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Medieval Facial Hair in Major League Baseball

What is it with baseball players and whiskers?

The 2013 Red Sox perfected the art of beard-bonding on the way to their third World Series championship in ten years. Boston players and their fans rallied around what Christopher Oldstone-Moore calls the “quest beard” in his history of facial hair, Of Beards and Men. Two years later the Yankees began winning only after Brett Gardner stopped shaving his upper lip and, seeking to propitiate the baseball gods, his teammates followed suit. Lip caterpillars soon dwindled along with victories that first year without naked-faced Derek Jeter, but there were still more staches and wins than pundits predicted before the season began. The 2017 Fall Classic featured two rosters—the Houston Astros and Los Angeles Dodgers—modeling a wide assortment of trendy beards, with Dallas Keuchel’s voluminous but well-tended shrubbery taking first-place honors.

Dallas Keuchel and his beard (via wikimedia)

The Washington Nationals entered this 2018 season determined to supplant the Astros for best overall beard garden, but Houston more than held its own in facial fashion and on the diamond, finishing the year with the second best record. Helped by long-bearded pitchers Craig Kimbrel and David Price, the Red Sox led all teams in victories, pulling away from the mighty yet clean-shaven Bronx Bombers, and could well square off against the Astros in the American League Championship Series for a ticket to the 2018 World Series.

Facial hair has been attached to masculine dominance as far back as the late Middle Ages and the early modern period: “No hairs,” so went the pun, “no heirs.” The trend continues. Adjusting to the new normal of fewer shaves and more beards over the past decade, Procter & Gamble (parent company of Gillette), has sought to increase revenue by marketing styling and grooming products more aggressively.

A recent survey of 8,520 women by researchers at the University of Queensland in Australia found that, while stubbled faces are deemed sexiest, full-bearded men are favored for long-term relationships. Gay men surveyed also respond more favorably to men with facial hair. Another scientific study reveals that bristles make men wearing aggressive expressions appear that much more threatening. Hence the many pitchers who forgo razors the day of the game in search of a predatory advantage over club-wielding scruffs standing sixty feet, six inches away.

Woodcut of Ezzelino III da Romano, unfortunately without the famous nose hair (via wikipedia)

But forget about staring down plain old beards and mustaches. Just imagine having to face the facial hair sported by the medieval warlord Ezzelino da Romano. By facial hair I mean just that, one single strand. This alpha male, a dark and hairy beast of a man, sprouted a single black hair on the tip of his nose, a genetic abnormality that had nothing to do with fashion but made quite a statement nonetheless.

Ezzelino terrorized inhabitants of northern Italian cities and towns in the thirteenth century. A murderous despot, he was said to be responsible for taking over 50,000 lives, on one occasion slaughtering over 10,000 Paduans by fire, sword, and starvation. He was such a bad dude that the pope of the time, Alexander IV, called him “a son of perdition . . . the most inhuman of the children of men” and launched a crusade against him.

Ezzelino’s nose ornament took hostile facial fuzz to another level. Whenever he became enraged, the long dark hair on his nose immediately stood up, making those around him run for their lives. Anger on steroids. Little wonder that the poet Dante condemned Ezzelino to the circle of violence in his Inferno (canto 12, lines 109-110), placing him with other homicidal tyrants in the Phlegethon, a river of hot blood. Like a meatball in a pot of tomato sauce, a dark head of hair is all that appears of Ezzelino above the bubbling red surface.

Dante and Virgil observe the centaurs shooting the tyrants in Phlegethon. Charles S. Singleton (Inferno XII) (via wikimedia)

Imagine plucking Ezzelino da Romano from Dante’s red river and fitting him in an Astros uniform for game seven of the 2018 American League Championship Series against the Red Sox. There is no score with two outs in the bottom of the ninth inning. José Altuve, Marwin Gonzalez, and Evan Gattis beam their impressive face rugs from third, second, and first base. Pinch-hitting for peach-fuzzed Alex Bregman, Ezzelino steps to the plate and digs in.

