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DDT's Pop Flies (70)

DDT (AKA Darryl Tahirali) is a freelance writer living in Orange County, California. Originally from Canada, DDT enjoys writing about music, baseball, and other areas of Western pop culture from the tasteful to the trashy. DDT can be reached at This email address is being protected from spambots. You need JavaScript enabled to view it..

As of this writing, third baseman Miguel Cabrera of the Detroit Tigers is one home run shy of leading (or being tied for the lead in) the American League in batting average, home runs, and runs batted in (RBI). Historically, these three categories have constituted the batting Triple Crown, and it is a mark of this rarity that only 14 hitters in baseball history, 11 of those during the modern era begun in 1901, and only 9 of those during the live-ball era begun in 1920, have ever accomplished this feat, which signifies the ability to hit for average, hit for power, and produce runs. In the current sabermetrics era, both batting average and RBI are considered to be overvalued as measurements of ability and effectiveness, yet of the 14 men who have accomplished this, 12 are in the Hall of Fame. Coincidence? Let's see.

Pitching also has its Triple Crown, for (starting) pitchers who lead their league in wins, earned run average (ERA), and strikeouts, and although wins have also been discounted by sabermetricians as a measure of a pitcher's effectiveness—a "win" is composed of many factors contributed by the team—both ERA and strikeouts are still very much indicators of a pitcher's effectiveness. Last year both the Los Angeles Dodgers' Clayton Kershaw, for the National League (NL), and the Tigers' Justin Verlander, for the American League (AL), were Triple Crown winners, the first time since 1924 that each league had a pitching Triple Crown winner in the same year; not surprisingly, both Kershaw and Verlander won their league's respective Cy Young Awards, with Verlander also winning the AL Most Valuable Player Award—quite an unusual honor for a pitcher. (For the record, in 1924 the Washington Senators' Walter Johnson was the AL pitching Triple Crown winner, while the Brooklyn Dodgers' Dazzy Vance was Johnson's NL counterpart.)
The Rock and Roll Hall of Fame had been inducting artists for twenty years by 2006, the first year examined in the five-year period under review here. For each of these five years, the Hall inducted five artists for a total of twenty-five, the fewest number for any five-year period to date. Yet of those twenty-five artists, only nine are clearly Hall of Fame-quality while nine clearly are not, with the remaining seven Hall of Fame-worthy acts although cases should be made for each. Once again, we see the Hall of Fame making inductions with a lack of discernment.

In Part 1 of this series, I evaluate the first five years' worth of inductees, which include the founding artists at the beginning of the Rock Era (circa 1955 to the present) while outlining the baselines for the audit process including the Defining Factors—innovation, influence, popularity, crossover appeal, and legacy—used to evaluate each artist. Part 2 examines the next five years' worth of artists, including some of the biggest acts of the 1960s and 1970s, while exploring the "legacy" Defining Factor in greater detail. More artists from the 1960s and 1970s are examined in Part 3, which also examines the continuing "backfilling" by the Hall of earlier artists along with a fuller discussion of my "small Hall" preference. The most recent audit in Part 4 finds the Hall inducting artists from the late-1970s—the birth of modern rock—while examining the role of "talent" in the overall assessment of the artists. One artist examined in Part 4, Percy Sledge, is clearly a marginal talent whose induction had engendered skepticism in even the most casual of music fans. Unfortunately, that lack of sound judgment by the Hall continues in this period.
As the new millennium began, the Rock and Roll Hall of Fame continued its inductions of artists from the Rock Era's past—and, unfortunately, it also continued its trend of inducting too many substandard acts that had begun in the last five-year period (detailed in Part 3 of this series). Of the 31 acts inducted during this period, only 12 are truly worthy of the Hall, and only 7 are on the borderline of qualification, leaving 12 unworthy inductees. The 31 inductees is the lowest total number of inductees of the four five-year periods—was the Hall running out of talent to induct?
After ten years of inducting musical artists, the Rock and Roll Hall of Fame had shown itself to have cast a broad net. In addition to inducting the expected founders and superstars from the Rock Era's first two decades, it also inducted a number of artists whose credentials were marginal. Unfortunately, that trend accelerated through this third five-year period, with only 10 of the 33 total inductees truly without question Hall of Fame acts. In this period from 1996 to 2000, that broad net scooped up many more acts that clearly justify a close audit of the Hall's inductions. How far off-base had the Hall of Fame become?
Continuing from Part 1 my folly to audit the selections made thus far by the Rock and Roll Hall of Fame, this bite of the elephant covers the inductees from 1991 to 1995. With 37 inductees during this five-year period, as opposed to 43 during the previous five-year period, and the window of eligibility extending to acts that released their first recording through the 1960s, the Hall made some fairly sage inductions during this period.

