1982
Minority Report - 2002
Wikipedia reports, "A nymph (Greek: νύμφη, nymphē) in Greek mythology and in Latin mythology is a minor female nature deity typically associated with a particular location or landform. Different from goddesses, nymphs are generally regarded as divine spirits who animate nature, and are usually depicted as beautiful, young nubile maidens who love to dance and sing; their amorous freedom sets them apart from the restricted and chaste wives and daughters of the Greek polis. They are believed to dwell in mountains and groves, by springs and rivers, and also in trees and in valleys and cool grottoes." And in sea caves! - en.wikipedia.org/wiki/Nymph
New JOHHNY RANGER MCCOY Instagram! instagram.com/45surf
Welcome to your epic hero's journey! The beautiful 45surf goddess hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Journey Mythology. I wouldn't be saying it if it hadn't happened to me.
PRETTY! Canon 5D Mark II Photos of Beautiful Blonde Swimsuit Bikini (Green One Piece Swimsuit!) Model Goddess with Pretty Blue Eyes in a Sea Cave !
Some video of the goddess:
She was tall, thin, fit, and very pretty with long, blonde hair and blue eyes! From Sweden!
The Canon EOS 5D Mark II EF 24-105/4L IS USM was my workhorse until I got the Nikon D800 & D800E with the 70-200 mm 2.8 VR2 zoom.
Canon, Nikon, you can't go wrong with the pretty 45surf model goddesses! (Though the D800 is my new love.)
May the goddess inspire ye along a hero's journey of yer own making, and the path of yer own taking.
Was a classic socal autumn morning with a bright, blue, sunny sky! Hope the photos make you feel like you were there! :)
May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 5.3 ! :)
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A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
A Gold 45 Goddess guards the wisdom of dx4/dt=ic -- my physics theory which appears on all the 45surf clothes. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
May the Hero's Journey Mythology Goddess inspire you (as they have inspired me!) along your own artistic journey! All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy! Catch those photons as they surf the fourth expanding dimension!
Watch the live stream... then watch for our coverage after the event is over including photos from the red carpet! Plus we will be screening the movie and will have our #NoSpoiler review before the release of the film too.
Tune in to Marvel Studios’ “Ant-Man and The Wasp” World Premiere live-stream starting at 8:30 p.m. ET / 5:30 p.m. PT on Facebook or Marvel.com
Who to watch for during the red carpet premiere...
From the Film: Paul Rudd, Evangeline Lilly, Michael Douglas, Michelle Pfeiffer, Laurence Fishburne, Judy Greer, Tip “T.I.” Harris, David Dastmalchian, Hannah John-Kamen, Abby Ryder Fortson, Randall Park, Benjamin Byron Davis, Divian Ladwa; Peyton Reed (director), Kevin Feige, Stephen Broussard (producers); Louis D’Esposito, Victoria Alonso, Charles Newirth (executive producers); Chris McKenna, Erik Sommers, Andrew Barrer, Gabriel Ferrari (screenwriters)
Special Guests: David Hasselhoff, Shaun Toub, Tim Heidecker, Ty Simpkins, Frankie Valli, Gregg Turkington, Rune Temte, RaeLynn Bratten, Karen Gillan, Tony Gonzalez, October Gonzalez, Sean Gunn, Brian Huskey, Keegan-Michael Key, Sean Kleier, Madeleine McGraw, Algenis Perez Soto, Michael Rooker, Joss Whedon, Ian Chen, Meg Donnelly, Forrest Wheeler, Paxton Booth, Dakota Lotus, Rebecca Metz, Olivia Sanabia, Albert Tsai, Ruby Rose Turner, Nikohl Boosheri, Ian Verdun, Gabrielle Lewis, Simone Missick, Aubrey Joseph, Emma Lahana, Miles Mussenden, Andrea Roth, Christie Lynn Smith, John Fortson, Joshua Fortson
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Marvel Studios’ “ANT-MAN AND THE WASP” is rated PG-13 and opens in U.S. theaters on July 6, 2018
About Ant-Man and The Wasp
From the Marvel Cinematic Universe comes “Ant-Man and The Wasp,” a new chapter featuring heroes with the astonishing ability to shrink. In the aftermath of “Captain America: Civil War,” Scott Lang grapples with the consequences of his choices as both a Super Hero and a father. As he struggles to rebalance his home life with his responsibilities as Ant-Man, he’s confronted by Hope van Dyne and Dr. Hank Pym with an urgent new mission. Scott must once again put on the suit and learn to fight alongside The Wasp as the team works together to uncover secrets from the past.
“Ant-Man and The Wasp” is directed by Peyton Reed and stars Paul Rudd, Evangeline Lilly, Michael Peña, Walton Goggins, Bobby Cannavale, Judy Greer, Tip “T.I.” Harris, David Dastmalchian, Hannah John-Kamen, Abby Ryder Fortson, Randall Park, with Michelle Pfeiffer, with Laurence Fishburne, and Michael Douglas. Kevin Feige and Stephen Broussard are producing, with Louis D’Esposito, Victoria Alonso, Charles Newirth and Stan Lee serving as executive producers. Chris McKenna & Erik Sommers, Paul Rudd & Andrew Barrer & Gabriel Ferrari wrote the screenplay. For more information on the film, please visit: www.marvel.com
HOLI - FESTIVAL OF COLOURS
Holi (English pronunciation: /ˈhoʊliː/) (Sanskrit: होली) is a spring festival also known as the festival of colours or the festival of love. It is an ancient Hindu religious festival which has become popular with non-Hindus in many parts of South Asia, as well as people of other communities outside Asia.
It is primarily observed in India, Nepal, and other regions of the world with significant populations of Hindus or people of Indian origin. The festival has, in recent times, spread to parts of Europe and North America as a spring celebration of love, frolic, and colours.
Holi celebrations start with a Holika bonfire on the night before Holi where people gather, sing and dance. The next morning is a free-for-all carnival of colours, where participants play, chase and colour each other with dry powder and coloured water, with some carrying water guns and coloured water-filled balloons for their water fight. Anyone and everyone is fair game, friend or stranger, rich or poor, man or woman, children and elders. The frolic and fight with colours occurs in the open streets, open parks, outside temples and buildings. Groups carry drums and musical instruments, go from place to place, sing and dance. People move and visit family, friends and foes, first play with colours on each other, laugh and chit-chat, then share Holi delicacies, food and drinks. Some drinks are intoxicating. For example, Bhang, an intoxicating ingredient made from cannabis leaves, is mixed into drinks and sweets and consumed by many. In the evening, after sobering up, people dress up, visit friends and family.
Holi is celebrated at the approach of vernal equinox, on the Phalguna Purnima (Full Moon). The festival date varies every year, per the Hindu calendar, and typically comes in March, sometimes February in the Gregorian Calendar. The festival signifies the victory of good over evil, the arrival of spring, end of winter, and for many a festive day to meet others, play and laugh, forget and forgive, and repair ruptured relationships.
SIGNIFICANCE
There is a symbolic legend to explain why holi is well celebrated as a colour fest. The word "Holi" originates from "Holika", the evil sister of demon king Hiranyakashipu. King Hiranyakashipu had earned a boon that made him virtually indestructible. The special powers blinded him, he grew arrogant, thought he was God, and demanded that everyone worshiped only him.
Hiranyakashipu's own son, Prahlada, however, disagreed. He was and remained devoted to Vishnu. This infuriated Hiranyakashipu. He subjected Prahlada to cruel punishments, none of which affected the boy or his resolve to do what he thought was right. Finally, Holika - Prahlada's evil aunt - tricked him into sitting on a pyre with her. Holika was wearing a cloak (shawl) that made her immune to injury from fire, while Prahlada was not. As the fire roared, the cloak flew from Holika and encased Prahlada. Holika burned, Prahlada survived. Vishnu appeared and killed Hiranyakashipu. The bonfire is a reminder of the symbolic victory of good over evil, of Prahlada over Hiranyakashipu, of fire that burned Holika. The day after Holika bonfire is celebrated as Holi.
