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Aretha Franklin is not only the Queen of Soul but the first woman to be inducted in the Rock and Roll Hall of Fame Tags: aretha franklin rock roll hall famer music word life production feature blog

Aretha Franklin is the “Queen of Soul” and the first woman inducted into the Rock and Roll Hall of Fame. She is a singer of great passion and control whose finest recordings define the term soul music in all its deep, expressive glory.

“I don’t think there’s anybody I have known who possesses an instrument like hers and who has such a thorough background in gospel, the blues and the essential black-music idiom,” noted Ahmet Ertegun, co-founder of Atlantic Records, where much of Franklin’s best work was done. “She is blessed with an extraordinary combination of remarkable urban sophistication and deep blues feeling... The result is maybe the greatest singer of our time.”

Aretha was born in Memphis and grew up in Detroit. Her father, Rev. C.L. Franklin, was the charismatic pastor at New Bethel Baptist Church, which he turned into a large and thriving institution. His services were broadcast locally and in other urban markets around the country, and 60 of his sermons (including the legendary “The Eagle Stirreth Her Nest”) were released in album form. One of the best-known religious orators of the day, Rev. Franklin was a friend and colleague of Martin Luther King, Jesse Jackson, Adam Clayton Powell, Jr. and other key figures in the civil-rights movement.

On the musical side, some of the greatest vocalists of the gospel age were acquaintances and guests in the Franklin household. Aretha and her siblings – sisters Erma and Carolyn and brothers Cecil and Vaughn – grew up hearing the likes of Clara Ward (her greatest influence), Mahalia Jackson and James Cleveland both in their father’s church and the family’s living room.

From an early age, Aretha sang at her father’s behest during services at New Bethel. Her first recordings turned up on an album called Spirituals, recorded at the church when she was only 14. (It also included material by gospel singer Sammie Bryant and C.L. Franklin.) Spirituals was released locally on the J.V.B. label in 1956 and re-released on the Battle label in 1962. Aretha’s five tracks formed the basis of the 1964 album Songs of Faith: The Gospel Sound of Aretha Franklin, issued on Checker (Chess Records’ companion label), with additional material recorded by Franklin at services in other locales. In her autobiography, Aretha notes that some of it came from a performance at the Oakland Arena. As a teenager, Aretha accompanied her father on gospel bills and services as far away as California and the Deep South.

Although she was firmly rooted in gospel, Franklin also drew from such blues and jazz legends as Billie Holiday, Dinah Washington and Sarah Vaughn as she developed her singing style. On the male side, she was inspired by Ray Charles, Nat King Cole and Sam Cooke (both with and without the Soul Stirrers). From the emerging world of youthful doo-wop groups and early soul, Aretha enjoyed the likes of LaVern Baker, Ruth Brown, Little Willie John, the Falcons (featuring Wilson Pickett), and Frankie Lymon and the Teenagers.

Out of an array of influences both sacred and secular, Franklin forged a contemporary synthesis that would speak to the Sixties generation in the revolutionary new language of soul music. As Jerry Wexler, Aretha’s longtime producer, observed: “Clearly, Aretha was continuing what Ray Charles had begun – the secularization of gospel, turning church rhythms, church patterns and especially church feelings into personalized love songs.”

It took Aretha awhile to find that fire in the studio. Before she signed with Atlantic, she spent six years at Columbia Records. She was signed to the label in 1960 by John Hammond, the label’s legendary producer and talent scout, who’d heard a demo she cut in New York  Her tenure at Columbia yielded nine R&B hits (the most memorable being “Today I Sing the Blues” and “Runnin’ Out of Fools”). She also scored some pop crossovers (“Rock-a-Bye Your Baby With a Dixie Melody” and “Won’t Be Long”) that were was far removed from the fiery, gospel-fueled soul for which she would become known.

Hammond produced Franklin’s most satisfying Columbia sides, but overall the nine albums she cut for the label failed to fully tap her capabilities. Paired with pop-minded producers, she dabbled in a variety of styles without truly finding her voice. Franklin was never averse to the idea of crossover music, being a connoisseur of pop and show tunes, but she needed to interpret them in her own soulful way. In Hammond’s words, “I cherish the albums we made together, but Columbia was a white company who misunderstood her genius.”

