Sunday, January 11, 2026

a's or athletics -- what a trademark dispute reveals, and why it matters to me


I’ve long been interested in sports franchise movement and name changes, particularly in Major League Baseball. So when I learned that the team formerly known as the Oakland Athletics had been denied trademarks for “Las Vegas Athletics” and “Vegas Athletics,” but approved for “Las Vegas A’s,” it immediately caught my attention.

On its face, this looks like a narrow legal story. But it touches on something much older and more fundamental: what baseball teams are actually called, who decides that, and how those decisions have changed over time.

What I called them — and what the record says

Growing up, I thought of the team simply as the A’s. I knew that was short for “Athletics,” just as I knew the Mets were short for “Metropolitans” and the Yankees for "Yankee-ee-ees." But in conversation, on uniforms, and on baseball cards, they were the A’s.

That impression was reinforced by my father. When we talked baseball, he talked about the A’s. Not the Athletics.

At some point much later, when I started doing more systematic historical work, I needed a single, consistent source of truth for team identities. For me, that source is Baseball-Reference. It’s not perfect, but it is transparent, consistent, and careful about continuity.

Baseball-Reference lists the franchise’s nickname as “Athletics” continuously from 1901 to the present. No alternation. No official back-and-forth. Just Athletics.

That surprised me at first — but I accepted it, because when you decide on a source of truth, you have to live with it.

A childhood lesson in “correctness”

The distinction mattered to me even as a kid.

I remember wanting to show off for my grandpa Ed by reciting all the major league teams in alphabetical order. There were only twenty-four teams then — sometime between 1969 and 1976 — but that detail matters only because I had memorized the list by sorting my baseball cards by team.

I knew there was one potential snag. Did I say A’s or Athletics? It mattered, because it determined whether the team came before or after the Astros.

So I asked my grandfather which was right.

Without hesitation, he said, “Athletics, of course.”

That caught me off guard. I was used to saying the A’s. My father said the A’s. But my grandfather’s answer carried a different kind of authority — as though, whatever fans said informally, there was still a sense that the proper name existed underneath.

I didn’t articulate it that way at the time, but the lesson stuck.

When team names weren’t “official” yet

Part of the confusion here comes from the fact that baseball team names did not begin as formal, declared brands.

In the 19th and early 20th centuries, nicknames were often:

  • informal,
  • media-driven,
  • situational,
  • and sometimes accidental.

Teams could have multiple nicknames at once, and newspapers freely experimented. The Cincinnati Kelly’s Killers, the Chicago Orphans, the Brooklyn Bridegrooms — these weren’t the result of branding exercises. They were labels that caught on because writers used them and readers understood them.

There was no trademark strategy. No naming committee. No press conference unveiling a logo.

From informal tradition to formal branding

Over time, that looseness disappeared.

As franchises became long-lived commercial entities, names hardened into official identities. By the late 20th and early 21st centuries, naming (and renaming) a team became a major corporate exercise, often accompanied by fan outreach, surveys, and carefully managed rollouts.

A clear example is the Cleveland franchise’s transition to the Cleveland Guardians, a process that explicitly solicited public input and emphasized deliberateness. Expansion franchises, in particular, often lean heavily on fan suggestions when selecting names, precisely because the name is now understood as a long-term asset.

In other words, the sport moved from organic, informal naming to formal, legally protected branding — and that evolution sets the stage for the current trademark dispute.

Why the trademark office cares

Trademark law has little patience for ambiguity.

“Athletics” is an extremely old name, one that predates modern trademark norms and was used by multiple teams in different cities over the decades. It is also descriptively weak: the word does not inherently distinguish one specific commercial source.

“A’s,” by contrast, is distinctive. It is visually iconic, closely associated with a specific logo, and has decades of consistent use on uniforms and merchandise. From a trademark perspective, it cleanly identifies this franchise.

Seen that way, it is not especially surprising that “Las Vegas A’s” cleared a hurdle that “Las Vegas Athletics” did not.

