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Other segments from the episode on May 16, 2014

Fresh Air with Terry Gross, May 16, 2014: Interview with Mike Piazza; Review of Miles Davis' new 4 CD set "Miles at The Fillmore : Miles Davis 1970"; Review of the new remake of "Godzilla."


May 16, 2014

Guest: Mike Piazza

DAVE DAVIES, HOST:This is FRESH AIR. I'm Dave Davies, in for Terry Gross.


UNIDENTIFIED MAN: In the 1-0, a high drive to center. (Unintelligible) on the track, near the wall, a grand slam.


UNIDENTIFIED MAN: Piazza hit the ball right over the 408-foot sign at dead center. It's a grand slam Piazza blast, and the Mets take a four-nothing lead.

DAVIES: That's one of many big moments in the career of our guest, catcher Mike Piazza, a career that was as unlikely as it was accomplished. He was drafted in the 62nd round by the Los Angeles Dodgers in 1988, mostly because Piazza's father was an old friend of Dodgers manager Tommy Lasorda. Nobody in the organization expected him to amount to much, but by the time Piazza hung up his cleats in 2007, he had numbers that may well put him in the Hall of Fame.

He was a 12-time all-star who had a lifetime batting average of .308 and 427 homeruns, the most ever by a catcher. He played for the Dodgers and for the New York Mets, so he spent most of his career in the nation's two biggest media markets, and he made plenty of headlines, sometimes bickering with fellow players, being outed as gay even though he isn't and engaging in an epic on-field confrontation with Yankees pitcher Roger Clemens, which you'll soon hear about.

Piazza memoir, called "Long Shot," is now out in paperback. I spoke with him last year, when the book was first published.

Mike Piazza, welcome to FRESH AIR. I think it was Malcolm Gladwell who said that to master something difficult, you need to put in 10,000 hours of practice. And reading your book, it sounds like you might have put in that many by the third grade. How did you practice at home?

MIKE PIAZZA: Well, like most kids, typically, I started in Little League, you know, about seven years old. And my father, who was not able to play baseball but was a baseball fanatic, I mean he was extremely enthusiastic about the game, he loved Joe DiMaggio and Ted Williams and all the players of the golden era, and really was a fanatic about baseball and really dreamed, almost sometimes more than I did, about becoming a major league player.

And when I was about 11, he constructed a backyard hitting cage, a batting cage, with a machine, automatic feeder. So I was able to go out there many, many days, in all types of weather, tirelessly hit, you know, again and again, hit curve balls, hit different types of pitches, the machine was able to do that, and just became, sort of, completely dedicated and dedicated my early, you know, childhood and even into my teenage years, to hitting a baseball.

DAVIES: Were you thinking of the big leagues then, or was it just fun?

PIAZZA: Well yeah, I was definitely dreaming. I mean, I think - I tell kids all the time you do have to dream. I mean, I envisioned hitting, you know, the game-winning homerun in the World Series. And fortunately I grew up in the Philadelphia area, and I was able to watch the great Phillies teams of the '70s. I mean, they had Mike Schmidt and Greg Luzinski, Larry Bowa, Bob Boone, Steve Carlton.

And my father had season tickets when I was a kid. So I was able to watch their teams. And, you know, Mike Schmidt, as I've said in the book, was my idol. And I used to watch his mannerisms and the way he played the game, the way he hit. And matter of fact, a friend of my father saw me play a Little League game one time. He said: You must like Mike Schmidt because he struts like him, you know, when he's up to hit and things like that.


PIAZZA: So yeah, I mean, you do have to - you do have to dream, but as you said, you still have to continue to work the craft, as well, from a purely mechanical and physical level.

DAVIES: You were unique, also, in that your dad had this longtime friendship with Tommy Lasorda. They came from the same area outside of Philly, Lasorda of course the legendary manager of the Dodgers. And so you had contact with big league baseball at an early age, right? You were - you actually worked...

PIAZZA: Correct.

DAVIES: You were a batboy for the Dodgers when they were in Philly?

PIAZZA: Yeah, there was a funny story. When I first went to a Dodgers game at that stadium, and my dad was yelling at Tommy. And when they were kids in Norristown, they always took on the names of their favorite ballplayers, and Tommy's favorite ballplayer was Van Lingle Mungo, I think.

And so my dad was yelling at him: Hey Mungo, hey Mungo. And he turned around and started joshing with my dad over the rail, and they hugged. And I remember as a kid going wow, you know, my dad knows the coach of the team. He was coaching third. This was when Walter Austin was still the manager, before he took over the manager in '77.