In Braj region of India, where Krishna grew up, the festival is celebrated for 16 days (until Rangpanchmi) in commemoration of the divine love of Radha for Krishna, a Hindu deity. The festivities officially usher in spring, with Holi celebrated as festival of love. There is a symbolic myth behind commemorating Krishna as well. Baby Krishna transitioned into his characteristic dark blue skin colour because a she demon Putana poisoned him with her breast milk. In his youth, Krishna despairs whether fair skinned Radha and other Gopikas (girls) will like him because of his skin colour. His mother, tired of the desperation, asks him to approach Radha and colour her face in any colour he wanted. This he does, and Radha and Krishna became a couple. The playful colouring of the face of Radha has henceforth been commemorated as Holi. Beyond India, these legends to explain the significance of Holi (Phagwah) are common in some Caribbean and South American communities of Indian origin such as Guyana and Trinidad and Tobago.
Holi festival has other cultural significance. It is the festive day to end and rid oneself of past errors, end conflicts by meeting others, a day to forget and forgive. People pay or forgive debts, as well as deal anew with those in their lives. Holi also marks the start of spring, and for many the start of new year.
DESCRIPTION
Holi is an important festival to Hindus. It is celebrated at the end of the winter season on the last full moon day of the lunar month Phalgun (February/March), (Phalgun Purnima), which usually falls in March, sometimes in late February.
The festival has many purposes; most prominently, it celebrates the beginning of Spring. In 17th century literature, it was identified as a festival that celebrated agriculture, commemorated good spring harvests and the fertile land. Hindus believe it is a time of enjoying spring's abundant colours and saying farewell to winter. Holi festivities mark the beginning of new year to many Hindus, as well as a justification to reset and renew ruptured relationships, end conflicts and accumulated emotional impurities from past.
It also has a religious purpose, symbolically signified by the legend of Holika. The night before Holi, bonfires are lit, in a ceremony known as Holika Dahan (burning of Holika) or Little Holi. People gather near fires, sing and dance. The next day, Holi, also known as Dhuli in Sanskrit, or Dhulheti, Dhulandi or Dhulendi, is celebrated. Children and youth spray coloured powder solutions (Gulal) at each other, laugh and celebrate, while elders tend to smear dry coloured powder (Abir) on each other's face. Visitors to homes are first teased with colours, then served with Holi delicacies, desserts and drinks. After playing with colours, and cleaning up, people bathe, put on clean clothes, visit friends and family.
Like Holika Dahan, Kama Dahanam is celebrated in some parts of India. The festival of colours in these parts is called Rangapanchami, and occurs on fifth day after Poornima (full moon).
HISTORY & RITUALS
Holi is an ancient Hindu festival with its cultural rituals. It is mentioned in the Puranas, Dasakumara Charita, and by the poet Kālidāsa during the 4th century reign of Chandragupta II. The celebration of Holi is also mentioned in the 7th-century Sanskrit drama, Ratnavali. The festival of Holi caught the fascination of European traders and British colonial staff by the 17th century. Various old editions of Oxford English Dictionary mention it, but with varying, phonetically derived spellings: Houly (1687), Hooly (1698), Huli (1789), Hohlee (1809), Hoolee (1825) and Holi in editions published after 1910.
There are several cultural rituals associated with Holi:
PREPARE HOLIKA PYRE FOR BONFIRE
Days before the festival people start gathering wood and combustible materials for the bonfire in parks, community centers, near temples and other open spaces. On top of the pyre is an effigy to signify Holika who tricked Prahalad into the fire. Inside homes, people stock up on colour pigments, food, party drinks and festive seasonal foods such as gujiya, mathri, malpuas and other regional delicacies.
HOLIKA DAHAN
On the eve of Holi, typically at or after sunset, the pyre is lit, signifying Holika Dahan. The ritual symbolises the victory of good over evil. People gather around the fire, sing and dance.
PLAY WITH COLOURS
Holi frolic and celebrations begin the morning after Holika bonfire. There is no tradition of holding puja (prayer), and the day is for partying and pure enjoyment. Children and youth groups form armed with dry colours, coloured solution, means to fill and spray others with coloured solution (pichkaris), balloons that can hold coloured water, and other creative means to colour their targets.
Traditionally, washable natural plant-derived colours such as turmeric, neem, dhak, kumkum were used; but water-based commercial pigments are increasingly used. All colours are used. Everyone in open areas such as streets and parks are game. Inside homes or at doorways though, only dry powder is used to smear each other's face. People throw colours, and get their targets completely coloured up. It is like a water fight, but where the water is coloured. People take delight in spraying coloured water on each other. By late morning, everyone looks like a canvas of colours. This is why Holi is given the name “Festival of Colours.”
Groups sing and dance, some playing drums and dholak. After each stop of fun and play with colours, people offer gujiya, mathri, malpuas and other traditional delicacies. Chilled drinks, including adult drinks based on local intoxicating herbs, is also part of the Holi festivity.
OTHER VARIATIONS
In Braj region around Mathura, in north India, the festivities may last more than week. The rituals go beyond playing with colours, and include a day where men go around with shields and women have the right to playfully beat them on their shields with sticks.
In south India, some worship and make offerings to Kaamadeva, the love god of Indian mythology, on Holi.
THE AFTER PARTY
After a day of play with colours, people clean up, wash and bathe, sober and dress up in the evening and greet friends and relatives by visiting them and exchange sweets. Holi is also a festival of forgiveness and new starts, which ritually aims to generate harmony in the society.
REGIONAL NAMES, RITUALS & CELEBRATIONS
Holi (Hindi: होली, Nepali: होली, Punjabi: ਹੋਲੀ) is also known as Phakuwa or Phagwah (Assamese: ফাকুৱা), Festival of Colours, or Doḷajātra in Odisha, and as Dol Jatra (Assamese: দ’ল যাত্ৰা) or Basantotsav ("spring festival") in West Bengal and Assam. The customs and celebrations vary between regions of India.
Holi is of particular significance in the Braj region, which includes locations traditionally connected to the Lord Krishna: Mathura, Vrindavan, Nandgaon, Uttar Pradesh, and Barsana, which become tourist destinations during the season of Holi.
Outside India, Holi is observed by the minority Hindus in Bangladesh, Pakistan as well in countries with large Indian subcontinent diaspora populations such as Suriname, Guyana, Trinidad and Tobago, South Africa, Malaysia, the United Kingdom, the United States, Mauritius, and Fiji. The Holi rituals and customs outside South Asia also vary with local adaptations.
INDIA
GUJARAT
In Gujarat, Holi is two day festival. On the evening of the first day people lit the bonfire. People offer raw coconut, corn to the fire. The second day is the festival of colour or "Dhuleti", celebrated by sprinkling coloured water and applying colours to each other. Dwarka, a coastal city of Gujarat, celebrates Holi at the Dwarkadheesh temple and city wide comedy and music festivities.
The Holi celebration has its celebrative origins in Gujarat, particularly with dance, food, music, and coloured powder to offer a spring parallel of Navratri, Gujarat's Hindu festival celebrated in the fall. Falling in the Hindu month of Phalguna, Holi marks the agricultural season of the Rabi crop.
In Western India, Ahmedabad in Gujarat, a pot of buttermilk is hung high on the streets and young boys try to reach it and break it by making human pyramids. The girls try to stop them by throwing coloured water on them to commemorate the pranks of Krishna and cowherd boys to steal butter and "gopis" while trying to stop the girls. The boy who finally manages to break the pot is crowned the Holi King. Afterwards, the men, who are now very colourful men, go out in a large procession to "alert" people of the Krishna's possible appearance to steal butter from their homes.
In some places, there is a custom in the undivided Hindu families that the women of the families beat their brother-in-law with her sari rolled up into a rope in a mock rage as they try to drench them with colours, and in turn, the brothers-in-law bring sweets (Indian desserts) to her in the evening.
UTTAR PRADESH
Barsana, a town near Mathura in Braj region of Uttar Pradesh, celebrates Lath mar Holi in the sprawling compound of the Radha Rani temple. Thousands gather to witness the Lath Mar holi when women beat up men with sticks as those on the sidelines become hysterical, sing Holi Songs and shout Sri Radhey or Sri Krishna. The Holi songs of Braj mandal are sung in pure Braj, the local language. Holi celebrated at Barsana is unique in the sense that here women chase men away with sticks. Males also sing provocative songs in a bid to invite the attention of women. Women then go on the offensive and use long staves called lathis to beat men folk who protect themselves with shields.