Jerry Wexler was waiting in the wings to sign Franklin when her contract with Columbia expired. With her switch to Atlantic in 1966, Aretha proceeded to revolutionize soul music with some of the genre’s greatest recordings. Her most productive period ran from 1967 through 1972. The revelations began with her first Atlantic single, “I Never Loved a Man (the Way I Loved You),” a smoldering performance that unleashed the full force of Franklin’s mezzo-soprano. Offering call-and-response background vocals on this and other tracks were Aretha’s sisters, Carolyn and Erma. The Sweet Inspirations, a Memphis-based vocal quartet that included Cissy Houston (mother of Whitney), also contributed background vocals to Aretha’s work in the studio and onstage.

Franklin’s greatest triumph –and an enduring milestone in popular music – was “Respect.” Her fervent reworking of the Otis Redding-penned number can viewed in hindsight as an early assertion of selfhood in the women’s movement. It was the opening track on I Never Loved a Man the Way I Loved You, her classic first album for Atlantic. Other memorable tracks from this pivotal release are “Do Right Woman - Do Right Man,” “Dr. Feelgood” and her cover of “A Change Is Gonna Come,” Sam Cooke’s civil rights-era anthem. The Rolling Stone Album Guide contends that I Never Loved a Man the Way I Loved You “may stand as the greatest single soul album of all time.”

Of her work at Atlantic Records during that charmed period, Franklin offered these recollections in her autobiography: “Jerry [Wexler] handled all the technical aspects and made sure I put my personal stamp on these songs. Atlantic provided TLC – tender loving care – in a way that made me feel secure and comfortable....Putting me back on piano helped Aretha-ize the new music....The enthusiasm and camaraderie in the studio were terrific, like nothing I had experienced at Columbia. This new Aretha music was raw and real and so much more myself. I loved it!”

Working closely with producer Jerry Wexler, engineer Tom Dowd and arranger Arif Mardin – a production team that was on-board for Franklin’s greatest work at Atlantic – she followed her debut for Atlantic with a torrent of strong recordings. Her next three albums – Aretha Arrives (1967), Lady Soul (1968) and Aretha Now (1968) – included “Chain of Fools,” “Think,” “Baby, I Love You,” “Since You’ve Been Gone (Sweet Sweet Baby),” and a soulful rendering of Carole King’s “A Natural Woman (You Make Me Feel Like).” Her fifth Atlantic album, Aretha in Paris (1968), was record live before an appreciative European audience.

It was during the triumphant year of 1968 that Aretha was anointed the Queen of Soul. Legendary deejay Pervis Spann, the Blues Man, did the honors, ceremoniously placing a crown atop her head during a performance at Chicago’s Regal Theater. The honorific has endured, and no one disputes it.

The Seventies brought continued success to Franklin. In the early years of that decade, she released such critically acclaimed albums as Spirit in the Dark (1970), Aretha Live at Fillmore West (1971), Young, Gifted and Black (1972) and Amazing Grace (1972). Spirit in the Dark and Young, Gifted and Black found Franklin tapping into themes of resiliency and empowerment. Spirit in the Dark was her most autobiographical album, featuring five songs penned by Franklin – more than on any other album of hers, before or since – and thematically driven by the highs and lows of a recent divorce and new relationship. The title of Young, Gifted and Black tapped into the African-American zeitgeist, while the album itself “may have been my most personal – and most romantic – album to date,” according to Franklin. “Aretha reflected a pride in every facet of the blackness we were fighting to preserve every day,” journalist A. Scott Galloway wrote of the album in Urban Network.

Aretha Live at Fillmore West, by contrast, introduced the Queen of Soul to a hip, white audience. It was recorded over the course of three nights at Bill Graham’s San Francisco venue with a crack band that included keyboardist Billy Preston, guitarist Cornell Dupree, drummer Bernard Purdie, saxophonist King Curtis, and the Memphis Horns. Ray Charles was brought onstage from the audience by Aretha herself for an impromptu duet on “Spirit in the Dark.” Amazing Grace found Franklin accompanied by James Cleveland (former music director at her father’s church in Detroit) and his Southern California Community Choir. It was a landmark gospel recording that returned Aretha to the music of the church.