So yeah, I was enthralled. And when the Dodgers clinched the pennant in Philadelphia in 1977, I was in the clubhouse. I have pictures of that in the book. I mean Dusty Baker picked my brother and I up, you know, and hoisted us up like, you know, he's a big uncle. And there was champagne. And I document that, very distinctly, how that was burned in my memory and was a huge influence, you know, inspiring me to want to become a major league player.

DAVIES: So you're a great player through high school. You played a lot of positions. And then when it's - didn't get drafted out of high school, you went and did some college ball in Florida. And, I mean, people who know your story know the legendary number that you were drafted in the 62nd round by the Dodgers. And why did that happen?

PIAZZA: I was playing first base and actually swinging the bat pretty well. And I had an injury. I had a torn ligament in my hand. So I missed three weeks of the main scouting part of the year. When I came back, it was already late. Scouts had already figured out where they wanted to draft. And my dad said, you know, we should try and get Mike drafted because it would help in his college resume for his next school.

So eventually Tommy was - convinced Ben Wade, who was a scouting director for the Dodgers, to draft me. And once I was drafted, my dad's like, well, why not see if they want to sign him. And all summer went by, and at the end of the summer, they flew me out to L.A. for a tryout, and I played very well, hit the ball, you know, in the seats.

And that's at the time when Tommy said he's going to convert to catcher. The story goes that he went to Ben Wade, and he said Ben, if this kid was a shortstop hitting the balls in the seats like that, would you sign him? He said yeah, I would. And he said Ben, well if he was a catcher, would you sign him? And Ben said absolutely. And Tommy said well, he's a catcher. And Ben's like no, he's not, he's a first baseman. So...


PIAZZA: At that time I think, as you read, you know, converting to a catcher was a big key in my career.

DAVIES: Right. I mean, so you were drafted in the 62nd round, kind of as a courtesy, to give you - to help you get a college scholarship and better placement in college.

PIAZZA: That's correct, yeah, right.

DAVIES: And so - but then you're part of the organization. You get a tryout. And you describe moving up through the minors as instructional league and then the minors, as is typical of any young guy drafted. And you had to learn catching, which is nothing simple, right.

PIAZZA: No, no small task.


PIAZZA: And I was fortunate. I went to instructional league, and my first catching coaches were a guy by the name of Kevin Kennedy and Johnny Roseboro, who had caught Sandy Koufax and Don Drysdale and Claude Osteen and Johnny Podres and all those great Dodger pitchers of the '50s.

DAVIES: So you played, I think, in the Caribbean, you played in Mexico, and eventually by 1992 found yourself in the AAA club for the Dodgers, which was in Albuquerque. And throughout that period, you know, looking back on it, I mean clearly you had enormous baseball talent. But during those years you were a guy that Tommy Lasorda knew and had a personal interest in.

And I wondered: Do you think if that weren't the case that you would've made it?

PIAZZA: I'd like to believe I had the ability to. You know, in the story in the book, when I tried to at least catch on with the Phillies when I was having some problems with the Dodgers, Lee Elia, who was the manager of the Clearwater Phillies, told me Mike, he said baseball's like college. If you have the grades, you're going to graduate. If you're good, you're going to get to the big leagues.

And so, you know, I'd like to believe that my talent would've eventually carried me there, but I think being with the Dodgers in that unique position of having Tommy sort of look out for me and guide me in a way did help. Of course I still had to put up the numbers and do the job, but, you know, Tommy was there.

I mean, he worked with me many hours in spring training, in Dodger Town in Vero Beach. I mean, he threw balls in the dirt, and he would throw us batting practice. And we worked. I mean, to be honest with you, I - again back when I played - I don't want to be that old guy who's like back when I played - but I do believe when we were - back when I played, man we worked.

I mean Tommy, after a game, would pull the batting cage out, and we'd hit after the game. And now guys play five innings - and I was one of those guys, as well, later in my career. And, you know, they're home, they're on the golf course, there are other things in spring training. But Tommy was a workaholic. So it was a big, big part of my career.

DAVIES: So in 1992, you come up at the end of the year with the big club, with the Dodgers, and you do well. And so your rookie year, your first full year, is 1993. Did you have any idea that you would have the impact that you did?

PIAZZA: Well, I was confident because that season you talked about in Mexico allowed me to really work on being a complete hitter. And I hit the breaking ball a lot. The pitchers down there are very crafty, and they've been known to really throw a lot of breaking balls behind in the count. So that's when I really started evolving as a hitter.

I went to big league spring training, and I had three homeruns the next year in big league spring training. So my confidence was there. I truly believed that I could hit at a big league level. And then coup that with having - being a catcher and coming up with a very veteran staff, that was kind of the key to me.

I think that everyone thought I could hit, and I knew I could hit, but I think to be able to catch and catch, you know, Orel Hershiser and Jim Gott and Roger McDowell and Kevin Gross and these veteran guys - Tom Candiotti who was a knuckleballer, I think that was probably more of a question mark than my hitting.