Mathura, in the Braj region, is the birthplace of Lord Krishna, and in Vrindavan this day is celebrated with special puja and the traditional custom of worshipping Lord Krishna, here the festival lasts for sixteen days. All over the Braj region and its nearby places like Hathras, Aligarh, Agra the Holi is celebrated in more or less same way as in Mathura, Vrindavan and Barsana.
Outside Braj, in Kanpur area, Holi lasts seven days with colour. On the last day, a grand fair called Ganga Mela or the Holi Mela is celebrated. This Mela (fair) was started by freedom fighters who fought British rule in the First Indian War of Independence in 1857 under the leadership of Nana Saheb. The Mela is held at various Ghats along the banks of River Ganga in Kanpur, to celebrate Hindus and the Muslims who together resisted the British forces in the city in 1857. On the eve of Ganga Mela, all Government offices, shops, Courts generally remain closed. The Ganga Mela marks the official end of "The Festival of Colours" or Holi in Kanpur.
In Gorakhpur, the northeast district of Uttar Pradesh, this day starts with a special puja in the morning of Holi day. This day is considered to be the most colourful day of the year promoting the brotherhood among the people. This is known as "Holi Milan" in which people visit every house and sing holi song and express their gratitude by applying coloured powder (Abeer). Holi is also considered as the beginning of the year as it occurs on the first day of new Hindu calendar year (Panchang).
UTTARAKHAND
Kumaoni Holi in Uttarakhand includes a musical affair. It takes different forms such as the Baithki Holi, the Khari Holi and the Mahila Holi. In Baithki Holi and Khari Holi, people sing songs with a touch of melody, fun and spiritualism. These songs are essentially based on classical ragas. Baithki Holi (बैठकी होली), also known as Nirvan Ki Holi begins from the premises of temples, where Holiyars (होल्यार) sing Holi songs, people gather to participate, along with playing classical music. The songs are sung in a particular sequence depending on the time of day; for instance, at noon the songs based on Peelu, Bhimpalasi and Sarang ragas, while evening songs are based on the ragas such as Kalyan, Shyamkalyan and Yaman. The Khari Holi (खड़ी होली) is mostly celebrated in the rural areas of Kumaon. The songs of the Khari Holi are sung by the people, who, sporting traditional white churidar payajama and kurta, dance in groups to the tune of ethnic musical instruments such as the Dhol and Hurka.
In Kumaon region, the Holika pyre is known as Cheer (चीर,) which is ceremonically made in a ceremony known as Cheer Bandhan (चीर बंधन) fifteen days before Dulhendi. The Cheer is a bonfire with a green Paiya tree branch in the middle. The Cheer of every village and neighborhood is rigorously guarded as rival mohallas try to playfully steal the other's cheer.
The colours used on Holi are derived from natural sources. Dulhendi, known as Charadi (छरड़ी) (from Chharad (छरड़)), is made from flower extracts, ash and water. Holi is celebrated with great gusto much in the same way as all across North India.
BIHAR
Holi is known as Phaguwa in the local Bhojpuri dialect. In this region as well, the legend of Holika is prevalent. On the eve of Phalgun Poornima, people light bonfires. They put dried cow dung cakes, wood of Araad or Redi tree and Holika tree, grains from the fresh harvest and unwanted wood leaves in the bonfire. At the time of Holika people assemble near the fire. The eldest member of the gathering or a purohit initiates the lighting. He then smears others with colour as a mark of greeting. Next day the festival is celebrated with colours and lot of frolic. Traditionally, people also clean their houses to mark the festival.
Holi Milan, is also observed in Bihar where family members and well wishers visit each other's family, apply colours (abeer) on each other's faces, and on feet, if elderly. Usually this takes place on the evening of Holiday after Holi with wet colours is played in the morning through afternoon. Due to large scale internal migration issues faced by the people, recently this tradition has slowly begun to transform. It is common to have Holi Milan on an entirely different day either before or after the actual day of Holi.
Children and youths take extreme delight in the festival. Though the festival is usually celebrated with colours, in some places people also enjoy celebrating Holi with water solutions of mud or clay. Folk songs are sung at high pitch and people dance to the tune of dholak and the spirit of Holi. Intoxicating bhang, made from cannabis, milk and spices, is consumed with a variety of mouth-watering delicacies, such as pakoras and thandai, to enhance the mood of the festival.
BENGAL
In West Bengal region, Holi is known by the name of "Dol Jatra", "Dol Purnima" or the "Swing Festival". The festival is celebrated in a dignified manner by placing the icons of Krishna and Radha on a picturesquely decorated palanquin which is then taken round the main streets of the city or the village. On the Dol Purnima day in the early morning, the students dress up in saffron-coloured or pure white clothes and wear garlands of fragrant flowers. They sing and dance to the accompaniment of musical instruments like ektara, dubri, veena, etc. The devotees take turns to swing them while women dance around the swing and sing devotional songs. During these activities, the men keep spraying coloured water and coloured powder, abir, at them.
The head of the family observes a fast and prays to Lord Krishna and Agnidev. After all the traditional rituals are over, he smears Krishna's icon with gulal and offers "bhog" to both Krishna and Agnidev. In Shantiniketan, Holi has a special musical flavour. Visitors on Holi are offered traditional dishes that include malpoa, kheer sandesh, basanti sandesh (saffron), saffron milk, payash, and related foods.
ODISHA
The people of Odisha celebrate Holi as rest of India, but here the icons of Jagannath, the deity of the Jagannath Temple of Puri, replace the icons of Krishna and Radha.
ASSAM
Holi, also called Phakuwa (ফাকুৱা) in Assamese, is celebrated all over Assam. Locally called Dol Jatra, associated with Satras of Barpeta, Holi is celebrated over two days. On the first day, the burning of clay huts are seen in Barpeta and lower Assam which signifies the legends of Holika. On the second day of it, Holi is celebrated with colour powders. The Holi songs in chorus devoted to Lord Krishna are also sung in the regions of Barpeta.
GOA
Holi is a part of Goan or Konkani spring festival known as Śigmo or शिगमो in Koṅkaṇī or Śiśirotsava and lasts for about a month. The colour festival or Holi is a part of longer, more extensive spring festival celebrations. Holi festivities (but not Śigmo festivities) include: Holika Puja and Dahan, Dhulvad or Dhuli vandan, Haldune or offering yellow and saffron colour or Gulal to the deity.
MAHARASHTRA
In Maharashtra, Holi Purnima is also celebrated as Shimga, festivities that last 5 to 7 days. A week before the festival, youngsters go around the community, collecting firewood and money. On the day of Shimga, the firewood is a huge pile in neighborhoods. In the evening, the fire is lit. Every household brings a meal and dessert, in the honour of the fire god. Puran Poli is the main delicacy and children shout "Holi re Holi puranachi poli". Shimga celebrates the elimination of all evil. The colour celebrations here traditionally take place on the day of Rangapanchami, five days after Shimga. During this festival, people are supposed to forget and forgive any rivalries and start new healthy relations with all.
MANIPUR
Manipuris celebrate Holi for 6 days. Here, this holiday merges with the festival of Yaosang. Traditionally, the festival commences with the burning of a thatched hut of hay and twigs. Young children go from house to house to collect money, locally known as nakadeng (or nakatheng), as gifts on the first two days. The youths at night perform a group folk dance called Thabal chongba on the full moon night of Lamta (Phalgun) along with folk songs and rhythmic beats of the indigenous drum. However, this moonlight party now has modern bands and fluorescent lamps. In Krishna temples, devotees sing devotional songs, perform dances and celebrate with aber (gulal) wearing traditional white and yellow turbans. On the last day of the festival, large processions are taken out to the main Krishna temple near Imphal where several cultural activities are held. In recent decades, Yaoshang, a type of Indian sport, has become common in many places of the valley, where people of all ages come out to participate in a number of sports that are somewhat altered for the holiday.
KERALA
Holi is locally called Ukkuli in Konkani or Manjal Kuli in Malayalam. It is celebrated around the Konkani temple called Gosripuram Thirumala temple.