Craig Kimbrel and his red beard (via wikipedia)

Red-bearded Craig Kimbrel gets the sign and checks the runners. Ezzelino waits, his head steady and slightly tilted toward the mound. Kimbrel rocks back, lifts his left leg, and just as his eyes find the target—boing!—Ezzelino’s nose hair snaps to attention, perfectly parallel to the bat in his hands. The terrified hurler uncorks a wild pitch, allowing Altuve to sprint home with the winning run. The Astros are headed to the World Series, while the Red Sox and their fans brace themselves for a long, cold New England winter.

Bibliography:

Will Fisher, “The Renaissance Beard: Masculinity in Early Modern England,” Renaissance Quarterly 54, no. 1 (2001): 155–87, JSTOR, www.jstor.org/stable/1262223; Christopher Oldstone-Moore, Of Beards and Men: The Revealing History of Facial Hair (Chicago: University of Chicago Press, 2015); Douglas Biow, On the Importance of Being an Individual in Renaissance Italy: Men, Their Professions, and Their Beards (Philadelphia: University of Pennsylvania Press, 2015), 181-224; Giovanni Villani (c. 1280-1348), Nuova cronica, ed. Giuseppe Porta, 3 vols., 2nd ed. (Parma: Fondazione Pietro Bembo, 2007); Dante Alighieri, La Divina Commedia, ed. Giorgio Petrocchi. (Turin: Einaudi, 1975); Benvenuto da Imola (1375-1380), commentary on Inferno 12.109-112, database of the Dartmouth Dante Project, https://dante.dartmouth.edu; Paget Toynbee, A Dictionary of Proper Names and Notable Matters in the Works of Dante (Oxford: Clarendon Press, 1968).

Beard Links:

Beard bonding: http://www.bostonglobe.com/sports/2013/10/02/beards/BAQGj2IcEckzCq5Z0Piy3N/story.html

Brett Gardner stopped shaving his upper lip:

http://m.yankees.mlb.com/news/article/120449078/for-brett-gardner-yankees-its-not-a-stache-decision

Wide assortment of trendy beards:

https://ftw.usatoday.com/2017/10/world-series-dodgers-astros-beards-ranked-turner-keuchel-kershaw-reddick-mlb-mlbeard

Long-bearded pitchers Craig Kimbrel and David Price:

https://www.masslive.com/redsox/index.ssf/2018/07/craig_kimbrels_long_beard_isnt.html

Best overall beard garden:

http://www.nbcsports.com/washington/washington-nationals/years-nationals-are-stacked-glorious-facial-hair-bryce-harper-jayson-werth-beard

Fewer shaves and more beards:

https://chicago.cbslocal.com/2018/08/08/909324-beards-bad-gillette-razors/

Early modern period:

https://www.jstor.org/stable/1262223?seq=1#page_scan_tab_contents

A recent survey:

https://www.nytimes.com/2017/05/17/well/family/are-men-with-beards-more-desirable.html

Another scientific study:

https://academic.oup.com/beheco/article/23/3/481/221987

A river of hot blood:

https://upload.wikimedia.org/wikipedia/commons/3/35/Inf._12_anonimo_fiorentino.jpg

Beyoncé as Historian: Black Power at the DPLA

By Edward Shore

The Digital Public Libraries of America (DPLA) has published sets of primary sources to help students sharpen analytical skills, to empower educators to breathe life into history in their classrooms, and to enlighten anyone anywhere interested in history. The anthology focuses primarily on U.S history from the colonial era to the present. It compiles rare photographs, oral histories, political propaganda, speeches, advertisements, and other primary sources to tell sixty different stories. Themes range from the familiar— the “Exploration of the Americas” and the “Secession of the Southern States” — to the understudied— “Women and the Blues” and “American Indian Boarding Schools.” Each category contains between ten and twelve primary source materials. They humanize historical actors, contextualize major events, and “make real” the seemingly arcane and distant past. The public historians among us can use DPLA primary source sets to lend historical perspectives to contemporary debates.

