5 Things I Want to See in 2015

As we wrap up 2014, instead of reflecting on this year's hobby highlights, I'm looking ahead to what I want to see in 2015.

1. More old brands resurrected from the mid-1990s junk wax heap. Did you collect Upper Deck's Fleer Retro basketball set? Or what about Topps Archives baseball or football? Or Pinnacle baseball? As long as the hobby's hurtling down mid-1990s memory lane, let's go all out. I've already advocated for a throwback Studio set (complete with mullet wigs). But what about 1992's Topps Kids? It could work as a short standalone set, large insert set for a set like Topps Opening Day, or part of a tongue-in-cheek Topps Archives offering.

2. No more relic cards. Dear Card Companies, Nobody cares about these. Relic cards don't hold value. Stop including them in your products. Or if that's too radical, make relic cards better. What about stamping them with the game date when they were used? Or better yet, make them memorable. Nobody in their right mind should be excited about receiving a tiny square of David Freese's away jersey. But what if you compressed a jersey or autographed t-shirt into the size of a jumbo pack? I will definitely be excited about pulling an autographed David Freese Angels t-shirt out of my blaster box from Target.

3. Fewer parallels. Do collectors really want endless parallels of the same card? Red, green, blue, camo, pink, black, printing plates, red backs, green backs—the list goes on and on. I'm convinced that if we continue down this path, there will be more serial-numbered cards manufactured than non-serial-numbered cards. Yes, there may be less of each produced, but so what? There are so many different sets produced each year, each with their own parallels, that there aren't enough collectors in the world for these cards to retain their "value." This is already a slippery slope. Let's not slide all the way into the abyss.

4. A food set. I'd like to see the MLBPA, NBAPA, NFLPA, NHLPA, or heck, even MLS strike a deal with a consumer goods company to put cards on food products like cereal, granola bars, yogurt-cup six-packs, whatever. It would be good for sports, and good for collecting. I don't expect a gigantic 200-card set like the old Post Cereal baseball sets from the early 1960s, but a 40 to 60–card set would do the trick. I know I'm not alone in wanting to see this.

5. More videos from the card manufacturers—and not of box breaks. Topps, if you're reading this, you should create a series of videos of no more than five minutes in length, each showcasing a milestone in the company's history (like the revolutionary printing process that created Topps Finest in 1993), but without compromising the company's trade secrets. Have you ever read the story of how the Apple designers created the prototype iPod? I've read it many times, and it never gets boring. The same would be true of how the wizards at Topps created Topps Finest.

The World Needs a Retro Donruss Studio Set

Topps can conjure nostalgia for a wave of collectors just by opening a random file cabinet in its overstuffed HQ and producing a legacy design series like Archives or Heritage. And yet, the 13-year-old in me still thinks that nothing beats 1991's "sophisticated," "artistic," and high-cheese-quotient Studio. So tell us, Donruss: What's stopping you from jumping into the retro deep end with both feet?

Here's what I'm looking for:

1. Tasteful black and white photography of men with mullets. I understand that standard baseball hair fashion these days consists of goatees, mountain-man beards, and Mohawk variations, so you might want to stock a few mullet wigs with your photography equipment.

2. Hats optional. And actually, without a MLB license, I'd even accept a 225-card series of players in street clothes, or warmup shirts. Or even Ebbets Field Flannels jerseys of forgotten PCL teams.

3. Autographed buy-backs of Ramon Martinez, Steve Lake, Roger McDowell, Sammy Sosa, Jeff Bagwell, and Kevin Belcher. Really, it would need a 25-to-30-player autographed buy-back checklist featuring the most memorable photos from the original set.

4. Trivial personal interest filler on the backs. Who watches Orange Is The New Black? Or what about The Bachelorette? Or Adventure Time? Also, I'd like to know if more players today would list "Jesus Christ" as their personal hero than did in 1991 (11 players back then, including Alvin Davis, who listed his heroes as "Jesus Christ and Harold Reynolds").

5. No inserts. I realize that this last one is a tall order for a card company in the business of making money. So how about just a few parallels? Definitely needs a one-per-pack stamped, original buyback from the 1991 series. Then a six-per-box "Outtakes" parallel, which would be a photo variation. Finally, a much-harder-to-find "Negatives" parallel, which would show up once every few boxes, maybe like one or two per case.

Even without that pesky MLB license, this could be a nice, low-frills retro set that harks back to a simpler time when men wore a workingman's haircut, enjoyed shows like A Different World, Cheers, and Unsolved Mysteries, and collected porcelain figures of animals (well, maybe that was just you, Glenn Davis).