KARNATAKA
Traditionally, in rural Karnataka children collect money and wood in the weeks prior to Holi, and on "Kamadahana" night all the wood is put together and lit. The festival is celebrated for two days. People in north Karnataka prepare special food on this day.
In Sirsi, Karnataka, Holi is celebrated with a unique folk dance called “Bedara Vesha”, which is performed during the nights beginning five days before the actual festival day. The festival is celebrated every alternate year in the town, which attracts a large number of tourists from different parts of the India.
TELANGANA
As in other parts of India, in rural Telangana region, children celebrate kamuda and collect money, rice, Mokkajonna and wood for weeks prior to Holi, and on Kamadhana night all the wood is put together and set on fire.
ANDRA PRADESH
In Andhra Pradesh Holi is celebrated along with Basanta Panchami. Holi is a major festival, and the festivities and colour start appearing at least a day before the actual holiday.
JAMMU & KASHMIR
In Jammu & Kashmir, Muslims and Hindus alike celebrate Holi. Holi celebrations here are much in line with the general definition of Holi celebrations: a high-spirited festival to mark the beginning of the harvesting of the summer crop, with the throwing of coloured water and powder and singing and dancing.
MADHYA PRADESH
In western Madhya Pradesh, Bhil tribesmen who have held on to many of the pre-Hindu customs celebrate it in a special way.
HARYANA & WESTERN UTTAR PRADESH
This region has its own variety of Holi. The Holi celebration in Dhampur is famous throughout the whole of Western UP.
TAMIL NADU
In the Phalguna Poornima is Panguni Uthram (Meena Uttara-phalguni in Sanskrit). It is special because of the star "Uthiram" and "Pournami" occurring together, is the marriage anniversary of many mythological figures and deities. On this day Goddess Mahalakshmi incarnated on earth from the ocean of milk (after the ocean was churned by the gods and the demons). Holi is celebrated as Vasanthosavam and all temples start their Utsavams with decorations and music, dance festivals, Pravachans and Harikathas. The colours are also popular, and celebrate divine love and welcoming of spring.
NEPAL
In Nepal, Holi celebrated in Hills is remarkably different from Madhesh, even the festival is celebrated on two different days. Holi is celebrated in the month of Falgun and is also called as the "Fagu/Phaguwa" and is celebrated on the full moon day (in hills) and the day after (in Madhesh) in the month of February. The word "Fagu/Phaguwa" (Devanagari:फागु/फगुआ) represents the month of Falgun and the day is called the "Fagu Poornima" (Devanagari:फागु पुर्णीमा) which means (full moon day in the Falgun).
In Nepal Holi is regarded as one of the greatest festivals as important as Dashain (also known as Dussehra in Madhesh) and Tihar or Dipawali (also known as Diwali in Madhesh). Since more than 80% of people in Nepal are Hindus, Holi, along with many other Hindu festivals, is celebrated in Nepal as a national festival and almost everyone celebrates it regardless of their religion, e.g., even Muslims celebrate it. Christians may also join in, although since Holi falls during Lent, many would not join in the festivities. The day of Holi is also a national holiday in Nepal.
People walk down their neighbourhoods to celebrate Holi by exchanging colours and spraying coloured water on one another. A popular activity is the throwing of water balloons at one another, sometimes called lola (meaning water balloon). Also a lot of people mix bhang in their drinks and food, as is also done during Shivaratri. It is believed that the combination of different colours at this festival take all the sorrow away and make life itself more colourful.
INDIAN DIASPORA
Over the years, Holi has become an important festival in many regions wherever Indian diaspora were either taken as indentured laborers during colonial era, or where they emigrated on their own, and are now present in large numbers such as in Africa, North America, Europe, Latin America, and parts of Asia such as Fiji.
SURINAME
Holi is a national holiday in Suriname. It is called Phagwa festival, and is celebrated to mark the beginning of spring and Hindu mythology. In Suriname, Holi Phagwa is a festival of colour. It is customary to wear old white clothes on this day, be prepared to get them dirty and join in the colour throwing excitement and party.
TRINIDAD & TOBAGO
Phagwa is normally celebrated in Trinidad and Tobago on the Sunday closest to the actual date of Phagwa. It is celebrated with a lot of colour and splendour, along with the singing on traditional Phagwa songs or Chowtaal (ganna).
GUYANA
Phagwah is a national holiday in Guyana, and peoples of all races and religions participate in the celebrations. The main celebration in Georgetown is held at the Mandir in Prashad Nagar.
FIJI
Indo-Fijians celebrate Holi as festival of colours, folksongs and dances. The folksongs sung in Fiji during Holi season are called phaag gaaian. Phagan, also written as Phalgan, is the last month of the Hindu calendar. Holi is celebrated at the end of Phagan. Holi marks the advent of spring and ripening of crops in Northern India. Not only it is a season of romance and excitement, folk songs and dances, it is also an occasion of playing with powder, perfumes and colours. Many of the Holi songs in Fiji are around the theme of love-relationship between Radha and Krishna.
MAURITIUS
Holi in Mauritius comes close on the heels of Shivaratri. It celebrates the beginning of spring, commemorating good harvests and the fertile land. Hindus believe it is a time of enjoying spring’s abundant colours and saying farewell to winter. It is considered one of the most exhilarating religious holidays in existence. During this event, participants hold a bonfire, throw coloured powder at each other, and celebrate wildly.
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TRADITIONAL HOLI
The spring season, during which the weather changes, is believed to cause viral fever and cold. The playful throwing of natural coloured powders has a medicinal significance: the colours are traditionally made of Neem, Kumkum, Haldi, Bilva, and other medicinal herbs prescribed by Āyurvedic doctors.
Many colours are obtained by mixing primary colours. Artisans produce and sell many of the colours from natural sources in dry powder form, in weeks and months preceding Holi. Some of the traditional natural plant based sources of colours are:
ORANGE & RED
The flowers of palash or tesu tree, also called the flame of the forest, are typical source of bright red and deep orange colours. Powdered fragrant red sandal wood, dried hibiscus flowers, madder tree, radish and pomegranate are alternate sources and shades of red. Mixing lime with turmeric powder creates an alternate source of orange powder, as does boiling saffron (kesar) in water.
GREEN
Mehendi and dried leaves of gulmohur tree offer a source of green colour. In some areas, the leaves of spring crops and herbs have been used as source of green pigment.
YELLOW
Haldi (turmeric) powder is the typical source of yellow colour. Sometimes this is mixed with chickpeas, gram or other flour to get the right shade. Bael fruit, amaltas, species of chrysanthemums, and species of marigold are alternate sources of yellow.
BLUE
Indigo, Indian berries, species of grapes, blue hibiscus and jacaranda flowers are traditional sources of blue colour for Holi.
MAGENTA & PURPLE
Beetroot is the traditional source of magenta and purple colour. Often these are directly boiled in water to prepare coloured water.
BROWN
Dried tea leaves offer a source of brown coloured water. Certain clays are alternate source of brown.
BLACK
Species of grapes, fruits of amla (gooseberry) and vegetable carbon (charcoal) offer gray to black colours.
MODERN ISSUES
SYNTHETIC COLOURS
Natural colours were used in the past to celebrate Holi safely by applying turmeric, sandalwood paste, extracts of flowers and leaves. As the spring-blossoming trees that once supplied the colours used to celebrate Holi have become more rare, chemically produced industrial dyes have been used to take their place in almost all of urban India. Due to the commercial availability of attractive pigments, slowly the natural colours are replaced by synthetic colours. As a result it has caused mild to severe symptoms of skin irritation and inflammation. Lack of control over the quality and content of these colours is a problem, as they are frequently sold by vendors who do not know their origin.
A 2007 study found that Malachite green, a synthetic bluish-green dye used in some colours during Holi festival, as responsible for severe eye irritation in Delhi, if eyes were not washed upon exposure. Though the study found that the pigment did not penetrate through the cornea, malachite green is of concern and needs further study.
Another 2009 study reports that some colours produced and sold in India contain metal-based industrial dyes, causing an increase in cutaneous problems to some people in the days following Holi. These colours are produced in India, particularly by small informal businesses, without any quality checks and are sold freely in the market. The colours are sold without labeling, and the consumer lacks information about the source of the colours, their contents, and possible toxic effects. In recent years, several nongovernmental organisations have started campaigning for safe practices related to the use of colours. Some are producing and marketing ranges of safer colours derived from natural sources such as vegetables and flowers.