Continuing the idea from a previous column about the ten music albums you would want with you on a desert island, here is that idea updated for 21st-century digital boys and girls. (Apologies to Bad Religion.) Thanks to iPods and other digital devices, music storage and playback has grown tremendously—you can now literally hold the musical world in the palm of your hand. Should you find yourself on that titular island today, no doubt you would have access to much more music than before. So, before the batteries run out or the Dharma Initiative kidnaps you, which ten playlists would you have with you on the island?

Beware the dangers of channel surfing: Recently I stumbled across a rebroadcast of VH-1's most recent 100 Greatest Artists of All Time, originally broadcast in 2010. VH-1 has of course appointed itself both curator and arbiter of the history of the Rock Era, and it has proved to be impressively incompetent in this regard, as should be evident from just the first hour of this five-hour televised train wreck. But just how bad could this particular countdown be?

 

While it might be premature to consider Ichiro Suzuki's career to be at a close—he is still the starting right fielder for the Seattle Mariners—he enters the 2012 season as a 38-year-old major-league ballplayer. In baseball terms, that's pushing retirement age—and his performance in 2012 will determine whether it becomes a forced retirement. What is not premature is determining the answer to this question: Is Ichiro Suzuki a Hall of Famer?

After a quarter-century of selecting inductees, the Rock and Roll Hall of Fame has been under steady criticism for its choices, as readers of this site are well-aware. So, in an exercise in extreme foolishness, I think it's high time the Rock and Roll Hall of Fame was audited to determine whether its selections really are justified. It is a comprehensive task, and just as you eat an elephant one bite at a time, I am starting with the first five years' worth of inductees.

The week of January 16, which began with the observation of the birthday of Reverend Martin Luther King, Jr., brought news of the deaths of R&B singer Etta James and R&B bandleader Johnny Otis, both inductees into the Rock and Roll Hall of Fame. It is sadly appropriate first that the deaths of James and Otis should occur in the same week—it was Otis who discovered James—and that both should die during the week that marks the commemoration of the slain African-American civil rights leader.

 

Having proved to be a hit with moviegoers, Moneyball, the baseball story that might feature an underdog but otherwise avoids most sports-film cliché, is picking up steam as we move into the heart of awards season: This fast-paced, engrossing movie has garnered four Golden Globe nominations, typically a bellwether for the World Series of filmdom recognition, the Academy Awards. Indeed, Moneyball is a Hall of Fame-worthy baseball flick.

The Baseball Writers Association of America (BBWAA) has voted on which player or players will be inducted into the Baseball Hall of Fame in 2012, and the results of that vote will be announced on January 9. Boy, I wish I'd had a ballot!

Each BBWAA voting member can cast a vote for up to ten players, a ballot provision that might prove to be very useful given the logjam of worthy candidates already on the ballot and those who will be added to the ballot in the next few years. Although I don't think there are ten worthy candidates on this year's slate, I would have voted for eight of them given the chance.

First, I'll dispense with the players who are on the ballot for the first time this year. Of the 13 new candidates, only former Yankees center fielder Bernie Williams merits any serious consideration. Of the remaining 12, the Angels' right fielder Tim Salmon emerges as the strongest choice, although he remains a solid player, beset by injuries, one of the many good enough to play major league baseball as a career but not an elite player.