DAVIES: Right, right, because you have to handle the pitchers, you have to throw runners out. There's a lot going on. Catchers take such a beating. I mean, you know, you do what, 200 or 300 deep knee bends just catching balls. You know, you take balls, foul tips into all parts of your body. You get balls in the dirt. And then there are those collisions at the plate. Did you have any strategies for surviving them?


DAVIES: You know, the runner coming in at third, you know, he can run you right over if you're standing there blocking the plate.

PIAZZA: Absolutely, and, you know, by nature, actually, the smaller guys pack more of a wallop than the bigger guys. So the minute you take somebody for granted - I mean, Mark Lemke, of all people, hit me one of the hardest hits that I've had in the big leagues. So for me it's preparation. I think you have to know the runner, you have to know the situation, you have to know your fielders' arm strength.

When I played with the Mets, Rey Ordonez was by far, you know, the best shortstop I've ever seen, and he had an absolute gun as an arm. So I know I was going to get a good throw with him and get more of a chance to set up, whereas when I was with the Dodgers, Jody Reed not so much.


PIAZZA: So, you know, you have to kind of prepare yourself. You have to know who's running and, as I said, the game situation. And Mike Scioscia, who when I was with the Dodgers, was completely - I mean, that was his forte. I mean...

DAVIES: He was the catcher who preceded you at the Dodgers, right.

PIAZZA: Absolutely and now is the manager of the Angels. And that was his forte. I mean, he was probably the best in the history of the game of blocking the plate. I mean, so he gave me his technique. I learned from Johnny Roseboro some techniques that he learned from Campanella. So I can only say, like, you know, you have to be prepared. You just have to sort of be able to absorb the blow.

But most importantly is to catch the ball because, you know, you don't want to take a shot without catching the ball. So it's a very challenging part of the game, which you have to be prepared for.

DAVIES: So in 1993 you had an incredible rookie season. You were named Rookie of the Year. I was just looking at the stats here, what is it, like, 35 homeruns, you hit .318, knocked in 112. I mean big, big, numbers. But you write that you weren't the easiest teammate to be around. Eric Karros, who was your good friend and Dodger teammate, said that he would see you after making an out in a tough situation, pound your first into the concrete.

PIAZZA: Yeah, that's true.

DAVIES: What was going on? What did your teammates think of this?

PIAZZA: Well, we had a nickname in baseball for guys that were - with hot tempers. They'd call them snapper, you know, like snapper turtles, I guess. And they would call me Snapper. It was funny. I mean, I can only describe is - there's a turning point in my life, in the minor leagues, when I was really having a tough time with one of the coaches. And I actually was going to walk away from the game.

And when I came back, I can't explain it. I was just incorrigible. I mean, I was a maniac. I was obsessed with not making an out. I was - it was bordering on an obsession. I mean, I just was completely - I did not want to give away an at-bat. I hated when I gave away an at-bat. I hated when I hit the ball hard and made an out.

And it wasn't until I was older, actually, until I kind of mellowed on that fact and realized that you're just three for 10. I mean, you're going to fail seven times out of 10, and that's - failure is part of baseball. And I think I was young, and I was still immature.

I mean, as you read in the book, too, you know, I was a little sheltered as a kid. I mean, I wasn't a social kid in high school. I was - just wasn't with the in crowd. And so I think my maturity level at the time, I was still pretty young, even though I was 23, 24 years old. And it took time for me to at least realize that I had to be a little bit more level-headed, if you will, in the game, you know.

DAVIES: Mike Piazza's memoir "Long Shot" is now out in paperback. We'll hear more of our conversation after a break. This is FRESH AIR.


DAVIES: This is FRESH AIR, and we're listening to my interview recorded last year with former big league catcher Mike Piazza. His memoir "Long Shot" is now out in paperback.

You played in two of the biggest media markets in the country. And New York, where you were with the Mets, is something one of a kind. How did you figure that out? I mean, you became a semi-regular on "The Howard Stern Show," didn't you?


PIAZZA: I did. You never figure it out. Oh, it's just definitely taken as it comes, because New York, I've said many times, is it's twice as good when you're winning and twice as bad when you're losing because it's a very interesting place to play. A lot of players never could do it. I mean, they just couldn't deal with the media, you know, maybe the off-field attractions, maybe just the pressure there.

Some guys were happier being in, you know, some of the smaller cities. For me, I never really - I always looked at it as a challenge. And I tried to be as accommodating as possible. But I realized that you do have to set limits. And I think New York, in a way, wants you, at times, to be too available.

And I had to, sort of, pull in the reins and strike a balance between being available and being a personality and letting my personal side out and getting my job done because I knew that the most important thing on the field was my performance, and everything else needed to take a backseat.

