Here's the Pitch: The Amazing, True, New, and Improved Story of Baseball and Advertising by Roberta J. Newman
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Reviewed by: Here's the Pitch: The Amazing, True, New, and Improved Story of Baseball and Advertising by Roberta J. Newman Mark McGee Roberta J. Newman. Here's the Pitch: The Amazing, True, New, and Improved Story of Baseball and Advertising. Lincoln: University of Nebraska Press, 2019. 352 pp. Cloth, $34.95. When I read a book, I want to be able to say I learned something new. In the case of Roberta J. Newman's Here's the Pitch: The Amazing, True, New and Improved Story of Baseball and Advertising I came away with a great deal of knowledge about the relationship between baseball and advertising I did not previously possess. Newman serves as a literary version of former professional pitcher Ted "Double Duty" Radcliffe. Newman takes us back to the mid-nineteenth century and carries us through today's world of advertising using baseball. Along the way she provides a fascinating history of advertising as well as the history of baseball players in the promotions field ranging from cigarette cards to television. This is an impeccably researched volume. It could have been a dry textbook approach to the world of advertising, but Newman avoids such boredom with unique background stories and perspectives as the advertising world and the players involved have changed with the times. At a time when many are concerned about the history of baseball on the professional level, Newman provides example after example of how advertising campaigns using baseball players have helped promote the game just as the players promote various products. Newman traces baseball's involvement with the advertising field with examples from Honus Wagner, Babe Ruth, Ty Cobb, Mickey Mantle, Yogi Berra, Willie Mays. Derek Jeter, Rafael Palmeiro, and David "Big Papi" Ortiz. While the advertising world is star-driven, Newman points out the first baseball advertising was, by necessity, designed for fans who attended games. We have seen advertising go from signs in the outfield to sponsors for virtually [End Page 271] every aspect of the game including calls to the bullpen and seventh inning stretches. But again, it is all about the players and their faces and personas. While striving not to give away all the surprising and interesting insights Newman provides, it is necessary to point out some of the background behind the players involved. Newman's approach takes the long-standing premise that advertising reflects culture and expands by pointing out advertising also creates culture. She provides several examples where baseball and advertising have worked together to provide a revealing view of American culture. Two former players, who would eventually own teams—Alfred Goodwill Spalding and A. J. Reach—had their names tied to baseball publications as well as to official baseballs for the National and American Leagues, respectively. Some were more reluctant in allowing the use of their names and likenesses. Honus Wagner was well-known for his disdain of the use of his likeness on cigarette cards. Ty Cobb was even more vehemently opposed to tobacco use in general and refused to promote the use of tobacco in advertisements, separating him from many of his baseball contemporaries. Unlike today, the names and likenesses of baseball players in the early 1900s were often used without their permission and without pay. But many have earned more than their share of money through their promotional work. Babe Ruth may have been known for his ability to hit home runs on the field, but he was equally as proficient in going for the fences in the world of advertising. Yogi Berra used his personality as well as his ability to spout off-the-wall observations into advertising gold. He refused, however, to promote a product he did not personally use. His popularity as a pitchman extended into this century. Mickey Mantle and Willie Mays played against type crying for their Maypo. The Miller Brewing company changed the image of its Lite beer from a brand designed originally for female drinkers to one for all beer lovers through the use of athletes and sports personalities such as George Steinbrenner and Billy Martin arguing which was better, "Tastes Great" or "Less Filling". In a reflection of the effect of baseball-related advertising the...
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it