Take, for instance, the uproar that has followed Beyoncé Knowles-Carter’s halftime performance at Super Bowl 50 in Santa Clara, California. Critics lashed out at Beyoncé and her dancers for wearing Black Panther-inspired costumes and carrying signs demanding justice for Mario Woods. Woods, 26, who was shot dead by San Francisco police officers on December 2, 2015, after he was suspected of stabbing a pedestrian. “I thought it was really outrageous that she used it as a platform to attack police officers,” Rudy Giuliani, the former mayor of New York City, told Fox and Friends. “These are the people who protect her and protect us and keep us alive.” “I’m tired of #BlackLivesMatter,” added Patrick Hampton, an urban youth minister from New York. “I’m tired of the New Black Panthers. I’m tired of seeing women on TV twerking. I’m tired of the racial division.”

Beyonce performs at the Superbowl. Courtesy of Ezra Shaw/Getty Images.

Sadly, DPLA primary source sets do not elaborate upon the historical significance of twerking. But they can offer clues to explain why Beyoncé and her dancers paid tribute to the Black Panthers and #BlackLivesMatter during the Super Bowl.

Let’s start with the DPLA primary source set related to the “Black Power Movement.” The collection contains sermons, photographs, drawings, FBI investigations, and manifestos to shed light on the political and social movement whose advocates believed in racial pride, self-determination, and equality for all afro-descendant peoples. A sketch of a black man and woman captures an aesthetic that Beyoncé clearly sought to emulate: afro hair-dos, sleeveless blouse, a t-shirt with a raised black fist. That style was closely associated with the Black Panther Party for Self-Defense, which originated in Oakland, California, some fifty miles away from Levi’s Stadium.

Black Panther Party logo, circa 1966. Photo courtesy of Wikipedia.

The Black Panthers’ 1966 party platform called for “an immediate end to police brutality and murder of black people.” We can surmise that Beyoncé’s tribute to the Black Panther Party was an expression of solidarity with the Bay Area African-American community after another fatal police shooting. According to the Guardian, the number of people killed by US police in 2015 reached 1,000 after Oakland police officers shot dead a man who allegedly pointed a replica gun at them. It was the 183rd such death recorded in California, by far the highest of any state. What better place to publicize police violence than the Super Bowl, the nation’s most popular television event where approximately 70% of athletes on the field were black?

The public historian can synthesize materials from several DPLA primary source sets to tell a larger story about race relations in the United States. For instance, the Transatlantic Slave Trade collection offers the historical context for Beyoncé’s message of protest. I came across an advertisement for a slave auction in Charleston, South Carolina. “To be sold on board the ship the 6th of May next!” the caption reads. “A choice cargo of about 250 fine healthy NEGROES! The utmost care has been taken, and shall be continued, to keep them free from the danger of being infected with small pox onboard!”

Advertisement for a slave auction in Charleston, SC. Photo courtesy of Digital Public Library of America.

This disturbing image underscores the callous normalization of violence against black bodies. It also helps to explain why it was so critical for Black Power activists to foster black pride and reclaim human dignity through the articulation of a bold, uncompromising Afrocentric message and aesthetic. (If you are curious about what smallpox looks like, you can consult the “Exploration of the Americas” collection. It contains a 1910 photograph of a man infected with variola, better known as smallpox.)

Finally, let’s respond to criticism that black activists have fostered “racial division.” DPLA primary source materials on the secession of southern states include an 1861 pamphlet, “The Causes which Impel the State of Texas to Secede from the Federal Union,” that highlights the origins of such divisions in the ways state governments codified racial apartheid into law. “We hold, as undeniable truths, that the government of the various states and of the Confederacy itself, were established exclusively by the white race, for themselves and for their posterity,” the manifesto proclaimed. “That negroes were rightfully held and regarded as an inferior and dependent race, and in that condition only could their existence in this country be rendered beneficial or tolerable.”

If any one group was most to blame for the promotion of “racial division” it was southern legislators. One should not need to remind Rudy Giuliani and Patrick Hampton that state-sanctioned apartheid persisted in states like Texas a full century after the conclusion of the Civil War. The legacies of secession and Jim Crown still loom large today. On January 8, 2016, Texas Governor Greg Abbott called for a Constitutional Convention to restore states’ rights. DPLA source sets reveal the extent to which white supremacists invoked “states’ rights” to defend slavery and segregation. Meanwhile, four in ten Trump voters in South Carolina wished the Confederacy had won the Civil War. Racial division persists in the United States. DPLA primary source sets such as “The Secession of the Southern States” illuminate its historical, structural foundations.