In addition to making albums with Jerry Wexler – the 14th and final of which, You, was released in 1975 – Aretha tried working with other producers while at Atlantic. Her collaborators included such renowned figures as Quincy Jones (Hey Now Hey [The Other Side of the Sky], 1973) and Curtis Mayfield (Sparkle, 1976). Her tenure with Atlantic came to an end in 1979 after twelve years and nineteen albums. During this same year, her father was shot during a home robbery, leaving him in a coma from which he never recovered.

Aretha signed to Arista Records, a label founded by former Columbia Records president Clive Davis. In the Eighties, she recorded everything from dance pop to sacred gospel for Arista. She began scaling the upper reaches of the charts again with “Jump to It” and “Get It Right” (both produced by rising star Luther Vandross). She followed these with two more sizable mid-Eighties dance-floor hits, “Freeway of Love” and “Who’s Zoomin’ Who.”

In 1987, Franklin scored the second Number One pop hit of her career – “I Knew You Were Waiting (for Me),” a duet with George Michael – which came exactly 20 years after she topped the charts with “Respect.” Aretha teamed up with Keith Richard in 1986 for a rousing version of “Jumpin’ Jack Flash” that appeared in the Whoopi Goldberg movie of the same name.

Also in 1987, Aretha returned to her roots by recording a gospel album at New Bethel Baptist Church, the very same Detroit institution at which her father had presided for so many years. Entitled One Lord, One Faith, One Baptism, it earned strong reviews and won a Grammy for Best Soul Gospel Performance. On the pop side, she struck more gold at decade’s end with “Through the Storm,” a duet with Elton John, and “It Isn’t, It Wasn’t, It Ain’t Never Gonna Be,” a duet with Whitney Houston.

The Nineties started off slowly for Franklin, with only one major hit (“Willing to Forgive,” in 1994) to show for most of the decade. However, one of the stellar moments of her career occurred at the Grammy Awards ceremony on February 25, 1998. Subbing at the last minute for Luciano Pavarotti (who was too ill to perform), Franklin brought the house down with her resounding performance of the operatic aria “Nessum Dorma,” from Puccini’s Turandot. Proving her continuing viability as a contemporary artist, Franklin scaled the charts soon after with “A Rose Is Still a Rose” (Number Five R&B, Number 26 pop), which was written and produced by Lauryn Hill (late of the Fugees).

The hits have come as recently as 2003, when “The Only Thing Missin’” and “Wonderful,” from So Damn Happy, became popular album tracks. Incidentally, with the release of that album, Aretha had now been with Arista longer than Atlantic. Moreover, she’d managed the incredible feat of having hits in five consecutive decades.

As a measure of her impact, Aretha Franklin has charted 43 Top Forty singles since 1961. Franklin has also earned 18 Grammy Awards, the most recent coming in 2007. In addition, she has sung at the inaugurations of two U.S. presidents (Bill Clinton and Barack Obama) and received the Presidential Medal of Honor from another (George W. Bush).

Franklin suffered some health issues in 2010, including broken ribs and a major surgery. However, she released a new album in 2011 (A Woman Falling Out of Love) and returned to live performing in better health and high spirits.

All along, the basis of Aretha Franklin’s success – and the essence of soul music - has been her ability to communicate. “Music is my way of communicating that part of me I can get out front and share,” she told Essence magazine in 1973. “It’s what I have to give; my way of saying, ‘Let’s find one another.’”

- See more at: http://rockhall.com/inductees/aretha-franklin/bio/#sthash.QaTqsLal.dpuf

Source: Rock and Roll Hall of Fame: http://rockhall.com/inductees/aretha-franklin/bio/

“The Big Hurt” Frank Thomas Tags: big hurt frank thomas baseball player african american word life production sports entertainment

Thanks to a cruel twist of fate, Frank Thomas may join that elite club of baseball immortals who never got to play for a championship. When his Chicago White Sox won it all in 2005, the Big Hurt was too hurt to take the field—and management left him off the postseason roster. Set adrift in the free agent waters, Frank landed in the green and gold of Oakland, where he is redefining the meaning of Money Ball. This is his story…

GROWING UP

Frank Edward Thomas was born May 27, 1968 in Columbus, Georgia to Charlie Mae and Frank Thomas Sr. (Click here for today's sports birthdays.) He was the second of three children. Frank’s dad had a job with the city and his mom worked in a clothing factory. Frank was large and energetic. He was a sensitive kid who seemed naturally polite and had a winning smile.

