Remembering The All-Black Lineup

The events of September 1, 1971 have never received much media attention, paling in comparison to the coverage of Jackie Robinson’s historic entrance into the major leagues. Yet, the happenings in Pittsburgh on that date, 35 years ago, constitute one of the most significant milestones in the racial history of major league baseball.

That afternoon, while sitting in his office at Three Rivers Stadium, Pittsburgh Pirates manager Danny Murtaugh prepared to oppose the Philadelphia Phillies and left-handed pitcher Woodie Fryman. Murtaugh filled out the following names on his lineup card:

Rennie Stennett, 2B

Gene Clines, CF

Roberto Clemente, RF

Willie Stargell, LF

Manny Sanguillen, C

Dave Cash, 3B

Al Oliver, 1B

Jackie Hernandez, SS

Dock Ellis, P

At first glance, Murtaugh’s lineup seemed to represent nothing particularly out of the ordinary. In fact, the lineup appeared typical of ones that he would use against left-handed starters like Fryman, with the exception of the lefty-swinging Al Oliver at first base in place of the right-handed batting Bob Robertson. Upon further review, however, observers in the press box noticed that the lineup consisted exclusively of African-American and dark-skinned Latin American players. Baseball experts surmised that for the first time in the history of baseball, and 24 years after Jackie Robinson had broken the color barrier, a major league team was employing an all-black lineup.

Gene Clines, one of the players in the lineup that evening, initially believed that the Pirates had used an all-black lineup several years earlier. Willie Stargell, one of the senior members of the 1971 Pirates, corrected Clines’ speculation. “No, this is the first time,” said Stargell, the Hall of Fame outfielder-first baseman who died in 2001. “Back in 1967, in Philadelphia, [former Pirate manager] Harry Walker started eight of us, but the pitcher, Denny Ribant, was white.”

Although Murtaugh’s decision to write out an all-black lineup drew relatively little attention from the fans and media, it was immediately noticed by some Pirate players in the clubhouse prior to the game. “We saw the lineup on the [clubhouse] wall… Oh yeah, we were aware,” recalled pitcher Steve Blass, the eventual winner in Game Seven of the 1971 World Series.

In 1971, the Pirates represented baseball’s most heavily integrated team, with black and Latino players accounting for nearly fifty percent of the club’s roster. The Pirates also featured one of baseball’s most harmonious teams, with friendships and gatherings often crossing racial lines. White players often socialized with black and Latino players, either at bars and restaurants after games, or at barbecues and parties organized by one of the team’s leaders, Willie Stargell. Considering the unity of the team, the players’ reaction to the all-black lineup was not surprising. “We had a loose group, [so] we were all laughing and hollering about it and teasing each other,” said Blass. “I thought that was a great reaction.”

Third baseman Richie Hebner, who sat out the game with an injury, said the players’ pre-game reaction to the lineup typified the kind of good-natured racial humor that was prevalent with the Pirates. Hebner said such humor was doled out purely for fun, and not intended to be taken seriously. “Some of the guys joked around the clubhouse, saying, ‘Hey, you white guys, you can take a rest tonight’… Back then, Ellis and Stargell would get on us [white players] and we’d get on them. You could do that,” Hebner recalled.

Other players, like Al Oliver, didn’t realize that the Pirates were actually using an all-black lineup until the middle of the game. “I had no clue,” Oliver said, “Because as a rule we had at least five or six [black and Latino players] out there anyway. So, two or three more was no big thing. I didn’t know until about the third or fourth inning. Dave Cash mentioned to me, he says, ‘Hey, Scoop, we got all brothers out here.'” Oliver pauses for a moment and laughs. “You know, I thought about it, and I said, ‘We sure do!’ “

The fact that Oliver even started the game was strange for several reasons. Why was Oliver, primarily a center fielder in 1971, playing at first base instead of usual starter Bob Robertson? Even more strangely, why was Oliver starting against a left-hander, when Murtaugh had benched him against many southpaws that summer? “That’s a good question,” Oliver replied. “That’s a good question, because to this day when people ask me who was the toughest pitcher I ever faced, it was Woodie Fryman.” One article indicated that Robertson sat out the game with a minor injury, but didn’t specify what the injury was. According to Oliver, Murtaugh may have been looking to light a fire under a slumping Robertson, who had gone 2-for-14 in his previous four games. “Bob Robertson normally would have played that day, but Dave Cash had told me within the last [few] years, and I never knew this, that Murtaugh was kind of disappointed in Bob for whatever reason. I don’t know what the exact reason was, but he was disappointed in Bob, so he sat him down. He played me that night at first base.”