These reports have galvanised a number of groups into promoting more natural celebrations of Holi. Development Alternatives, Delhi and Kalpavriksh, Pune, The CLEAN India campaign, and Society for Child Development, through its Avacayam Cooperative Campaign have launched campaigns to help children learn to make their own colours for Holi from safer, natural ingredients. Meanwhile, some commercial companies such as the National Botanical Research Institute have begun to market "herbal" dyes, though these are substantially more expensive than the dangerous alternatives. However, it may be noted that many parts of rural India have always resorted to natural colours (and other parts of festivities more than colours) due to availability.
In urban areas, some people wear nose mask and sun glasses to avoid inhaling pigments and to prevent chemical exposure to eyes.
ENVIRONMENTAL IMPACT
An alleged environmental issue related to the celebration of Holi is the traditional Holika bonfire, which is believed to contribute to deforestation. Activists estimate Holika causes 30,000 bonfires each burning approximately 100 kilograms of wood every year. This represents less than 0.0001% of 350 million tons of wood India consumes every year, as one of the traditional fuels for cooking and other uses. Methods to further reduce wood consumption during Holika have been proposed, including the replacement of wood with waste material or lighting of a single fire per community, rather than multiple smaller fires. However, the idea of lighting waste material antagonises large sections of a certain community, who take it as an attack to their cultures and traditions citing several examples of similar festivities elsewhere.
The use of heavy metal-based pigments during Holi is also reported to cause temporary wastewater pollution, with the water systems recovering to pre-festival levels within 5 days.
INFLUENCE ON OTHER CULTURES
The Color Run, Run or Dye, Color in Motion, Color Me Rad, The Graffiti Run, and other runs are starting to spread over the United States. They combine the bright colours of Holi with the intensity of a 5K race. Runners show up wearing white running outfits and every kilometer they run, they are doused in a different colour. Holi is also celebrated in a non-sporting format, as a social event in parts of the United States. For example, at Sri Sri Radha Krishna Temple in Spanish Fork, Utah Holi is celebrated as the Festival of Color, where thousands of people gather from all over the United States, play and mingle.
Similarly in Europe and elsewhere, several groups such as Holi Festival of Colours,[8] Holi One, and Colors Festival have been organising Holi as a social and partying event, to celebrate amity and togetherness, in various cities around the world. In 2013, Holi Festival of Colours hosted nearly 250,000 participants at venues all over the world. Instead of coinciding with the date when Holi is celebrated in India, these Holi-inspired festivals are typically adapted to local weather and holiday schedules. The organisers claim thousands of people join in to celebrate and experience the festivities. Critics claim these Holi-themed events are a for-profit commercial twist with ticket sales and may be a fad that lacks the traditional breadth and depth of Holi, while supporters claim the ticket prices cover the cost of safe colours they provide, space, clean up, music and general security.
In the music video for their song "The Catalyst", American rock band Linkin Park incorporated scenes of band members throwing powdered colour at one another. The director, band turntablist Joe Hahn, identifies Holi as a direct influence on the visual style of the video. Hahn states that "... the inspiration for the colors came from the Color Festival in India called Holi." He further elaborates on the religious significance of the colours: "People collect these pigments throughout the year to release them in this festival as a celebration of life and tribute to Vishnu."
South Africa-based electro-swing dance group Goodluck released a song "The Vision" wherein Holi is seen as an influence.
The Holi festival was featured as a RoadBlock challenge in the popular CBS reality television show The Amazing Race 13, episode 7.
The Ke$ha music video for the song "Take It Off" features powdered coloured dyes similar to those used to celebrate Holi.
The music video for Regina Spektor's song "Fidelity" depicts a couple in an achromatic set throwing and celebrating in powdered pigments.
The 2006 independent film Outsourced details the story of Todd Anderson, an American call center novelty products salesman (Josh Hamilton) as he heads to India to train his replacement after his entire department is outsourced to a new, much cheaper call centre in Gharapuri. Todd soon discovers that to successfully train his new charges, he must learn about their culture. A Holi celebration is the catalyst for this change in his attitude.
On September 18, 2009, in an episode of the USA Network series Psych entitled "Bollywood Homicide," Holi is first depicted on an American network television. Shawn is distracted by someone throwing red powder at him.
The March 17, 2011 episode of the NBC series based on the film of the same name, Outsourced, titled "Todd's Holi War," takes a more sitcom-oriented approach to the holiday, marking Holi's second appearance on American network television.
The music video Behind the Cow, which appears to be set in India, by the band Scooter features a final scene with everyone throwing coloured powder at one another.
In the British TV show An Idiot Abroad, episode 2 has host Karl Pilkington take a trip through Delhi, India where he experiences Holi as locals cover him with coloured powder and paint.
Keith Olbermann shows clips from Holi festivals every year on the "Time Marches On" portion of his nightly Countdown news show.
The music video for the song "The City" by French DJ Madeon centres on a full-out colour war between two factions of youngsters. In it, the powders are packed in plastic bags for a longer throw.
The short film/music video for Up In The Air by Thirty Seconds to Mars features the use of powdered colors for a fight during the film.
WIKIPEDIA
At the end of my fourth grade year in Denton, Texas I received this report card from my teacher Mrs. Swafford. Technically referred to as a "Progress and Achievement Report," it came, as all of my elementary school report cards did, enclosed in an envelope printed by the First State Bank of Denton, an icon of the community whose logo was imprinted on countless textbook covers over the years.
My mom recently turned over a box containing this report card to me. Also tucked inside the envelope was my old library card from the Emily Fowler Public Library, complete with a metal plate containing my identification number. High tech!
These are some of many curious items collected in JD's House of Miscellany.
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Purchase this image and learn more about it at the source.
Source: photos.jdhancock.com/photo/2010-10-26-223716-1980-report-...
The KOM League
Flash Report
For
March 7, 2019
This report has been placed on Flickr at: www.flickr.com/photos/60428361@N07/47310622721/ In order to learn the story about the young man who was separated from his family at age four and to learn nothing more for 17 years you’ll have to click on the aforementioned link. And, there is an offer of something, for free, that has been in the making for 14 years.
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The offer of something for nothing—i.e. free
KOM COMMISSIONER: I’ve stalled for a year and have not pitched the past 14 or so years of Flash Reports that now require three storage boxes to house. Is there anyone left who would want them? I’d love to keep them, but my wife is opposed and no one else in my family has any interest. I’ll await your answer and directions. How about the Kansas Historical Society? The Missouri or Boone County Historical Societies? Cooperstown? They might be the best bet.
I know they stored a lot of scouts’ reports in the past when the scout cleaned out his office or died and someone did it for him.
I’ve finally made the first steps to organize the dozens of file boxes (around 75 of them), eliminate and archive what is left. I’ll send my archives to the Western Historical Manuscripts Collection at the State Historical Society along with several organizations I’ve helped keep alive through the years. I’ll need to live to the age of at least 110 to get it all in order. That means I have 23 ½ years left, for sure.
I’m always good for breakfast, soup, or liver and onions when you are. OL’ CLARK- aka Bill Clark—former major league scout and now living full time in Columbia, Mo.
Ed reply:
I will put your offer to offload those old Flash Reports in my next report, if there should ever be one. Like you, no one in my family has any interest in them. I couldn't even find a library or historical society who would take and use them even for starting bond fires or crude insulation.
One thing I can do is go somewhere for breakfast. I usually do one with the great grandkids every Saturday morning but I decided about a half an hour ago I'm not up to the challenge today. I'm sending my first wife instead.
Put down the date. place and time that suits you best for a breakfast encounter and I'll schedule my doctor's visits around that date.
Someone told me spring training has started. I'm taking this year off from baseball again.
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Plea:
If anyone can give those old Flash Reports, neatly sorted, and firmly packed, a home let either Bill Clark or the guy who wrote them know of your intentions. Otherwise, a big stack of paper will go into a local recycling bin.
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The dean of KOM league sportswriters
E. L. Dale of the Carthage Press hired Fletcher Cupp to write sports and other articles in the early 1930’s when it was a two newspaper town.
