Oh, Cey, can you sing?


Ron Cey actually did cut a record once.

The Dodgers’ third baseball sang a couple of country songs, “One Game at a Time” and “Playing the Third Base Bag,” in 1976. The 7-inch record, by Long Ball Records, was co-produced by Jim Campanis, the son of the former Dodgers’ GM Al Campanis and something of a large Dodger player once himself.

“It was done just for fun,” Cey told MLB.com a few years ago. “It wasn’t a ballad. Anyone who thought I was going to pursue a singing career… well, obviously I was not a candidate for ‘American Idol.'”

“Playing the Third Base Bag” came at a time in his career where he was comfortable enough in his own penguin skin to make himself a novety act.

Whether or not the 1981 co- co-World Series MVP (it was divided by three) is among those who show up to Dodger Stadium on Saturday for the national anthem auditions is another story. But you really would, deep down, love to hear Cey sing, “Oh, say, can you see.” Kind of like the anticipation when former shortstop Chin-lung Hu drew a walk so you could hear Vin Scully say, “Hu’s on first.”

One of the folks who go to Saturday’s tryout will be picked to sing the national anthem before the Dodgers-Angels exhibition game at Dodger Stadium on April 3.

There’s no fee to try out. Parking is free. Auditions start at 9 a.m. on the field in front of the Dodgers’ dugout. For more info, and to download the participant waiver, go to www.dodgers.com/anthem. Renditions can also be emailed to nationalanthem@ladodgers.com.

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Coming Friday: The Jim Rome experience in its latest multi-media glory


Jim Rome tweeted out a photo of himself this morning from New York, prior to going on the air for his radio show, and hours before he’d head over to the Ed Sullivan Theatre to appear on “Late Show with David Letterman” (tonight, Channel 2, 11:35 p.m.)

Jim Rome, gearing up for his new “Rome” show on CBS Sports Network that debuts Tuesday, told us about this billboard and bus-stop signage campaign that has led to more social media tweeting of photos for fans of the show seeing and sharing: “For as much support that I’ve had over the years for my shows, I’ve never had anything like this. The clones are snapping pictures and retweets nationwide — New York, Chicago, Atlanta … Southern California, for sure.”

Adds David Berson, the head of CBS Sports Network: “This is the largest marketing initative (for the network). What’s interesting now that’s different from years ago is seeing the fans who drive around and see the billboards, take pictures of it, post it online. It’s become a viral outdoor/online marketing effort. It shows the power of his fanbase.”

More on all this in Friday’s media column.

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Don’t dodge the obvious: You can’t justify a $2.15 billion sale unless there’s a major TV deal awaiting


Once the Magic pixie dust settles, the debate kicks up on how the pending sale of the Dodgers really makes the franchise stand firm as a long-term, financially solvent business for years ahead in Los Angeles.

The numbers tossed around — $2.15 billion or more, in cash, which will go down as the most ever paid out for a sports franchise in North America – just don’t add up on face value, according to droves of sports business experts.

Not for a team whose worth is listed at $1.4 billion, second to the New York Yankees’ $1.85 billion, according to Forbes. And that was reached even after factoring in a boost in the Dodgers’ worth based on a pending local TV rights deal that hasn’t even been done yet.

What are we missing that Magic Johnson and something called the Guggenheim Baseball Management LLC knows, and outgoing Dodgers owner Frank McCourt stands to handsomely and obscenely profit from?

It’s simple math, once you look at the big TV picture, and where you hang those flat-screens in the surrounding vicinity.

“If you’re just buying the Dodgers based on a traditional transaction, it’s nowhere near that value,” said David Carter, the executive director of the USC Sports Business Institute. “But it’s because they didn’t buy a baseball team, they bought a team that happens to anchor a lot of opportunity to make money from TV to real estate to converting Chavez Ravine into an entertainment center.

“One way to think of it is that the Dodgers are the hardware that McCourt just sold, and the software will be the TV and all the other pieces that come with it.

“Now it’s just a matter of whether they can get their money back.”

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Q-and-A with Seann William Scott: We never thought they’d put him, Stifler and Doug “The Thug” Glatt in the ‘Goon’ squad

Don’t beat yourself up if you end up liking Seann William Scott in his latest role as a hockey goon.

It’s bound to become a guilty pleasure, in the “Slap Shot” tradition, knowing the essence of the game really isn’t like all the blood and loose teeth that it portrays, but there’s some humanity and honor in what goes into the role of the fabled enforcer.


“Goon” (linked here) reinforces that.

The 35-year-old Scott might be best known as Stifler from the “American Pie” movies (another sequel is coming out next month), but he’s got another pop-culture foothold now as Doug “The Thug” Glatt, a bar bouncer who his friend Pat (Jay Baruchel, also one of the co-writers) says has a fist “the size of my Uncle Murray’s prostate.”

Glatt gets a personal invitation by the coach of a Boston-area minor-league hockey team after a player comes into the stands chasing a heckler — and then gets the heck beat out of him by Glatt.

A soft-hearted, loyal soul simply looking for a purpose in his life, Glatt makes the completely unlikely transformation to accidental goon, a job he comes to embrace and understand – he’s not there to play hockey, just prevent cheap shots.

It builds to a climatic, “Rocky”-like moment when he encounters soon-to-be retiring thug Ross “The Boss” Rhea (Liev Schreiber), a brawl orchestrated to the unlikely strains of Puccini’s famous opera Turandot (you’ll recognize it when you hear it, linked here).

“Goon,” which has already been a top box-office draw in Canada, went to video on demand in the states late in February and finally reaches U.S. theatres this Friday, may be better explained by Scott in this Q-and-A:

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