DAVIES: Back when you were in with the Dodgers, there was a 1997 story in which you talked about - the team had a lot of international players. There were some Korean players. There were some Caribbean players. You said that with an international roster like this, you were quoted as saying there are going to be some problems as far as guys not being able to relate to each other on a daily basis.

I think you also kind of questioned whether some of the Latin players had the kind of competitive spirit, or maybe I guess the international players. Was that an example of where you seemed to be saying something that you weren't, or is that what you believe?

PIAZZA: Well, to keep it in historical perspective, I mean the Dodgers and Peter O'Malley were on the forefront of making the game international. I mean, they went out, and they signed Hideo Nomo, who was an amazing pioneer, in my opinion, because he actually had to retire in the Japanese league. So he was the first modern - I think there was a pitcher in the '50s with the Giants, but he was like the first modern Japanese player to come to the States and sign with the Dodgers.

And ironically, him and I had an amazing relationship. I mean, I was his catcher, and he trusted me. We became close friends. I visited him in Japan a couple times. And so I just merely wanted to point out at that point in time the game was evolving, and it was changing. And I didn't mean it in a malicious way or a bad way. I was merely trying to say look, you know, as a player, we weren't used to talking to a pitcher through an interpreter, you know.

It was something completely different, and so I tried to put a spin on that. There are going to be issues that are arising with this sort of evolution of the game. So I didn't mean it in a malicious way, and unfortunately, as you mentioned, and we talked about the media, you know, they somehow get their own meaning out of that. So it was mistaken, I guess, to be taken that, you know, that I didn't want the diversity of the game, or I didn't want this sort of evolution, which is not the case because, you know, I've had pointed out even many times, I mean, I spent a whole - three months, four months in the Dominican Republic with a team where I was the only guy who spoke English, and I learned Spanish.

And I played in Mexico. And to me if I didn't play in Mexico, I really don't believe I would've got to the big leagues. So I really treasure, you know, the Latin aspect of the game, and I think it's very important to the game.

DAVIES: One of the more interesting episodes with you and the media was in 2002, when a New York Post gossip columnist wrote a piece suggesting that a big gun on the Mets, didn't name you but said this is somebody who dates models, is actually gay and is thinking about becoming openly gay. And in no time, your name is attached to this, it's all over talk radio, blogs, and you kind of - people are talking about you as the gay ballplayer. How did you respond to that?

PIAZZA: Well, first off, I tried to keep a little bit of a sense of humor about it only because I think that situation was completely unto New York itself. I mean one week they had me dating a starlet that I'd never met before, and the next week they had me being gay. So I tried to keep it in perspective.


PIAZZA: I can't really say. You know, the only thing was that I really felt like I had to address it from a team perspective because it just seemed like it was getting this buzz. I mean, this rumor was gaining some momentum. So I - you know, I don't want to say I called a press conference. I decided to address it.

And then of course as in New York, sometimes a non-story is a story, and it just turned into this huge issue, I guess, about, you know, what was going on in that particular issue. But again, I can't explain it.

DAVIES: Right.

PIAZZA: It was just one of those weird things, and it just seems like, even though I've had a great career, it just seems like sometimes the situations that are non-orthodox follow me around a little bit. And I just dealt with it as best as I could at the time.

DAVIES: Mike Piazza, recorded last year. We'll hear more of our conversation in the second half of the show. Piazza's memoir "Long Shot" is now out in paperback. I'm Dave Davies, and this is FRESH AIR.


DAVIES: This is FRESH AIR. I'm Dave Davies, in for Terry Gross. We're listening to my interview recorded last year with former big league catcher Mike Piazza, who spent most of his career with the Dodgers and the Mets. He was a 12-time all-star who hit 427 home runs, the most ever by a catcher. Piazza's final season was in 2007. His memoir called "Long Shot" is now out in paperback.

Well, we've got to talk about you and Roger Clemens.


DAVIES: You know, the aggressive, you know, power pitching right-hander who pitched for a lot of teams. And you really crossed his path. When you were at the Mets he was playing for the Yankees. And there was this day, July of 2000, at Shea. At that point you had done extremely well against him. In 12 appearances I think you had seven hits, three of them homers. What happened? Could you tell us what happened?

PIAZZA: Well, yeah. Well, it's kind of interesting. I remember that day because I believe it was the day-night doubleheader. And we actually played at Shea Stadium in the afternoon. And then the second game, because of a rain out, was rescheduled for Yankee Stadium at night. So it was kind of an interesting time, because it was like a festival type of atmosphere in New York and very historic, everyone's talking about day-night doubleheader and one game at Shea and the next game at Yankee Stadium. And I believe Doc Gooden actually beat us, ironically, at Shea Stadium, so the day didn't start out well for us.