The Thomas family was a close-knit group. Frank’s best friend was his younger sister, Pamela. They went everywhere and did everything together as kids. Pamela was diagnosed with leukemia and died when Frank was 10. He never really got over this loss.

After Pamela’s death, Frank turned to his older brother, Michael. Sometimes Michael’s friends teased his good-natured sibling. He didn’t mind until a few tried to push him around. By the time they hit the ground, word was out—don’t mess with Big Frank.

Frank Sr. began developing his son’s skills in football and basketball when he was young, channeling his intelligence and natural aggressiveness in ways that would enhance his performance. As a result, Frank was not only bigger and faster than kids he faced on the playing field—he was better.

Frank dominated his youth league opponents in baseball and football, and was allowed to play up against older boys—mostly for the safety of the younger boys. His coordination and dexterity later made him a fine basketball player. By the time he enrolled in Columbus High School, everyone in Columbus knew who Frank was, and expected he would make millions as a professional athlete. The question was, in which sport?

Frank’s favorite athletes were Dave Winfield and Dave Parker. Both were baseball All-Stars who would probably have found fame in the NFL or NBA. He liked the way they intimidated opponents on the diamond. So after making the Columbus varsity football and basketball teams as a freshman, Frank was astonished when baseball coach Bobby Howard relegated him to the JV. After Howard explained to Frank that he was just too young, the frosh spent a year stewing and waiting for spring tryouts. When his got his chance, he hit three balls onto the roof of the building that stood more than 100 feet past the outfield fence. Frank was on the team.

Howard worked his super soph harder than anyone else on the team. If he made a mental error, the coach ordered him to run laps. When Frank complained, Howard told him that physical talent alone would not get him to the big leagues—he needed to master the game between his own ears. Frank hit over .400 as a sophomore and led the Blue Devils to the state championship.

Frank’s baseball exploits paled in comparison to his prowess on the football field. He was a ferocious tackler on defense and perhaps the best prep tight end in the country. He also handled the team’s kicking duties. When Auburn offered him a scholarship, he accepted—with the understanding that he would almost certainly choose baseball if he were drafted in a high round the following June.

Unfortunately, this was not communicated effectively to the big league teams that scouted Frank in the spring of 1986. With a scrapbook full of football headlines and a scholarship in his pocket, it was assumed Frank was NFL-bound. Not a single team wasted a draft pick on him. Frank could not believe it!

So it was off to Auburn, where he won the job as the Tigers’ back-up tight end. Frank’s ability to analyze defenses after the snap and deliver crushing blocks for Auburn’s runners made head coach Pat Dye fantasize about what he would do the next three years.

Frank’s mind was still on baseball, however. He asked coach Hal Baird for a tryout, and the Auburn skipper agreed to give him a look in the batting cage. After one swing, Baird all but decided to make Frank his cleanup hitter. The ball came off his bat with such force that it even surprised the freshman slugger. The weight training he had done for football had doubled his power.

Frank hit .359 with a school-record 21 homers in his first season. He was named All-SEC and played for Team USA in the 1987 Pan Am Games that summer. He had to miss the gold medal game, however, because football practice was beginning. Frank went into his soph season with mixed feelings about his career on the gridiron. Then, after injuring his knee in a scrimmage, he decided to give up the sport completely.

ON THE RISE

Frank made All-SEC in his second baseball campaign in 1988, but teams were starting to pitch around him. As a result, he hit only nine homers, and to his great disappointment, he was left off the Olympic Team. He took out his fury on the Cape Cod Summer League. The following spring, Frank had a monster year for Auburn and was named SEC MVP.

Dave Winfield, 1977 Hostess

After the season, Frank was selected by the White Sox with the seventh pick in the draft. He was the third college player taken, after LSU’s Ben McDonald and Donald Harris of Texas Tech. In what was a much-heralded group of first-rounders, only Frank, Chuck Knoblauch, Mo Vaughn and Cal Eldred ever found success at the big-league level. Frank spent his first season as a pro with two Florida teams in the Chicago system, collecting 71 hits and 42 walks in 72 games.