DPLA primary sources may not win hearts and minds at Fox News. Still, they can help anyone acquire a richer account of the Black Power Movement than Texas SBOE-sanctioned text books. The collection possesses several shortcomings. Although it furnishes educators with ample documentation to challenge those who reduce the Black Panther Party to “thugs,” DPLA primary source sets do little to explain why critics have associated the movement with violence in the first place. It also fails to highlight women’s voices within the Black Power Movement. Where are selections from Assata Shakur’s autobiography? Why not include excerpts from Angela Davis’s memoirs? These and other sources can give necessary and even richer background to contextualize Beyoncé’s performance and its historical implications.

The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

The Longhorns’ Resident Historian

By Nicholas Roland

Most days Clyde Rabb Littlefield may be found busily managing a real estate investment and property management business from a small office adorned with Longhorn sports memorabilia in the historic Robinson-Rosner building in downtown Austin. Littlefield holds two degrees from the University of Texas at Austin (B.A. ’53, M.A. ’57), neither of which is in the field of history, but everyone who knows him knows that Littlefield is first and foremost a historian, with a particular interest in the early history of the institution that he and his family have been intimately connected with for over a century.

Photograph of Clyde Rabb Littlefield standing next to a plaque memorializing his father — Clyde Rabb Littlefield standing next to a plaque memorializing his father.

As a native of Austin and two-time alumnus of UT, Littlefield bleeds burnt orange. In fact, his connection to the University of Texas is genetic. His father, Clyde Littlefield, was a legendary athlete and coach for the Longhorns. The elder Clyde was one of a duo of famous, albeit unrelated, Littlefields who left a significant mark on the University of Texas. George Washington Littlefield (1842-1920), a member of the Board of Regents and important early donor to the University, endowed the Littlefield Fund for Southern History, the iconic Littlefield Fountain, and the sometimes controversial South Mall statuary on the Forty Acres campus. In contrast, Pennsylvania-born Clyde Littlefield (1892-1981) began his career in Austin in the fall of 1912 as a freshman student athlete from the oil boom-town of Beaumont, Texas. By the time he graduated in the spring of 1916, Littlefield was a twelve-time letterman, an all-Southwest Conference athlete in football and basketball, an all-American in basketball, a conference hurdles champion in track, and had equaled the world record in high hurdles in 1914. According to his son, Littlefield only lost one race during his entire collegiate career. After a brief stint in the Army followed by some high school coaching, he returned to Austin and coached football, basketball, and track until 1962, winning twenty-five Southwestern Conference titles in track and field and two conference titles in football. Clyde Littlefield’s most enduring legacy at UT is the Littlefield Texas Relays, a major national track and field event. A campus road adjacent to the track stadium bears his name and he is memorialized in the Longhorn Hall of Honor and on a plaque located at the gate to Mike A. Myers Stadium.

Having virtually grown up in the shadow of the UT Tower, it was only logical that Clyde Rabb Littlefield would become a Longhorn himself. Upon entering the University in the fall of 1949, he enrolled in Air Force R.O.T.C., a new program on campus resulting from the Air Force’s establishment as a separate military branch in 1947. “Well,” recalls Littlefield with a laugh, “when I joined ROTC as a freshman it was not popular. And then the following summer the Korean War broke out, and to avoid the draft it became popular!” He graduated in the spring of 1953 with a bachelor’s degree in Government. After commissioning as an Air Force officer, Littlefield received orders to Korea and soon found himself on a troop ship crossing the Pacific Ocean. Arriving shortly after the cease-fire took effect on the Korean Peninsula, Littlefield’s unit decided that it needed a historian and he recalls that “they discovered that I minored in history.” This fortuitous discovery would have a major impact on Littlefield’s career for decades to come.

Second Lieutenant Littlefield was soon slotted as a unit historian, an assignment that proved very memorable for the young officer. After being assigned to Advance Headquarters in Seoul, Littlefield remembers being sent to the Demilitarized Zone in a Jeep with an armed escort to carry an important message to the United Nations commander: a North Korean MiG had been shot down in the first major incident after the July 27, 1953 cease-fire. He recalls that during this incident, “They didn’t trust electronic communications, so that’s why they sent me.” An assignment to Headquarters also meant that Littlefield had the opportunity to travel widely in East Asia and the Pacific. During his service in the Air Force he visited the Philippines, Japan, Thailand, Macaw, Hong Kong, and Iwo Jima in both official and unofficial capacities. Upon completion of his Active Duty service, Littlefield made the ten-day Pacific Ocean crossing to the United States on a troop ship.