And, you know, again, I got to the night game, and I'm first at bat and I took a pitch - strike, which I usually do in my first at bat, and the next pitch, obviously, was right at my head and hit me in the helmet. And at the last second I was able to put my head down and at least not get hit in the face or the eye, which I thought was very dangerous. You know, I got into the clubhouse, you know, obviously was a little woozy. I mean, I suffered a, you know, a concussion and then I got to the clubhouse and the Dodger, or the doctor - I should say - was a Yankees doctor and he was checking me out, and as soon as I got into the clubhouse so he said, well, Roger's on the phone. And I said basically...

DAVIES: Roger Clemens is calling from the...

PIAZZA: Roger Clemens wanted, the call, yeah.

DAVIES: From the other dugout.

PIAZZA: At that time I was not in the mood to talk, so I basically told him where to put the phone.


PIAZZA: And I just was a little perplexed at that, because I, as the doctor, I looked at him, I said, well, you're here to make sure I don't have a hemorrhage or, you know, I'm not going to die or anything. And, you know, he's worried about being the telephone operator. And, you know, after the game it's funny because, you know everyone says I called the press conference. Only because the media was, I mean you can only imagine how many media people were there. And I decided to go to the media room and just basically said I thought he did on purpose and that just touched off this drama, I guess, between him and I, you know, for a few years, which just took on a life of its own.

DAVIES: You know, there's sort of an old-school baseball attitude towards this, that, you know, throwing at players is part of the game and you take your lumps and you don't talk about it...


DAVIES: And the old veteran, Don Zimmer, former player, you know, former manager...

PIAZZA: Mm-hmm.

DAVIES: ...kind of said he lost some respect for you because...


DAVIES: What's your reaction to that?

PIAZZA: I was very disappointed. And, yeah, I was not at all - and here's a guy, Don Zimmer, who has a metal plate in his head from getting hit in the head. So, and - a few years later actually, I believe Bernie Williams was hit in the head, I believe, a Chicago White Sox, if I'm not mistaken, and he was very upset about it. And I was thinking well, it's nice that you're upset about him, you know, Bernie getting hit but not me.


PIAZZA: So, I mean obviously he was, you know, obviously he's loyal to his team and I understand that. But yeah, Paul Blair I think said, you know, Piazza should have been looking for it, so it did. I mean look, I'm not going to say it hurt my feelings, but I would say definitely that it was a little disappointing. I mean Trot Nixon, I believe, who was the Red Sox outfielder made a good point - which was on my side. He said well, if Mike was 0 for 12 against him, does he get to throw his bat at him? You know, it's always the pitcher that gets to throw at the hitter. But if I was 0 for 12, do I get to throw my bat at him? So he was on my side and made some comments. So...

DAVIES: Right.

PIAZZA: was interesting. Again, I look back, it was just one of those things that, you know, I just couldn't make up. It was just an interesting event.

DAVIES: It always struck me that it's one thing for a pitcher to throw at a hitter in retaliation. That's after the other team has thrown at one of the other guys. Not that that's the right thing to do. But when a guy has had success against you, but when you've done nothing but do your job and hit the ball...


DAVIES: throw at somebody's head, just seems, just outside the spirit of the game.

PIAZZA: Irrational.



DAVIES: Now...

PIAZZA: No, it's true. And you're right. I mean I think as a pitcher, you know well as anybody, that they do have to pitch and side, pitching on the inside part of the play is very important. And again, you know, I've been in brawls before are guys got brushed back. But I think, you know, as we've said that, you know, hitting someone in the head is definitely, I feel, crossing the line and very, very dangerous.

DAVIES: Right.

PIAZZA: I mean...

DAVIES: Now, ballplayers get brushed act from time to time. But you saw this ball, the two seam fastball coming right at your face.


DAVIES: It hits you. You're down. Had a concussion. How long did the memory of that pitch coming at your face remain vivid? Is it still?

PIAZZA: Yeah. I still see it now, believe it or not. I can - it's one of those things that's just seared in your memory. You just, you can never - you just never forget. And I mean I'm blessed and lucky that obviously that, you know, I was able to at least get the helmet on it. But yeah, I mean it's one of those things too where you can take a 300 pound lineman, football player and a real tough guy and then put him in a cage and have the ball come at him and he looks like, you know, a little girl, you know?


PIAZZA: So it's one of those things as a hitter, it's kind of like I guess a racecar driver. You really can't be conscious of getting into an accident because you will not be able to perform. So as a hitter, you never - and even after that, I mean, you can't let it creep in your psyche because you will not be able to do your job. You cannot go back.