Frank was promoted to the Birmingham Barons of the Class-AA Southern League in 1990. In 109 games, he reached base 231 times, with a.323 average and .581 slugging mark. The White Sox kept waiting for him to cool off, but it never happened. Though Chicago was in the midst of a pennant race, it was obvious that a promotion to Triple-A ball would be a waste of Frank's time and talent. Within a few games of the powerhouse Oakland A’s in the AL West and with light-hitting Carlos Martinez holding down first base, the Sox chose to let the Frank Thomas Era begin. And on August 2, it did.

While Chicago ultimately finished nine games behind Oakland, there was plenty to celebrate at Comiskey Park in the final two months. Frank tattooed the ball at a .330 clip, demonstrating incredible patience and maturity and occasional power with 21 extra-base hits and a team-high .529 slugging mark.

For the 1991 campaign, t he White Sox were managed by Jeff Torborg, and had a nucleus of good young players, including Robin Ventura, Lance Johnson, Sammy Sosa, Ozzie Guillen, Jack McDowell, Bobby Thigpen and Alex Fernandez. Veterans Carlton Fisk, Tim Raines and Charlie Hough provided on-field leadership. Frank quickly emerged from this group as the team’s star. He split time at first base and DH with Dan Pasqua and hit .318 with 32 homers and 109 RBIs as Chicago finished second to the worst-to-first Minnesota Twins. Frank led the AL with 138 walks—an unheard of accomplishment for a player in his first full year—and for a brief moment looked as if he had a shot at the Triple Crown.

It was after one of his '91 home runs that announcer Ken Harrelson shouted, “Frank put a big hurt on that ball.” That day one of baseball’s great all-time nicknames was born.

Frank was the talk of baseball as he entered the 1992 season. With teams pitching him more carefully, his power numbers dipped slightly, but his average rose to .323 and he tied for the league lead with 46 doubles. Under new manager Gene Lamont, the Sox finished 10 games over .500 but 10 games behind the A’s.

Frank Thomas, 1990 Topps Auburn

Frank found a whole new gear in 1993, clubbing 41 homers and knocking in 128 runs. He batted .317 despite getting almost nothing to hit, and was ultimately rewarded for his efforts with the AL MVP award.

Due to all the distractions in Chicago, the team needed a big season from the Big Hurt. Bo Jackson, trying to return from a hip replacement, could not be counted on to play every day. Fisk finally ran out of gas and was forced to retire. George Bell, acquired for budding superstar Sammy Sosa, was felled by a balky knee. Frank and 22-game winner McDowell kept the Sox afloat all season, and with help from new closer Roberto Hernandez, and Chicago edged the Texas Rangers in September to win the division.

The White Sox hosted the defending champion Toronto Blue Jays in the first two games of the ALCS and dropped both. The team rebounded to take two of three in Toronto, but then Dave Stewart stymied Chicago in Game Six to win the pennant. Frank batted .353 in the series with a homer and three RBIs. Toronto pitchers wanted no part of him, walking Frank a record 10 tines. As he maintained for many years after, he would have traded his MVP trophy for a chance to play the World Series.

MAKING HIS MARK

That was particularly apparent the following season, when Frank went on a rampage that saw him hit 32 home runs by the All-Star break and boost the White Sox to the top of the new AL Central Division. The season ended on August 11, however, when the owners and players could not come to terms on a new collective bargaining agreement.

Frank was on fire from the beginning of the year to its abrupt end. He led the AL with a ridiculous .729 slugging average, 109 walks and 106 runs to go with 38 homers, 101 RBIs and a .353 average. Although he did not lead the league in any of the Triple Crown categories, Frank would have had a very good chance of being the first to win it since Carl Yastrzemski in 1967.

Frank’s next two years were nearly as good. He launched 40 home runs in 1995 and batted .349 in 1996. He reached triple-digits in runs, RBIs and walks, and played every game of the ’96 campaign at first base while Harold Baines served as Chicago's DH.