In recent weeks an article that Cupp wrote, that went nationwide, was shared in this forum. It was a great interview he did with Carl Hubbell which should have put to rest the issue as to where the Hall of Fame hurler was born. All the major sports publications had it as being in Carthage, Mo. but they were wrong as Cupp documented. Even five decades later one of Cupp’s successor’s at the Carthage Press, Corky Simpson, had a face-to-face interview, with Hubbell, who was still telling the story the same way he had done with Cupp when he was the all-star pitcher with the New York Giants.
But, this article is not a rehash of Cupp and Hubbell but one that intrigued me. This article appeared in 1943. For as long as I can remember I heard the stories that circulated around my hometown about the friendship that had developed during WW II between Cupp and the most famous male movie actor in the world.
Cupp was a fixture at all sporting events in town and covered baseball in Carthage during its time in the Arkansas/Missouri league as well as its entire time in the KOM league. It is no exaggeration to say that he was the dean of KOM league sportswriters. He also held the position of the official scorer for KOM games for both the Cardinal and Cub affiliates in Carthage.
Thus, when I came across an article published August 13, 1943 and spread around the globe by the Associated Press, I knew I had discovered how the link between Cupp and Gable came to pass. When writing one of my books I was interviewing a former player in Pella, Iowa. There came a time in the interview when the fellow asked “How did you write about Cupp and Gable?” For the few of you who have read my books you’ll know that subject didn’t make it into any of my published works
In researching that era I did find references in the Carthage Press where it would be mentioned that Gable was visiting in Carthage. One writer, for the Press, opined that the owner of Boots Motor Court ought to advertise on highway signs on highways 66 and 71 that “Clark Gable slept here.” He was sure that would cause ladies, traveling with their husbands, to demand they sleep where Gable did.
One night, in particular, comes to mind of the fellow I was interviewing in Pella, Iowa. I guess its okay to mention names. Duane Ballou recalled having an early afternoon lunch with his teammate Oscar “Pappy” Walterman. Shortly after the meal began Cupp came into the restaurant, the C&W, which was located on the north side of the Carthage square. That is only mentioned for the Tiger theater was located on the west side of the square and the Crane Theater was about a block east of the restaurant. As the two ballplayers ate, Cupp asked them about the previous night’s game and solicited comments about the opponent for that evening’s game.
Ballou said as they were finishing their meal the door of the café swung open wide and clad in a leather jacket and aviator cap stood a guy who yelled out “Fletch.” According to Ballou, Cupp went to the door, greeted the fellow and walked him back to the booth where he and Walterman were sitting.
Cupp announced “Boys I want you to meet my friend, Clark Gable.” Both Ballou and Walterman said they felt uncomfortable and didn’t know what to say. What they said was “Good meeting you” and then excused themselves and headed out to the ballpark. Can you imagine what their teammates said when told they had just met Clark Gable?
Often I’ve wondered what some young lady who was a movie fan would have thought had she recognized a fellow who had been on the big screen at the Tiger and Crane theaters many times. Some of you Carthaginians, from that era, may wonder how I’m going to conclude this story. I just did.
Now here is the AP story from 8/13/1943
Former Carthage, Mo., Sports Editor Tells of Raid He and Gable 'Enjoyed' Over Germany
By WILLIAM S. WHITE --UNITED STATES BOMBER STATION IN ENGLAND, Aug. 13 -(AP)—After he and Capt. Clark Gable had just been missed by a chunk of flak on a Fortress raid over Germany, Master Sgt. Fletcher Cupp, former sports editor of the Carthage, Mo., Evening Press and correspondent of the Kansas City Star, sent this message back home to his old boss: (Ed note: E. L. Dale Carthage Press Editor and later KOM League President). "As soon as this war is over, I'll sure be glad to meet that deadline of yours again." Cupp, radio operator and gunner' on the Fortress "Ain’t It Gruesome," yesterday was on his 15th raid over Germany when the flak burst tore through the ship three feet from where he was standing. It was a close call for the former movie star, standing near. It was one of 15 such bursts that the ship survived, but Cupp didn't know how near he was to the bad news until after landing back in England. "I had just left my regular position in the radio room to go back into the waist and fix a fuse," Cupp said. “I heard something like a tin can dropping and just thought maybe one of the boys had dropped an ammunition case or something. When we got down I saw the hole made by that tin can."
"Ain't It Gruesome" was "all over the floor." he added, ''and ours were the huskiest evasion tactics I've ever seen. I believe it was I he roughest raid I've been in yet, although they are all rough enough. You see, we were in the lead ship, and of course they go for that ship. "I understand we were up there for about two hours, but it seemed a little more like 20 to me. "The sensation doesn't change much; it. runs about like this: The worst time yesterday—as always— was on our way toward the target area. When we got over the target area itself, everybody was much too busy to think about anything but what we were doing. On The Alert Every Minute "Of course, even coming back you are plenty on the alert. The other feller is pretty sly about letting you alone a little while and then jumping you—sometimes just before you get to the English coast." Captain Gable, who went along to take shots of enemy fighters on attack for a gunnery training film was nearby as the-flak hit the top turret. "Captain Gable was standing within two feet of that turret," Cupp recalled. "That flak rattled around up there and dropped on the floor. I didn't see what the captain 'did; we were all pretty busy up there then." Cupp, big and redheaded, has been in the Army 16 months and three or four of those have been spent in England. His parents, Mr. and Mrs. Carl Cupp, live on RFD 1, Carthage, Mo
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Encouragement to write another Flash Report:
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Well done my friend. Your stories and humor are well appreciated. Jason Wallace—Grandson of Bob Saban—former member of the Carthage Cubs and numerous other teams.
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John, Thank you for all the info and great photos of the past and all of your photos w/that wonderful Canon. You are a remarkable man to keep history going of the KOM and all the really good baseball that was played in towns in Kansas, Oklahoma, and Missouri, in the 40's, 50"s and 60's. You are very special....,.THANK, THANK, AND THANK YOU Norris Dorsey. Wood River, Ill.
Ed reply:
Well, it is great hearing from Norris Dorsey on a snowy day in March. Glad you enjoy the photos. My camera is a Nikon and I do have a lens about the size of a cannon but it is made by Sigma.
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Three or four other folks sent along messages that I interpreted as meaning they would like to hear the full story of the young man who was born in Joplin and left there when his mother died. If you recall his father re-married (maybe) and headed west with a ‘pocket full of money” and got as far as El Paso, Texas before dumping the young boy.
When starting to delve into the details of the abandonment of the young man I said to myself “self” I have plowed this same ground in the past. Calling on the memory power at my disposal I looked up the telephone number of a reader who dropped off the “reception” list a few months ago. In making the call I found the person wasn’t mad at me or fed up with the reports but rather he had changed his e-mail address. As a result of that contact here is the message received.
“Hi John, good to hear from you again. I was concerned that you had discontinued the KOM Reports and retired to other interests. So, now I’m catching up on reports missed and find them very interesting. As you probably know I was an avid fan of both the KOM and Western Association Leagues. Especially, with the Joplin Miners I had the opportunity to see some future major leaguers and some guys who didn’t quite reach the majors but played at higher levels than class D and C. But, I still remember some of those in D and C who had a lot of talent but no luck. All this is to let you know that I sure would like to be on your report list again.
I reread the McKibben story you researched. My Stepfather, Earl McKibben, was born and raised near what was Picher, OK and had quite a number of relatives there for some time. However, most of them later moved to Arizona and California. My twin brother, Jerry, and I played in the four states area from ages 9 to 24 after which we both got married and moved to different parts of the country. During our early years we were not legally McKibbens. Rather our birth name was Jackson. We discovered this when we both enlisted in the Webb City Company of the National Guard. You might imagine the shock of this revelation and the subsequent conversations within the family. An adoption process followed and all was made well and whole. While I know the McKibben families, I know none of the
Webb City area Jackson’s.
John, this is unquestionably more than you wanted to know, so I’ll bring this to a halt. Just to add, when my brother and I visit we replay some of the past games and marvel at how good we were. Isn’t it amazing how old age memories and reality collide and produce stories about things that never happened as now told?