DAVIES: Was it hard getting back - it must've been hard getting back in the first time against the big league pitch after that.

PIAZZA: I would say it was. It definitely was. And, you know, I think my first at bat was actually against Pedro Martinez, who is another guy who I'm afraid to give you a shave. So it was yes, you do have to discipline yourself and use every amount of your focus to block it out and get back on track, because this game is not for the weak. You cannot allow yourself to be having anxiety up there. It will not work.

DAVIES: Right. And you can you manage to continue hitting, playing well.

PIAZZA: Mm-hmm.

DAVIES: And so that in July of 2000. And then as the plot would unfold...


DAVIES: October, your team meets the Yankees in the World Series. There you are. For people that don't remember the incident, what happens was, it's - I think a two-strike pitch.


DAVIES: You swing and your bat shatters into the ball. You start down the - first baseline because you're not sure where the ball is.

PIAZZA: Correct. Mm-hmm.

DAVIES: And then it turns out the barrel of the bat, you know, with the sharp end on it ends up next to Clemens on the mound.


DAVIES: He picks it up and flings it...

PIAZZA: He actually caught it, believe it or not. Yeah.

DAVIES: In the air? Wow. Without bouncing.

PIAZZA: On a hop. Yeah. Mm-hmm.

DAVIES: And then flings it in your direction. And then his explanation to you and the umpire is, I thought it was the ball.


PIAZZA: Yeah. Still, I mean, you know, I think back and people today still ask me what were you thinking. I said, I don't know. What was he thinking? Why don't you ask him, he thought it was the ball. And Charlie Reliford, who was the umpire at the time, I believe, came up to me. And I said Charlie, what the expletive is he talking about? He goes I don't know. Let's play ball. And then all the other players came out and then there was a little bit of a scrum, I guess, and it just never developed into anything, but a lot of shouting. I mean guys from the Yankees were telling me to get back in the box and it just was, again, one of the most bizarre things. I kind of surrendered to the fact that, you know, this is one of the most, you know, one of the highlights, I guess, for lack of a better word, of my career and I just had to surrender and embrace the fact that people want to know about it so I told them verbatim what I was thinking at the time.

DAVIES: Now you and Clemens have been around each other since then, I know...


DAVIES: ...and have had cordially words, I suppose.


DAVIES: But I do want to read your description in your book, right after you describe when he beaned(ph) you that time in July and gave you the concussion. You write (Reading) Roger Clemens has near perfect control. I wouldn't have batted an eye if he had just brushed me off the plate but, of course, that's what he said he was trying to do, and I wouldn't have thought twice about it if he put a ball in my ribs. But to stick one in my forehead, that's another story. Clemens had always come across to me as the playground bully, huffing and puffing and snorting, and yelling at batters, doing whatever he could to intimidate them.

Sounds to me like you have a pretty firm opinion of him as a player.


PIAZZA: Which some words need to be kept private. No. And, you know, I've said many times, you know, as a player you do have to admire, at least, competitive guys. I mean I've always felt like in my career I've always wanted to face the best pitchers, the closers, the guys that were, you know, the intimidators or so to speak, so I never shied away. And as you can tell from my stats, I always had pretty good bats against them as well. But yeah, I mean you know, to me it just seemed like he was very frustrated with my success. And as I've said before, you know, I basically said that I thought he did obviously hit me intentionally - which, as you mentioned - was a, you know, one of those on broken rules, I guess, that maybe I broke from the old-school guys that you shouldn't have said that. But I was very sensitive to it at the time and understandably so. It was a very dangerous thing to do.

DAVIES: Mike Piazza's memoir "Long Shot" is now out in paperback. We'll hear more of our conversation after a short break. This is FRESH AIR.


DAVIES: This is FRESH AIR. and if you're just joining us, we're listening to my interview recorded last year with former Big League catcher, Mike Piazza. our guest is former big league catcher Mike Piazza. His memoir "Long Shot" is now out in paperback.

You write a good bit in the book about steroids and performance-enhancing drugs. And you make it clear you never took anything that was a banned substance, right?

PIAZZA: Mm-hmm.

DAVIES: Did it seem like it was a steroid culture around at all?

I would say no, only because when, generally, when I was a kid, I tried to paint distinctly the evolution of the game and training for the game. As far as when I was younger, many old-timers said, you know, you don't lift weights, you'll get muscle-bound. Whatever that is, I mean that was their whole thing. You'll get slow. Your bat will slow down. And you watch this evolution, I guess, for lack of better word, of training for baseball. I mean in the '80s, guys started lifting weights. Guys started getting bigger. They used smaller bats. As I've documented in the book, you know, expansion creeped in and ballparks got smaller and things were a perfect storm, I guess, for the offensive output of the '90s. And ultimately, just general training for the game, you know, just being in the gym, I mean guys never, you know, did presses and curls and all these things, they just swung the bat. And also too, one of the things I mentioned, I mean sort of the de-stigmatizing of the strikeout.