A postcard view of UT's West Mall, ca. 1940 — A postcard view of UT’s West Mall, ca. 1940 (Image courtesy of The UT History Corner)

After returning to Austin, Littlefield pursued a master’s degree in Government at UT, graduating in 1958. His thesis, “American Assistance to Japan, 1945-1956,” was inspired by his experiences in war-torn East Asia, especially his realization that “in California seemingly so much concrete was around, relative to Japan or Korea.” After receiving his M.A., Littlefield worked briefly for Hughes Tool Company in Kansas, and subsequently found a job as a civilian historian for the Department of the Air Force. He continued to work as an Air Force historian for the next twenty years, retiring in 1980. Along the way Littlefield was able to continue his love of travel, living in such locations as Los Angeles, Kansas City, Wiesbaden, Germany, Honolulu, Hawaii, and Washington, D.C. His stint in Hawaii encompassed Vietnam War operations and he later authored a white paper on the proposed B-1 Bomber while working in Washington, D.C. Upon retirement, Littlefield returned to his hometown and embarked on his current career in real estate investment and property management. Littlefield laughs when recalling the changes he found in Austin when he returned: “You know I naively thought when I was moving back here from [the] Washington, D.C. area that I was going to know everybody! Because when I was growing up we only had one high school, well one white high school anyway. So even though it was very large you tended to – if you didn’t know of somebody you knew somebody who knew somebody type thing. But of course, when I got back that didn’t exist at all.”

Clyde R. Littlefield’s interest in history did not end with retirement from the Air Force. Today he spends much of his free time researching the first decades of The University of Texas, exploring the origins of Roundup, Bevo, and “The Eyes of Texas” as well as the origins and fates of a wide range of individuals who shaped the early history of the school. In 2004 his research produced a book on the early history of Kappa Alpha, his fraternity while a student at UT. He has spent so much time at the Dolph Briscoe Center for American History that he now sits on the advisory board for the internationally renowned archive.

Photograph of UT students gathering under the UT Tower to celebrate the annual Gone to Texas Night — UT students gather under the UT Tower to celebrate the annual Gone to Texas night (Image courtesy of Austin American-Statesman)

Through his research and his own lifetime of experience at UT, Littlefield has seen many sweeping changes. The athletics program has evolved from the days of student club teams that played and sometimes lost to prep school squads to a professionalized department generating hundreds of millions of dollars in revenue each year. Littlefield recalls that the friendship between his mother and Rowena Bible, wife of Coach Dana X. Bible pre-dated Bible’s move from Texas A&M to UT, noting that “in those days people knew each other pretty well. There weren’t too many … extra coaches running around shall we say.” Overall, until recent decades athletics were “more amateurish, less commercial. Remember, we didn’t have commercial television here until the 1950s. I think the timing of any game was not driven by television. And it was very predictable. I remember, let’s say a football game, you almost always knew when it was going to start. Because that was the set time,” he concludes with a chuckle. The growth of the University itself has been equally astounding. Littlefield’s believes that “when I was in school and before, I think the University was more personal. And I’ve got the impression today it’s much more bureaucratic.”

Massive growth in the state of Texas, the city of Austin, and at UT have combined with wide ranging social changes to render the UT of 2013 a vastly different place from the slowly desegregating campus Clyde R. Littlefield encountered as a freshman in 1949, to say nothing of the small town university his father Clyde Littlefield entered in 1912. Whatever the future holds for The University of Texas, one thing is certain – the Littlefield name will remain synonymous with the Forty Acres, as it has for the past century.