Popular and patriarchal, Murtaugh had become a comforting, father-like figure for almost all of the Pirate players, regardless of skin color or nationality. In the past, he had not hesitated in giving significant amounts of playing time to black and Latino players, and now seemed to be showing pioneering courage in making out the first all-black lineup when he was under no pressure to do so. So why did Murtaugh write out the lineup the way he did on September 1, 1971? Given the decision to start Oliver over Robertson, was it possible that Murtaugh was looking for a way to put an all-black lineup on the field? Oliver doesn’t think so. “In my estimation, I think Danny was just putting the best team on the field, and he probably didn’t notice [the all-black lineup] until later. I didn’t know until the third or fourth inning.”

Steve Blass said Murtaugh was concerned with winning games–not with making social statements. “This was not a statement, nor a device,” Blass said. “The thing I remember about it, when he was interviewed afterwards, Murtaugh said, ‘I put the nine best athletes out there. The best nine I put out there tonight happened to be black. No big deal. Next question.’ ” Blass said Murtaugh handled the matter with the proper attitude and perspective. “He was aware of the repercussions that might come out of it,” said Blass. “But he didn’t have a problem with it.”

So, for the first time since the demise of the Negro Leagues in the early 1960s, a professional major league-caliber baseball team fielded a starting nine consisting exclusively of blacks. The results? The Phillies scored two runs against Dock Ellis in the first, but the Bucs countered with six hits and five runs in the bottom half of the inning. The Phillies added four more runs in the second, knocking out Ellis, who was replaced by long reliever Bob Moose. Down 6-5, the Pirates rallied for three runs in the second. Gene Clines singled and Roberto Clemente walked. After Clines stole third, Willie Stargell produced one run with a sac fly, and Manny Sanguillen added two more on a home run.

Bob Veale, also a black player, relieved Bob Moose in the third inning, and struck out the one batter he faced. Ironically, Luke Walker, a white pitcher from Texas, relieved in the fourth and emerged as the Pirate pitching star of the day. Walker held the Phillies to one run over six innings and picked up the win in a 10-7 victory for the Bucs. On offense, Clines, Clemente, Stargell, Sanguillen, Oliver, and Rennie Stennett each collected two base hits, and Clines and Cash each stole a base. The all-black lineup had produced a win in its very first major league go-round. Unfortunately, only 11,278 fans were on hand at Three Rivers Stadium to witness this intriguing piece of baseball history.

At the time, most of the Pirates’ players and fans didn’t grasp the historical relevance of the first all-black lineup, but they have grown to appreciate its importance. “[In 1971], I didn’t even think anything about it,” Oliver said. “Nothing about it at all.” Once his playing career ended in 1985, Oliver took a step back and emerged with a different perspective about the night of September 1, 1971. “But now, of course, it means something. Once you’re out of the game, you look back and [you realize] you could be a part of baseball history. To me, that’s something that I feel good about, being part of baseball history.”

Bob Robertson never did make an appearance in the game, but like Oliver, has a similar perspective on its importance. “I think it’s a great thing that really happened there,” Robertson said. “That was the type of ballclub that we had. It didn’t make a difference if you were black, yellow, green, purple, whatever. We enjoyed each other’s company. We got along fine. We had a lot of respect for one another. I thought that was a great evening, to see that.”