PIAZZA: I mean, guys today, I mean, there's guys that strike out 150 times. I mean, when I was younger, at least in my career, if you struck out 100 times in the big leagues that was a lot. So guys figure, you know what? I'd rather hit 25, 30 homeruns with 150 strikeout than 15 or 10 homeruns with, you know, hitting with a better average. So it's an interesting, you know, picture I try to paint.

And not to, as I said, discount, you know, illegal substances or PEDs but you do have to kind of keep it in a broader perspective.

DAVIES: Right. And I will note that for all the homers that you hit, what, 427, you never had a season where you struck out 100 times.

PIAZZA: No, not at all. And I always try to keep it, you know, one walk to one strikeout. I didn't do that. But yeah, I love making contact. I mean, when I was a kid it was funny, you know, I don't know if you remember, I mean everyone would say with two strikes choke up and put the ball in play.

DAVIES: Mm-hmm. Yeah.

PIAZZA: Nobody's doing that today. I don't think anybody chokes up anymore. I mean I think - I don't see anybody choke up the bat. So it's an interesting evolution, I guess, philosophy of the game. So yeah, I mean, you know, but I always enjoyed making contact. I was, you know, hit the ball well to all fields. I was a good opposite field hitter. I liked making contact.

And, you know, I see some of these guys today with the shifts and I just can't understand with that big hole on the other side of the field that you could drive a truck through, how would you not hit the ball there, you know?

DAVIES: Right. Right.

PIAZZA: You know, but - I don't get that.

DAVIES: Well, there are a lot of great baseball stories in this book that we didn't have time for, but it was a fun read. And Mike Piazza, I want to thank you so much for spending some time with us.

PIAZZA: I really enjoyed it. My pleasure and thanks for having me on.

DAVIES: Mike Piazza. I spoke to him last year when his memoir "Long Shot" was published. It's now out in paperback.


In June 1970, Miles Davis played four nights at New York's rock palace Fillmore East, following earlier appearances there and at San Francisco's Fillmore West. A complete recording of all four of those June sets are now available for the first time.

Jazz critic Kevin Whitehead says the jazz trumpeter had gone to the Fillmore in search of a new audience.

UNIDENTIFIED MAN: Good evening. With great pleasure, Mr. Miles Davis.



MILES DAVIS: (Instrumental)

KEVIN WHITEHEAD: It messed jazz people up, the music Miles Davis made 1970. Like the four sets recorded that June now issued complete on "Miles at the Fillmore." two years earlier, he'd been meeting one of the most beloved jazz bands ever. The one with Wayne Shorter and Herbie Hancock. Then he went electric. Instead of playing jazz clubs, now he was playing to kids who came out to hear the rock bands he split bills with.

As one of those rock kids go so Miles at the Fillmore in 1970, I got to admit the music was too weird for me. But later, could not stop thinking about it.


WHITEHEAD: Chick Corea and Keith Jarrett on electric keyboards. Miles Davis' classic ballads were disarmingly spare. This music for seven players could get absurdly dense - a bubbling stew of independent parts. Now Miles' jam sounded like they could go on forever but he was still jazz man enough to cue the end of a set with a traditional bebop signoff theme.


WHITEHEAD: Any familiar tunes Miles Davis played that season dissolved into the new band's acid bath. Like Wayne Shorter's "Footprints," a bonus number in this four CD set recorded at the Fillmore West. Now the tunes didn't so much provide a forum to improvise over as much as supply moments of relief from the chaos. Bits of melody function as sign posts along a strange highway.


WHITEHEAD: Dave Holland on bass guitar and Jack DeJohnette on drums. As in other Miles' bands, there was a tug-of-war between the leader and his younger sidemen. He fed on their new ideas but then they'd want to take things further out than he did. Miles wanted to be commercial, not avant-garde. He didn't want to just sell records like a rock star, he wanted to be a rock star.

Wanted to be Hendrix at the Fillmore. That allowed keyboard players Corea and Jarrett to go nuts with their wah-wah pedals, making guitar music without guitars.


WHITEHEAD: That was the sweet spot Miles was aiming for where the groove was all and the fabric wasn't quite so frayed. That said, in the '80s when his bands really got slick and funky the music was frequently terrible. He needed headstrong players like this crew who'd push back a bit.

The crazy quilt nature of the music Miles Davis made at the Fillmore in 1970 is one of its best features. His rowdy players showed him other ways to bring the funk.