Unfortunately, the White Sox bottomed out in ’95. They won just 68 games and the fall from grace cost Lamont his job. The long-suffering Cleveland Indians, meanwhile, took the division with 100 wins. The skies brightened for Chicago somewhat in ’96, as the team went 85-77 behind Frank’s great year. But the Tribe had established its dominance and the Sox would not see another division title until the next century.

The 1997 season was another great one for Frank, but an incredibly frustrating one for Sox fans. The Big Hurt led the league with a .347 average and .456 on-base percentage, and kept the team in a three-way battle with Cleveland and Milwaukee for the lead in a weak Central Division. On the eve of the trade deadline, GM Ron Schueler decided to start rebuilding despite the fact his club trailed the Indians by just three games. Starters Wilson Alvarez and Danny Darwin and closer Roberto Hernandez were traded to the San Francisco Giants for infield prospect Mike Caruso and young hurlers Bobby Howry and Keith Foulke. The White Sox finished six wins short of the Tribe, which went on to win the pennant. The deal weny down in Sox history as the “White Flag” trade.

Frank was ready to wave the white flag after the 1998 campaign. Relegated to full-time DH-ing duties with the forgettable duo of Wil Cordero and Greg Norton holding down first base, he saw his average plummet to .265. Distracted by business and marital problems early in the season, he dug himself a hole and then pressed too hard to climb out. He hit poorly in the clutch all year and had a stunning lack of success against lefties. After a while, Frank noticed he wasn’t getting the benefit on borderline pitches. Instead of sucking it up, he argued with the umps—which only worsened matters—and then called them out to the press, making a bad situation disastrous.

Apparently unnerved, Frank began swinging at pitches out of the zone and looking at pitches right down the middle. It did not take long for opposing hurlers to pick up on this shift in Frank’s approach, and instead of working ahead of pitchers, he found himself facing a lot of 0-2 and 1-2 counts. He finished with 29 homers and 109 RBIs, but there was nothing good about the season.

Frank Thomas, 1993 Upper Deck

It didn’t seem possible to go anywhere but up for Frank. His numbers, however, continued to plummet in 1999. He argued with manager Jerry Manuel about playing with a chronically sore left ankle, and once again let off-field distractions affect his on-field performance. Frank’s frustrating year ended with September ankle surgery. His power numbers were atrocious—15 homers in 486 at-bats—and although he raised his average back into .300 territory, he was no longer the feared hitter he once was.

Fortunately for the White Sox—who owed Frank more than $60 million—the 2000 season found him back in the swing of things. He opened up his stance (a la Andres Galarraga) and began blistering the ball again, clubbing 43 homers and knocking in a career-high 143 runs. Frank raised his average to .325 and his slugging average to .625.

The Chicago offense was electric with Frank back on the warpath. Paul Konerko, Magglio Ordonez, Carlos Lee, ray Durham and Jose Valentin combined for 119 homers and the White Sox led the AL with 978 runs scored. The team finished with 95 victories—tied with the Atlanta Braves and and St. Louis Cardinals for the most in baseball.

The White Sox faced the Wild Card Mariners in the playoffs and Seattle won a battle of the bullpens. In the disappointing series loss, Chicago failed to score a single run off the M's relievers and Foulke couldn't stop the Mariners twice with the game on the line. Frank went hitless in the three-game sweep.

The frustration of the '00 postseason ruined an otherwise outstanding year for Frank. But that was nothing compared to his nightmarish 2001 season. Frank Sr. passed away, his marriage ended in an acrimonious divorce, and he tore his right triceps in April and missed 141 games. The year was a washout.

Frank returned to play a mostly injury-free season in 2002, but the team had too many holes to compete for the division crown, which went to the surprising Twins. The heart of the lineup was solid as always, with Konerko, Valentin, Ordonez and Lee supplying the power along with Frank, who belted 28 homers. But the young pitching staff—led by Mark Buehrle and Jon Garland—lacked consistency and the team hovered around .500 all year. When table-setters Durham and Kenny Lofton were dealt to the Giants and A’s, respectively, it marked the end of another disappointing season.