According to some baseball historians, the all-black lineup of September 1,1971, remains significant because it exhibited how progressive the Pirate organization was in drafting and signing blacks and Latinos at all positions. In the past, major league teams had shown a willingness to sign many black infielders and outfielders, but had tended to avoid developing minority pitchers and catchers. Oliver agrees that the all-black lineup demonstrated the Pirates’ belief that blacks and Latinos could play the “thinking man’s” game behind the plate or on the mound. “I signed with the Pirates in 1964,” Oliver recalled. “In 1965, it was really my first spring training in Daytona Beach. The Pirates had signed, if you look at the catcher’s position, they had many [black] catchers. If you looked at the pitchers, there were many black pitchers that they had signed or drafted… I think what it came down to was that the Pirates were not afraid to draft black and Latin players because they were interested in one thing, in my opinion,” Oliver said, “And that was winning.”

In overview, the racial mix of the 1971 Pirates–culminating in the use of the all-black lineup–occurred as a product of the organization’s aggressive approach to seeking winning talent of any color, and the willingness to play blacks and Latinos at any position–first base, outfielder, catcher, utilityman, pitcher. “Obviously, we were looking for talent,” said Joe Brown, the architect of the ’71 Pirates, in an article that appeared in Baseball Digest in 1995. “We didn’t care where they came from or what color they were. If they happened to be black, so be it.” Unlike the Brooklyn Dodgers of the early fifties, the Pirates had not imposed a limit of four black players on their starting lineup. While other organizations had made progress in integrating parts of their major league rosters, the Pirates had taken a comprehensive, no-holds-barred approach in populating their entire roster with both African Americans and Latinos, top to bottom. The Pirates’ philosophy not only helped the team win the World Championship in 1971, but also sent the following indirect message to other major league organizations: expand the available talent pool to include black and Latino players, select the best players at each position regardless of color, and you will increase your chances of winning.

Prominent players from other teams took note of the composition of the Pirates’ roster. Frank Robinson, often mentioned as a candidate to become the major leagues’ first black manager, offered some admiring comments about the Pirates in a 1972 interview with Sport magazine. “Last year the Pirates may have had more black players than any team in baseball,” Robinson said. “They became the first team to start an all-black lineup in a game. And they won a world title.” Robinson described a direct connection between winning and the presence of minorities on a team’s roster. “Color shouldn’t matter anymore,” said Robinson, “except it’s clear if you have most of the top black players, you have a lot of top players, which gives you an edge in talent.”

Although it is difficult to prove conclusively, many of the subsequent championship teams of the 1970s seemed to have followed the lead of the Pirates. Evidence of such a trend cannot necessarily be found in any publicly attributable statements from baseball front office officials, but can be traced through their own tangible actions in assembling major league rosters. The Oakland A’s, who won three straight World Championships from 1972 to ’74, featured a changing, increasingly integrated roster. Having already developed a number of minority players, including Campy Campaneris, Reggie Jackson, and Vida Blue, by the time the Pirates won the 1971 World Series, Oakland would add a large number of African Americans and Latinos in ’72, ’73, and ’74. For example, the A’s acquired several minorities, while giving up mostly white players, in a series of trades engineered during the 1972 season. Oakland dealt onetime Cy Young winner Denny McLain to the Braves for Puerto Rican first baseman Orlando Cepeda, stole .300-hitting Dominican Matty Alou from the Cardinals for two marginal players, acquired outfielder “Downtown” Ollie Brown from San Diego for catcher Curt Blefary, and picked up Cuban utility infielder Marty Martinez from St. Louis for outfielder Brant Alyea. During the summer, the A’s promoted Venezuelan pinch-hitter Gonzalo Marquez and Panamanian speedster Allan Lewis from the minor leagues. After the season, the A’s sent pitcher Bob Locker to the Cubs for a black outfielder, Billy North, and dealt first baseman Mike Epstein to the Texas Rangers for a Mexican reliever, Horacio Pina.

During the ’73 campaign, Oakland purchased three accomplished Latino hitters (Rico Carty, Vic Davalillo, and Jesus Alou) and promoted three other minorities (Manny Trillo, Jose Morales, and Tim Hosley) from the minor leagues. In 1974, the A’s recalled top prospect Claudell Washington from the Southern League, signed sprinter Herb Washington as the game’s first “designated runner,” and acquired pinch-hitter Jim Holt from the Twins. While Oakland’s controversial owner and general manager, Charlie Finley, had come under fire for various offenses during his reign in the Bay Area, critics would have been hard-pressed to knock his frequent acquisitions of black and Latino players during Oakland’s glory years of the early 1970s.