DAVIE DAVIES, HOST: Kevin Whitehead writes for Point of Departure and Wondering Sound and is the author of "Why Jazz?" He reviewed the new box set "Miles Davis: Miles at the Fillmore" on the Columbia Legacy label. Coming up, David Edelstein reviews the new remake of "Godzilla." This is FRESH AIR.


DAVIE DAVIES, HOST: Since 1954, the fire-breathing behemoth Godzilla has had many incarnations. In the Japanese original he was a thinly disguised symbol of the atom bomb but in later films he would fight other giant monsters and even space aliens. In 1998 there was a poorly received American remake by Roland Emmerich. Now comes another American version at a time when the restored original is also in theaters and available on DVD.

The latest "Godzilla" is directed by Gareth Edwards with a cast that includes Aaron Taylor-Johnson and Bryan Cranston. Film critic David Edelstein has this review.

DAVID EDELSTEIN, BYLINE: The 1954 "Godzilla"was released when the trauma of the A-bomb was fresh, its title creature an unholy fusion of reptile and radioactive automaton. In the original Japanese cut, not the American version that shoehorned in Raymond Burr as a reporter - it's the grimmest giant monster picture ever made - a vision of nuclear Armageddon that remains unrivaled.

The new American "Godzilla," on the other hand, is served sunny-side up. Its finale is boffo, its message upbeat. I found that slant bewildering for all kinds of reasons, but I have to admit that the last 20 minutes rock. Not so much what comes before it, though. The first three-quarters is choppy and withholding and packed with cliches.

It opens in the Philippines where a foreman leads scientists played by Ken Watanabe and Sally Hawkins into a titanic underground cavern. I've been diggin' holes for 30 years, he says, I've never seen anything like it!" Cut to a Japanese nuclear power plant, where engineer Bryan Cranston, under wavy dark hair, confronts strange seismic activity and tries to keep Juliette Binoche as his scientist wife from perishing when things go boom.

Fifteen years later, Cranston is a fanatic, convinced the Japanese government is hiding something, something alive and about to bust out. His son, played by Aaron Taylor-Johnson, is a military specialist trained in bomb dismantling and he thinks his dad is nuts. But we know who's right - we've seen the previews. So we wait, eager to see if state of the art computer generated imagery will give us the Godzilla of our dreams.

Director Gareth Edwards made a successful low budget giant monster picture in 2010 with the generic title "Monsters" in which he mostly kept the creatures offscreen. "Godzilla" has a much bigger budget but holds to the strategy of less is more. On one level, that's refreshing. Too many modern effects movies throw everything at you, making miracles seem cheap.

Edwards handles Godzilla's revelation like a striptease, one scaly green piece at a time. He does the same with two other monsters - nasty spiderlike creatures with flaming slits for eyes and the endearing acronym MUTO Massive Unidentified Terrestrial Organism. I don't think I'm spoiling anything by saying our weapons of mass destruction don't work on the MUTOs and that the best hope to stop them from mating and making more MUTOs is Godzilla.

Watanabe's scientist says as much to a military commander played by David Strathairn.


DAVID STRATHAIRN: (as Admiral Stenz) This alpha predator of yours, Doctor, do you really think he has a chance?

KEN WATANABE: (as Dr. Serizawa) The arrogance of man is thinking nature is in our control and not the other way around. Let them fight.

EDELSTEIN: Those are wooden readings by Strathairn and Watanabe isn't the life of the party, either. Aaron Taylor-Johnson is nominally the lead but isn't up to his big scenes. Cranston isn't around long and his hair is a distraction. Now it's all about the monsters - what there is of them. In the first encounter between Godzilla and the MUTO, the big lizard starts to give it to the big spider and the director cuts to soldiers locking and loading.

There are more soldiers, more people on the streets of San Francisco where the monsters face off, the camera dollying in on their goggle-eyed faces, a move cribbed from Steven Spielberg. I don't think I was alone in muttering show us the money! Finally, briefly, we get the monster brawl. And it's excellent. The climax is a rouser. I laughed, I cried, I cheered.

And I felt a little taken aback. The original "Godzilla" was a cautionary tale and in the big monster movies that followed in Japan and America the invaders were emblems of humanity's arrogance. We've poisoned the Earth, the movies said and the Earth has come back at us. But this "Godzilla" says explicitly that nature is self-correcting.

That no matter what we do, a higher power will belch forth a savior. With so many threats to the planet, the timing is odd, don't you think? I know it's just a dumb genre picture, but even dumb genre pictures have a tradition of speaking to their era. In this one, the nuclear roar becomes a reassuring purr.

DAVIES: David Edelstein is film critic for New York magazine. You can download podcasts of our show at Follow us on Twitter at nprfreshair and on Tumblr at

Transcripts are created on a rush deadline, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of Fresh Air interviews and reviews are the audio recordings of each segment.

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