Please keep up your good work and add me to the active list. Thanks much. Gene McKibben-St. Peters, MO
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Altering the history of the KOM rosters
All of the research undertaken regarding the McKibbens had to do with a person identified as Harve McKibben in all KOM league historical records. He was always referenced in the Miami newspaper as being an Indian lad. He was born in 1922 at Quapaw, Okla. and was a star athlete at Miami, OK high school before serving in WW II with two older brothers.
At this juncture I’m setting the historical narrative on the Miami, Okla. and KOM player straight. The fellow’s full name was John Harvey McKibben III and was born March 14, 1922 in Lincolnville, Okla (Notice how that fact was made to coincide near the current date.) John Harvey McKibben the first was born in Ohio, in 1854, and then moved to Appleton City, Missouri. There he had a son John Harvey II in 1891. From Appleton City a number of the McKibben’s moved to Indian Territory where John Harvey Jr. farmed until he found the minerals beneath the surface were more valuable than the grass his cows were eating. He became a very successful miner and developer of mines.
In 1920 John Jr. married a full-blood Indian by the name of Anna Quapaw. Their first son was named after his father and grandfather. Thus, John Harvey McKibben III was half-blooded Quapaw. His maternal grandmother was named Mes-kah-na-ba-nah and for short she was called Minnie.
John Harvey McKibben III was one of only four players, from the Miami club of 1946, who the Brooklyn Dodgers selected at the end of that season to play in their organization in 1947. The 1946 Miami-Brooklyn relationship was like a lot of post-war agreements made between big league and minor league teams. In this case Brooklyn gave Miami $1,000 seed money for 1946 and in return they got to select six players from that team at the close of the season. As it turned out Brooklyn was only impressed with four enough to sign them for 1947.
Harvey McKibben, the Miami baseball player died Feb. 19, 1965 in Tulsa, Okla. but up to shortly before his passing he lived in Colorado Springs, Colorado He had an older first cousin, Harold John McKibben, and the following is about him. Harold’s father was named Norman and he got his first name from a great uncle who died July 1, 1863 at the Battle of Gettysburg. This will all unfold, in chapters, on a weekly basis, until the story can be put to rest.
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Harold John McKibben becomes and “unbecomes” Juan Chavez
Primary Resource: El Paso Evening Post September 14, 1927 page 1.
Harold John McKibben, 21, who says he lived for 17 years under the impression that he was the son or Manuel Gomez Chavez, wealthy Parral, Chih., rancher, today, planned a nationwide search for his parents. He said he will ask newspapers throughout the country to broadcast his strange story. A faint hope that his mother may be alive was fanned to life, he said by Mrs. G. F. Cole, 3707 Durazno, who kept the boy for three weeks after he was abandoned in 1910 by his father and step-mother when he was four years old “She said my mother may be| alive, though that is only a surmise," he said. "Others who knew my father say my mother is dead.”
The young man is awaiting the arrival of Mr. and Mrs. J. A. Chipps, who are due home from, California in a few days. He was abandoned by his father and stepmother at a rooming house Mr. and Mrs. Chipps ran in 1910. Meanwhile a report that his father may have come here from Joplin, Mo., is being investigated.
Mrs. Cole and Victor Benedetti at the Hotel Savoy declared that there can be no question about the identity of the young man after they saw him today. (His) parents went away "As a baby in rompers he played with my dog at the Hermes rooms,' which Mr. and Mrs. Chipps operated,” said Benedetti. “His father and step-mother disappeared, leaving him with Mrs. Chipps. They never have been heard from.
"Mrs. Chipps wanted to keep him, but decided she couldn't care for him because they were building an apartment house and she was busy. “Manuel Gomez Chavez, Parral rancher, took the boy. Four years later he brought him to El Paso. The child spoke nothing but Spanish and had forgotten us." Trying to stir memories Benedetti took McKibben for a stroll past the old rooming house at Overland and Stanton. But the young man remembered nothing definite about his early life. Benedetti has a photograph of the boy of four which Mrs. Chipps had made when he was turned over to Gomez Chavez.
Mrs. Cole planned to adopt the child and kept him for three weeks. Then she changed her mind. She kept a photograph of the boy’s father which was in the child's hand bag. She said she forgot to put it back when he was returned to Mrs. Chipps. Today she gave the picture to McKibben. “He was a happy, bright little fellow," she recalled. "He was right at home among strangers.” After Mrs. Cole decided she couldn't adopt him, the late Mrs. Albert Steinwach of Juarez kept the boy for a few days. It was at Mrs. Steinwach’s rooming house that the Parral rancher first saw him. “The boy looked so much like the rancher that he decided to adopt him,” said Mrs. Cole.
El Paso editor’s note: How he felt when he discovered last week that he is an American, after he had lived for 17 years as a Mexican with a Mexican name at Parral, Chih., and Mexico City, was described today by Harold John McKibben to an El Paso Post reporter. His authorized story, as he told it, follows:
By HAROLD JOHN M KIBBEN-- As far back as I can remember I have always felt alone, even as a child I was always sad. There seemed to be something that I had missed in life. As a boy at Parral, Chih, where I was reared, and in the field as a member of Pancho Villa's revolutionary forces at the age of 16 I felt that I was not born to that life. I was constantly groping for something—I did not know what. All alone and my associates seemed to consider me a person apart from themselves. They called me "The Gringo.” Perhaps it was because of my actions. Maybe the person who first called me by that name knew the story of my origin, though I did not know it then.
Then came the day when Manuel Gomez Chavez, who reared and educated me as a Mexican, told me I couldn't enter Mexican politics because I was American born. It is impossible to describe how that news thrilled me. I knew I had found part of that intangible something which had caused me to feel sad and lonely when I should have been a happy, carefree boy. Yearns for Mother. When I read the copy of a court order which placed me in the custody of Manuel Gomez Chavez I felt that I must begin a search for my parents. It is real parental love that I have been wanting all these years. My instinct was crying for the love of a real mother, though I did not know it. That yearning has caused me to resolve to forgive my father for abandoning me when I was a baby. Three days and two nights on the train from Mexico City to El Paso felt like an eternity. I lived a lifetime. I could not begin my search soon enough. A passenger offered me a cigaret and I smoked for the first time in my life.
I am not unappreciative of the things the people who reared me did for me. But I feel that I have lost much of my life—much of the things other boys accept as commonplace and in ordinary parts of family life. It is too late now for me to go to a university. So I will attempt to continue my career in the literary world. I will write stories and a book of Mexican stories. That may be the means of finding my father. He may see my name somewhere. Two pictures of Harold John McKibben. One was taken after his parents abandoned him when he was four years old. The other picture was taken today.
The saga continues, courtesy of the El Paso Herald September 13, 1927
Youth’s Mother Dead; Stepmother Beat Him, Records Reveal is an American-- Secrets of the strange and shrouded life of Harold John McKibben, American youth, whose story electrified El Pasoans and whose 21 years of existence eclipses the romantic and picturesque lives of adventurers and swashbucklers of fiction, were revealed Tuesday in a search of musty records at the county clerk’s office.
How the mother of the lad died when he was but a few weeks old; how a woman, purported to be the wife of his father, whipped, mistreated and half-starved him, and how the child was finally abandoned are disclosed in a court petition found among the manifold records of the county.
J. A. Chipps, former Juarez saloon man and owner of an apartment house at 205 West California street, who is now visiting in California, and the petitioner, said in the instrument that the woman purporting to be the wife of the child’s father left the boy with his wife for a few hours while she went downtown shopping and that it was the last he ever heard of the couple.
The petition on which the order to turn the child over to Manuel Gomez. Chavez, a wealthy Mexican. living near Parral, Mexico, follows:
State of Texas—County of El Paso. “Before me, the undersigned authority sworn on oath deposes and says: “That Harold John McKibben is a minor of the age of four years; that he has been abandoned by his parents, and has not the proper parental care and guardianship. That “That on or about the 1st off June, 1910. the father of said child came to the house of affiant, with the child and some woman, purporting to be his wife; that the mother of the child died when he was but a few weeks old; that said woman mistreated the said child and whipped him and did not give him sufficient food; that the affiant and his wife helped care for and feed and clothe said child when said parties were in the house of affiant; that on or about the 30th of June, 1910. the woman purporting to be the wife of the father of said child, came to the wife of affiant and asked her to take care of said boy for a few hours until she returned from downtown; that this is the last affiant ever heard of or saw said parties; that they have abandoned said child; that affiant has cared for said child from said date to the present time, but owing to the condition of his wife as to health, is not willing to longer care for him. “Wherefore your affiant prays that said child be declared a neglected child and that the court make such record in regard to the disposition of said child as may appear best for his physical and moral welfare. “J. A. Chips. ‘Sworn to and subscribed before me this day of September. 1910. “Albert S. Eylar. County Judge.”