Photo Credit:

Clyde Rabb Littlefield by Nicholas Roland

Boxing Shadows, by W.K. Stratton with Anissa “The Assassin” Zamarron (2009)

By Anne M. Martínez

In November 2005, Anissa “The Assassin” Zamarron entered the ring for one of her most important bouts: a chance to win the Women’s International Boxing Association junior flyweight title. At 35, fighting in her opponent’s hometown and having lost her last four fights, Anissa was considered the underdog. San Antonio’s Maribel Zurita, a decade Zamarron’s junior, had earned the title three months earlier and was overwhelmingly favored to retain it. After ten full rounds, as the fighters awaited the scoring result from the judges, Anissa took comfort in the belief that she had fought the best match of her career. In the eight months since her last fight, she had eaten better and trained harder than ever before, and her preparation paid off: her trainer, Richard Lord agreed. “You did a great job,” he repeated, as the ring announcer came to the microphone. Anissa didn’t know it at the time, but it was her last fight, and she won: WIBA junior flyweight world champion!

Movie poster of the movie Boxing Shadows

Boxing Shadows tells the story of Anissa Zamarron’s life in Central Texas, including her rise to two-time world champion boxer. To those unfamiliar with the sport, Boxing Shadows offers a primer on the training, traveling, and match-ups of the early years of professional women’s boxing. Zamarron fought in the first sanctioned women’s bout in New York State along with a number of international bouts before women’s boxing was much of a blip on the radar of most American sports fans.

Black and white image of the Bennett sisters boxings, c. 1910

The Bennett sisters boxing, circa 1910.

But the book, co-written by Zamarron and sports writer Kip Stratton, is about much more. Boxing was not just a meal ticket for Zamarron, it was a life-saver. She was born in San Angelo, Texas, and her family moved to the Austin area when Anissa was seven. Shortly after, her parents separated and her family was divided. Her brothers — her heroes — lived with their father and Anissa went with their mother who, having married in her teens, relished a freedom she had never experienced before, to work full time, go to happy hour every night, and date. The loss of the structure of family life, the longing for the company of her brothers, and the rough and tumble apartment complex where she spent these formative years pushed Anissa further and further into darkness.

Image of Anissa "The Assassin" Zamarron in the midst of a boxing fight

Anissa “The Assassin” Zamarron (The Women’s Boxing Archive Network)

Anissa felt a strong self-loathing as early as second grade, began cutting herself in middle school, and was committed to a mental hospital for the first time in her early teens. She discovered boxing in 1993 at age 23. After years of therapy, self-mutilation, and struggle, boxing was an outlet for the demons that drove Zamarron to hurt herself. Boxing did not end her battles with herself, but gave Anissa ways to work through challenges in the gym, rather than in her mind. Zamarron is open about her struggles with learning disabilities, mental illness, and drug addiction. Her success in the ring offers inspiration for others struggling to overcome similar challenges to reach their goals.

Master-at-Arms Seaman Rhonda McGee, left, spars with Patricia Cuevas during an exhibition match in the preliminary rounds of the 2011 Armed Forces Boxing Championship.

Boxing Shadows is devastating in its frankness, uplifting for its courage, and all the more impressive when one meets Anissa. In May of 2012, I visited Anissa at Richard Lord’s Boxing Gym in Austin, Texas to talk about Boxing Shadows. [You can see the video interview at the bottom of this page or on our Youtube channel here.] Zamarron is marked, more than scarred, by her past. She is surprisingly forgiving of those who disappointed her or otherwise contributed to the internal battles she fought as a child. After the interview, Anissa prepared to spar, and even then, nearly seven years after her last bout, in the ninety seconds it took Richard Lord to wrap her hands, the Anissa I had just interviewed was completely transformed. She forgot about the camera, disconnected from everybody in the gym, and began moving like a boxer — even standing still. Focused in a way I had not seen in the half dozen years I had known her, at that moment — “The Assassin” was back.

Video Credits:
Producer: Amanda E. Gray
Co-Producers: Therese T. Tran and Anne M. Martinez
Cinematographer: Therese T. Tran
Editor: Amanda E. Gray
Colorist/Online: Therese T. Tran
Transcriber: Lizeth Elizondo

Photo Credits:
All photos courtesy of Wikimedia Commons
Except the photo of Zamarron in the ring, which comes from the Women’s Boxing Archive Network

You may also enjoy:
More by Anne Martínez, “Rethinking Borders”
More on women’s athletics: “Title IX: Empowerment Through Education”

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