Although Cincinnati’s championship teams of ’75 and ’76 were not as heavily populated with minorities as the aforementioned A’s, the starting lineup of the “Big Red Machine” did contain six African Americans and Latinos. Infielders Tony Perez, Joe Morgan, and Dave Concepcion, and the entire starting outfield of George Foster, Cesar Geronimo, and Ken Griffey, Sr. comprised a large part of baseball’s best offense. In the months after the 1971 season, the Reds had acquired both Morgan and Geronimo in a trade that had seen them net three black players (Ed Armbrister being the other), while losing only one (Lee May). The Reds then promoted Griffey to the majors two years later. Only two white players, Pete Rose and Johnny Bench, played on a regular basis during the 1975 and ’76 seasons. In ’76, the Reds’ pitching staff included the names of three Latinos: veteran Pedro Borbon and two newcomers, Santo Alcala and Manny Sarmiento.

In 1977, the Yankees moved to the top of the baseball world, and did so with black players like Chris Chambliss, Willie Randolph, Roy White, Mickey Rivers, and Reggie Jackson in the starting lineup. Although White had come up with the Yankees in 1965, the other players had been acquired through trades and free agent signings since the 1971 season. The Yankees picked up Chambliss, Randolph, Rivers, and Dock Ellis in a series of excellent trades, while surrendering only one African American–Bobby Bonds–in return. Off the bench, post-1971 trade acquisitions like Cliff Johnson, Paul Blair, and Elrod Hendricks, along with recently promoted minor leaguer Dell Alston, performed creditably in the pinch. In 1977, the starting rotation featured a Latino, Ed Figueroa, and a Mexican-American, Mike Torrez (acquired in a trade for Dock Ellis), who combined for 30 victories.

In 1979, the Pirates won their second championship of the decade. Much like the ’71 team, the “We Are Family” Bucs did so with an intriguing mix of nationalities and colors. Willie Stargell, Rennie Stennett, and Bill Madlock comprised part of the infield’s makeup, while Lee Lacy, John Milner, Dave Parker, Bill Robinson, and Panamanian Omar Moreno monopolized the playing time in the outfield. Manny Sanguillen, who had been traded and then re-acquired from Oakland, and another former Athletic, Matt Alexander, chipped in off the bench. Mexican right-hander Enrique Romo and African Americans Jim Bibby, Grant Jackson, and Dock Ellis (since returned to Pittsburgh) all contributed to the pitching staff. Except for Stargell and Stennett, all of the aforementioned players had been acquired or re-acquired in trades, or developed through the farm system since the 1971 World Series.

Although it is difficult to say with absolute certainty that the success of the integrated Pirates of ’71 directly influenced other successful teams of the seventies, it is quite possible that an indirect correlation existed. General managers in all sports, baseball included, have tended to adopt the following copycat philosophy: when they see other teams have success, they examine the reasons for that success and often incorporate similar blueprints for their own teams.

This much is certain: every World Championship team of the 1970s had at least one great star of minority descent, a player who not only excelled on the field but provided other black and Latino teammates with a leadership model, a point of reference. The A’s of the early seventies revolved around Reggie Jackson, the Reds of the mid-seventies leaned heavily on the talents and leadership of Joe Morgan, the Yankees of ’77 and ’78 also centered on Jackson’s presence, and the Pirates of ’79 fed off the ample influence of Willie Stargell. And let’s not forget Frank Robinson of the ’70 Orioles, and of course, Clemente with the ’71 Pirates. Black and Latino stars had not only made their marks in terms of sheer numbers, but also as full-fledged impact players on championship ballclubs.

Bruce Markusen is the author of the new book, The Team That Changed Baseball: Roberto Clemente and the 1971 Pittsburgh Pirates, available from Westholme Publishing.


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s