A search of the county records failed to reveal a record that Gomez had adopted the boy although the juvenile court record of the case, which Gomez gave to the lad, was found. The juvenile record shows that the petition of Mr. Chipps, charging McKibben with being a neglected child and the order that he be turned over to the care and custody of Mr. Gomez, who shall at all times be responsible for the education and maintenance of the child subject to the order of the court, was heard. A notation at the bottom of the juvenile record, the writing of which, court house attaches said, is judge Eylar’s, says, “Party to whom child was given is a wealthy Mexican living near Parral, Mexico. Wife speaks English. Have no children. Will adopt boy. ” The record, which McKibben has in his possession and which lie says Gomez gave him, is an order by judge Eylar turning the child over to the care and custody of Gomez, attaches at the clerk's office said.
Although no records of adoption were to be found, the attaches stated that persons are not required to record such papers and that the majority of adoptions are not recorded, It was explained that many persons prefer not to record adoptions, as they don’t want the children to find out their relationship.
Chris Aranda, jr., deputy county clerk, said that the county judge ordinarily does not give adoptable children to persons wishing them, but that he sometimes makes out the adoption papers. An El Paso woman, who refused to be quoted, said she knew that Gomez adopted McKibben. She maintained that the youth "as not giving Gomez fair play, and that she knew personally the lad had been well taken care of by the Parral rancher. To the complaint that young McKibben is not showing the proper appreciation and respect for Gomez, the youth said: “1 certainly do respect and appreciate Gomez. I certainly appreciate all that he has done for me. But since I have learned that I am an American, I naturally want to find my parents and live in the United States.” Judge Eylar said Tuesday that he remembered the proceedings when McKibben was turned over to Gomez. ‘I and other interested persons thought that we were very fortunate in obtaining s home for the boy with Gomez. “Gomez was a millionaire and had the best of recommendations. I distinctly remember that the child was extremely bright and we often wondered why American parents would desert him. My recollection is that the child was of Irish-American blood. “There is no question in my mind about the boy being born in the United States and that he is an American.”
“Chipps and I often talked about the child and his foster parents. He told me that they loved the boy and that he was getting along fine.” Judge Eylar said that he did not know whether McKibben had been adopted by Gomez. The question of whether McKibben is an American is being investigated by immigration officials. A. J. Milliken, inspector in charge of the Santa Fe street bridge, U S. immigration service, said that if the boy’s father was an American, his mother a Mexican and born in Mexico, he was a Mexican and not a citizen of the United States. “If the boy was born in this country he is an American,’’ inspector Milliken said. “I do not think the boy or the court acting for him could commit an overt act that is depriving him of his U. S. citizenship, in turning him over to guardians in another country.” McKibben only this week learned his nationality, that his mother is dead, and that his father may still be living. He immediately came to where he arrived Sunday, at Hotel Rio Bravo. Monday evening he came to El Paso, his unmistakably American features allowing him to pass the Santa Fe street bridge without question, despite passport restrictions. “I have come to my country to live, and also to protest against a system which allows an American boy to be sent to live in country, and to have it kept from him,” McKibben said.
“I was raised as Gomez’s son.” McKibben said “Although I don’t recall that he ever told me that I was his son that is the impression I received of course. Gomez had no other children.
“Now that I know who I am, I recall dimly that as far back as I could remember I knew a few English words and I have always known the English phrase, “Not dead, but gone before,” although I have no idea where I learned it or where it came from.
An old servant I had once told me that when I was young I always spoke English and as far back as I can remember I had a Baby ring with the initial “H” on it.
When I was in the revolution the soldiers nicknamed me the “The Gringo,” because of my light complexion. But of course I never suspected that I was an American that Gomez was not my father.
“When I was 12 years old Gomez and his wife brought me to Juarez and El Paso.” “Perhaps Gomez was required to report to the judge who made his your guardian,” it was suggested to McKibben. For a moment the youth seemed lost in thought.
“I remember Gomez took me to a place that he told his wife to wait outside for him. When he returned to his wife, who had waited in a car or carriage, I don’t just recall which, he said to her in Spanish, ‘I was afraid they were going to take the boy away from me.’”
When 16 years of age, McKibben became a soldier under a General Garcia, a relative of Gomez’s, he said and fought with Villa throughout the revolution, being wounded twice and one time barely escaping from a firing squad.
“I was put in a prison at Torreon along with other prisoners,” McKibben said, “an order was received to shoot all the prisoners above the rank of second sergeant. I was a second sergeant, so escaped.
“Gomez treated me harshly at times when I was a boy, “the youth continued “but after I was 16, he did not whip me anymore. Part of the time he lived at Parral and at other times in Mexico City.
“I had attended the ‘Anexo a la Normal’ school in Chihuahua City for three years previous to entering the army and had learned some English for I had forgotten all I knew of it as a child.
“About four years ago I entered the military academy at Mexico Cit. I went to school there for about six months. When I left the school I took a position with Camus and company, a dramatic company.
“Still later I wrote stories for the Democrata newspaper of Mexico City. 1 wrote tales for the Sunday paper. I had started writing when I was 11 years old and had had some articles published in ‘Minutillo.’ another Mexico City paper.
“Gomez did not like to have me write. lie told me it was better to learn business than to write poems. Of course, I tried to write poems at all times of day and night and you could hardly blame him for that.”
Politics seemed to McKibben to offer wide possibilities and he was laying his plans to enter that field last week when happened to see Gomez in Mexico City. “1 had not seen but about twice in four years. He asked me why 1 did not come to see him. When I went to his house he handed me a paper and said. ‘You know English. Can you translate that'.” The paper, McKibben said, was the record of the adoption.
“After reading the paper I was almost too surprised to question Gomez.” McKibben said. “I asked him why he had not told me before and he said that he liked to have me a Mexican. He always did say I was the brightest boy he knew.
“I had about 4,000 pesos. I gave them to him. He said that he didn't want any money, but I told him that was to pay him for my schooling and for having taken care of me.
“That was a week ago. I got on a train to come to the United States. It is my country. Of course I will have to start my life all over again, but I prefer to live among my own people.
“Perhaps I am not the only American boy who has been given to Mexican guardians and kept in that country ignorant of his identity,” McKibben said. “It is not right that a boy should be kept in ignorance of his nationality or his parentage.
“I want to get work so that I can make money and go to school here, but, of course, I want to find out who my people are.”
______________________________________________________________________________
Tune in next time
In the forthcoming episodes we’ll learn what happened to the American lad after he found his true identity. Was it good, bad or indifferent? Here is a clue—it was that and more and the final item I have uncovered left me exclaiming “What?”
This story should be wrapped up by the time the summer heat arrives.
From "The Obi-Wan Album" by Anofelah.
"For Obi-Wan, him being one of my favourite Star Wars characters, I just had to dedicate an entire album to him. Through all the different animations that came with him, I wanted to showcase my interpretation of this complex character - ranging from his self mastery, determination, courageousness, to his sense of humour and plaisanterie, I present "The Obi-Wan Album"." -Anofelah
Shot with HattiWatti's Cinematic Tools.
Game: Star Wars Battlefront II (2017) (www.ea.com/en-gb/games/starwars/battlefront/battlefront-2)
Studio: EA DICE Stockholm (www.dice.se/)
Facial artist: Sanna Nivhede
Voice Actor: James Arnold Taylor
Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.
Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.
TIP Report Hero Mohammed Tariqul Islam of Bangladesh delivers remarks at the 2022 Trafficking in Persons (TIP) Report launch ceremony hosted by Secretary of State Antony J. Blinken at the U.S. Department of State, in Washington, D.C., on July 19, 2022. [State Department photo by Ron Przysucha/ Public Domain]