The low point came when Konerko, who was supplanting Frank as a team leader, publicly chewed him out for dodging a batting practice session. That winter, a “diminished skills” clause in Frank’s contract gave the team an opening to void his contract. Owner Jerry Reinsdorf went against the advice of his staff and chose to renegotiate a still-generous deal with Frank, paying him more than $6 million a year. The sensitive slugger did not see it this way, however. He believed the team was ungrateful.

Frank played the 2003 season in a funk. He locked horns with Manuel in the spring and never felt like he was a core member of the White Sox, despite the fact he helped them stay on the heels of the Division-winning Twins throughout the summer. Frank took it out on enemy pitchers, belting 42 homers and knocking in 105 runs. Chicago finished with 86 wins, four shy of the Central crown..

Frank Thomas

(and Jerry Manuel),

2002 Upper Deck Vintage

In 2004, Manuel was replaced by Frank’s old teammate, Ozzie Guillen. He viewed the regime change as a positive development. But Guillen was a man who wanted to assert his dominance, and after Frank suffered another left ankle injury and Ordonez hurt his knee, Guillen decided to build a new team around speed and defense. This, of course, meant a diminished role for Frank. Before the injury, which limited him to just 74 games, he was actually enjoying himself. He was hitting the ball hard and often, and sensed that the team was finally coming together. Now his future was in doubt.

The picture clouded even more in 2005. Frank was the team’s full-time DH, and hit for decent power, but a broken ankle ended his season—and likely his career with the White Sox—in July. He then watched with a mixture of frustration and joy as his team won the pennant and World Series behind the pitching, speed and defense of the new Go-Go Sox. When the champagne corks popped, however, Frank’s smile was as big as it had ever been. During the wild clubhouse celebration, he happily doused his teammates with bubbly. Guillen, who had chastised Frank when he first took over the team, praised him for his team spirit after the Fall Classic.

As expected, after the season, the team exercised a $3 million buyout of Frank’s contract, making him a free agent for the first time in his career. At the winter meetings, he ran into A’s GO Billy Beane. Like most in baseball, Beane had grave doubts that Frank could recover from his twice-broken ankle. But Frank looked great and was practically bubbling over with enthusiasm when they spoke about the upcoming season.

Beane went with his gut and offered Frank a $500,000 deal, with a chance to bump that up to $3 million with incentives. Frank signed with Oakland, dropped weight, rehabbed his left leg, and gave the club a solid righthanded presence in a lineup that had been one of baseball’s best over the second half of '05. Fellow free agent Milton Bradley joined him in the Oakland batting order, and both men competed like they had something to prove as the A’s went through a typically sluggish first half.

Frank had a brief stint on the DL with a sore right leg in June, but returned to take the team lead in home runs as the A’s mounted one of their patented post All-Star break runs. He was also taking out infielders on DPs and playing the kind of spirited baseball that had his Oakland teammates feeling like they had a guy who could lead them into the post-season. As the possibility of a playoff showdown between the A’s and Sox became more of a possibility, Frank swung the stick with even more gusto.

With a World Series ring, two MVPs and his Hall of Fame enshrinement all but assured, Frank has little to accomplish and almost nothing to prove. Best of all, he can finally get back to playing baseball for the right reason—for the sheer joy of it.

FRANK THE PLAYER

Ozzie Guillen, 1992 Donruss

Although Frank is on the wrong side of his prime, he can still turn on a pitch and send it screaming into the stands. A master at working the count, he now uses this skill to help him guess fastball, and when he guesses right he is a dangerous pull hitter.

Never a graceful fielder, Frank is regarded as a fulltime DH. In fact, he has been reluctant to play first base when called upon to do so. With the A’s, this is not an issue; in Chicago, it was a point of contention between him and manager Manuel, as well as with GO Ken Williams.

Frank can still motor on the basepaths, and is one of the most terrifying runners in the game when he gets up to full steam. He outweighs many of the keystone players by 100 pounds, so he is given a wide berth at all times.

Frank’s 2006 season proves what he can accomplish as a hitter when healthy, despite his diminishing skills. In his prime, he was one of the most consistent power hitters in history. Now, pushing 40—and closing in on 500 career homers—he still is capable of putting up All-Star caliber numbers when he is 100 percent.

Source: Jockbio http://www.jockbio.com/Bios/Frank/Frank_bio.html

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