1990 - 1994 Countdown: #11. 1991 Studio

It's taken me a while to accept it, but I've decided there's no use beating around the bush anymore: there are just some things that I'll never truly be able to experience, no matter how many hours I spend outfitting my Delorean with time-traveling capabilities.

One such event was a certain brainstorm at Donruss HQ. You know the one I'm talking about. The one where they decided that the time was finally right to take the Glamor Shots phenomenon out of the malls and share it with an audience as yet unaware of its glory. And hell, the hobby was practically a perfect storm; no one would have noticed had it flopped.

Ladies and gentlemen, I'm talking about the day Donruss sprung Studio on the world. And despite the fact that you may be able to take Glamor Shots out of the mall, no matter how you dress them up, you can't take 'the mall' out of Glamor Shots. And yet, this set was a hit. Because really, how could it not be? First of all, we're talking about 1991 here. If it was an air of quality that you were trying to exude, black and white photography set against a cross-hatched resume paper backdrop was de rigueur.

A limited checklist helps too. As does a metallic ink border (red copper, anyone?). Oh, and don't forget slapping big-time rookies right into the set instead of quarantining them as inserts. Who can forget Sammy Sosa's hair soufflé (even if they've spent the last 17 years trying)? One more thing helps distance this set from the rest: no inserts. And no bullshit.

Alright, a little bullshit. But in a good, Steve Lake-with-a-cockatoo-on-his-goddamn-shoulder senior superlatives way. That was what this set was known for; it was what separated it from the pack. Nothing wrong with that. Don't try to be more than you are, I say. Never mind that this was the first real, honest to God set that didn't use one color photo in 31 years (1960 Leaf had been the last). And while the return of black and white was somewhat of an accomplishment, the real hero here is the evolution of photographic equipment since 1960. Instead of a set of deer-in-the-headlights major leaguers, Studio could have been stray photos from a hairdresser's idea book: fades, mullets, crewcuts, feathered, layered; practically every style was represented.

It's too bad this set didn't exist in the late Seventies. Professionally-shot Avedon-esque portraits of guys like Oscar Gamble and Sammy Stewart. Can you imagine how great a set like that would be? I guess the closest set to Studio were the SSPC sets from 1975 and 1976, though the photos were taken at the ballpark. What can I say? I'm greedy. And disappointed that I'll never know what Willie Montanez's favorite TV show was.

1990 - 1994 Countdown: #22. 1992 Studio

Hi there. I’m Gary Sheffield. I was just pomading my phat-ass Kid’N’Play hi-top fade. If you're wondering how I keep it so perfectly coiffed... well, let’s just say a couple drops of flaxseed oil under the tongue helps.



This is one of the most underrated sets of the early decade in terms of design and on-card content (as opposed to checklist, which was mostly a dud). 1992 saw Studio incorporate a warmly lit color headshot (less Herb Ritts and more… stock photography? The creativity of the headshot photography in this set was a little suspect) set against a larger black and white action photo. Its border design bears a strong resemblance to the same year’s Gold Edition from Leaf, though in its inverse (large gold border highlighted by a thin black frame). The thin gloss coat makes the colors pop on the front and shows off a classy ‘Studio’ watermark on the back.

Like the other Studio sets, what really gave this set oomph was the biographical data it gave on the back. While not as punchy as, say, 1992-93 Skybox basketball, the Studio sets provided more than enough unintentionally hilarious information. For a lesson in the power of juxtaposition, look no further than Paul Molitor: Intense Individual:

Hobbies are golf and racquetball… Favorite singer is Bruce Springsteen; actor is Robert De Niro; movie is Silence of the Lambs; book is the Bible.

…can you imagine being roommates with him on the road? Yikes.

All right, so this set is ranked probably a little too high. But tell me, why am I a sucker for Senior Superlative sets? Were the other brands really that boring by comparison? It’s fascinating that a brand like Studio could survive more than one or two years, and yet it effortlessly transcended its novelty status in 1991 to a real set, with real cards—produced every year—that carried weight in the Hobby almost until the end of the decade (the last Studio set was released in 1998). The brand even gave the Hobby one of its most memorable insert sets of the early decade in Heritage (debuting in this 1992 edition).

I should amend my thoughts at the beginning of this review. This set isn’t underrated: it has a weak base checklist and the design—while quality—is about on par with other sets one step up from the manufacturers’ respective flagships. What this set is is surprising. Surprising in that it’s surprising that it was made, surprising that the hobby, while reveling in its own bloated-ness, could float a set like this for more than just a year, and surprising that as a brand Studio flourished for eight years, mostly on the combined strengths of the emotional angle of the cards and the one, excellent insert set.

1990 - 1994 Countdown: #25. 1993 Studio

While the countless other brands fought tooth and nail for a foothold in the hobby, GlamorShots, excuse me, Studio was the only set with a truly unique position: showcase the players as well-rounded individuals. And do so on great-looking cards. Instead of re-inventing the wheel each and every year, all they had to do was pull down a different backdrop: 1991 saw the classic charcoal, 1992 had a close up on a craquelure newspaper photo and 1993 gave us jersey detail. All that was missing was the hand-on-chin pose in front of the bookcase and soft-focus lighting on stars in the night sky.

For Studio, baseball was just window-dressing. The real focus was the emotional side of each player. From Curt Schilling: Hobbies are golf, war gaming and military history… Might have been a history teacher if he hadn’t been an athlete. And from Robin Yount: Hobbies are golf, motorcycles, cars and fishing… Might have been in professional racing if he hadn’t been a baseball player.

The key to this set was that players had lives off the field (who knew Curt Schilling liked to play Risk?), and were somewhat normal human beings with normal, everyday dreams. Robin Yount wanted to be the next Richard Petty? Me too. It’s the ‘me too’ aspect that takes down the wall between player and fan and endears them to us (damn you, psychological window dressing!).

1990 - 1994 Countdown: #35 - 33

35. 1993 Leaf
I’m sorry, but even white boys have to shout: Even though this marked Leaf’s first foray into full-bleed photography, foil stamping and shiny hologram printing, the night skylines on the back outshined whatever bells and whistles they could throw in. It should have been the front design. With all apologies to Sir Mix-a-Lot, 1993 Leaf is the ‘Baby-Got-Back’ set of the early Nineties.

The checklist? A snooze, with no major rookies to speak of (unless you count Curtis Leskanic as a major rookie), and Ben McDonald slated on card #1. Also: 106 inserts seeded over three series, including possibly the first cross-brand cards: Frank Thomas Hero Worship. I remember these cards in 1993 Studio; they were in Leaf as well.


34. 1992 Stadium Club
It is for this set (and 1991 Leaf) that ‘sophomore slump’ applies the best. Oh sure, I’ve thrown the term around quite freely over the course of this Countdown, but it is the very definition of 1992 Stadium Club.

Coming on the heels of one of the most iconic sets of the early decade, Topps tried to make this edition even better than the previous one. Because we’re talking about 1992, that meant adding inserts and send-away offers, not to mention opening up the checklist to seemingly include every major leaguer, and everyone they went to high school with–a whopping 900 cards in all (up from 600 in 1991). And yet even with all these base cards, and in one of the best rookie crop years to boot, there are few (if any) major rookies in the whole base checklist.

Instead, they were lumped into the special ‘SkyDome’ box set, along with the other subsets that Topps should have included in the base set: All Stars, Draft Picks and World Series Highlights. Maybe these cards weren’t included in the regular set because of timing. I don’t know. What I do know is that this special 200-card set is more exciting than the 900-card behemoth it followed, and had Topps cut out 200 cards from the base to include these SkyDome cards, 1992 Stadium Club would have been a more logical follow-up to 1991.


33. 1994 Studio
It was hard not to like Donruss’ Studio brand: the photography was amazingly sharp, the checklist wasn’t bloated, the overall base design was attractive and for the most part, it seemed like the set had little if anything to do with baseball. Of course, it had everything to do with the game, but since its inception in 1991 with those hideous charcoal-background portraits, Studio was all about infusing the stars of the game and the game itself with an artistic sensibility, like Diamond Kings come to life.

And like every other brand in the early Nineties, Studio was not immune to the insert craze. But because the base design was so classy, naturally it rubbed off on the inserts (actually, I shouldn’t say ‘naturally,’ because even some sets with the best base designs had some terribly-designed inserts; 1993 and 1994 Donruss come to mind). Studio debuted the tiered Silver and Gold Stars sets, as well as the filmstrip ‘Editor’s Choice’ (the film strip design motif seemed to be a big deal in the early Nineties, probably because of the heightened emphasis on quality photography). 1994 also saw the continuation of the ‘Heritage’ insert (contemporary stars dressed in historic uniforms), a personal favorite.

So if this set is so great, why does it rank somewhere in the middle of the pack? Simply put: it’s fluff. 220 base cards hardly constituted a major issue, and if it was real statistics you were after, Studio was not the place to look. But if it was senior superlative, yearbook-type body copy and old-timey boardwalk dress-up you wanted, Studio was your set.