Why I find this funny

Here’s where this circles back to my own work — and why the situation genuinely amuses me.

For years, in my ongoing tracking project (“Stoopidstats,” which I really should trademark), I have listed this franchise as the Athletics, even though I personally thought of them as the A’s. I did that because Baseball-Reference is my source of truth, and consistency matters.

This isn’t cosmetic. I track cumulative wins — and games over .500 — by nickname.

A friend recently noticed this and thought it odd. He was sure that the team’s official name must have alternated over time between A’s and Athletics, and was surprised to learn that, according to my source, it never did.

Which makes the current situation deliciously ironic: after decades of thinking of them as the A’s but listing them as the Athletics, the franchise may now be forced, by trademark reality, to become the A’s.


What this means for my stoopidstats

From a purely statistical standpoint, this makes things interesting.

Adding Las Vegas (or Vegas, or Nevada) as a location already complicates franchise tracking. Adding Nevada as a state does too. And adding “A’s” as a distinct nickname would create something entirely new.

Right now, “Athletics” ranks third all-time in wins by nickname, with 10,302, behind only “Giants” and “Reds.” Fourth place belongs to the “Pirates,” with 10,263 wins. That 39-win margin between them will, of course change over the next few years, but when the "Athletics" name goes away (if it goes away) it is likely to still be third and "Pirates" is likely to still be fourth. But from that point on, "Athletics" will sink, and "Pirates" will likely be the first to pass it. And, of course, I’ll get to watch a new entry (A's) start with zero wins and slowly climb the rankings, passing such memorable but defunct names as "Mansfields," Tip-Tops" and "Quicksteps."

That’s not a tragedy. It’s a reminder.

Names, memory, and authority

This whole episode highlights the tension between:

  • how fans remember teams,
  • how historians catalog them,
  • and how the law insists they be defined.

I grew up saying the A’s. My father said the A’s. My grandfather insisted on Athletics. Baseball-Reference sided with my grandfather. Trademark law may ultimately side with my childhood self. And I still think "Phillies" is a lazy name, but that's a subject for a different post.

Saturday, January 10, 2026

cinema history class: sabata (1969)

The session: Viva Sabata!
Four Movies featuring Sabata, a James Bond of the wild West


As always, there may be spoilers here. And the trailer may be NSFW and/or NSFL.

Week 1: Sabata (1969)
Directed by Gianfranco Parolini

My Level of Prior Knowledge
I'd heard of it, but didn't really know much about it except that there were several films with the Sabata character. Sort of like Sartana or Django.

Plot:
A stylish, enigmatic gunman rides into a corrupt frontier town and uncovers a criminal conspiracy by local power brokers. Using deadly marksmanship, clever gadgets, and sharp wit, Sabata turns the conspirators against one another and dismantles their plot.

Reaction and Other Folderol:
I’ll start by admitting that Sabata just wasn’t for me. For reasons I can’t entirely pin down, I found it oddly hard to follow—specifically the web of interrelationships and shifting loyalties among the various bad guys. That confusion probably fed into my other big issue: the movie felt long. There were multiple moments where I was sure we were heading into the wrap-up, only for the plot to wind itself up again and keep going. The ongoing gunfights just got tedious -- admittedly, though, they tried to keep those interesting via dynamite. On its own, the tedium wouldn’t have bothered me much—but combined with the narrative murkiness, it wore me down.

Ironically, the character I found most engaging wasn’t Sabata himself. William Berger’s Banjo is genuinely interesting and unpredictable, bouncing between alliances and situations in a way that kept me guessing what kind of man he really was. I had a hard time deciding how I felt about him, which is usually a good thing. By comparison, Sabata felt flatter—cool, stylish, and hyper-competent, yes, but not especially complex.

Late in the film, there’s what should have been a real OMG moment: we’re led to believe Sabata has been killed, only to learn that his death was an elaborate ruse. In theory, that’s a great beat. In practice, it didn’t land for me—partly because I already knew there were sequels, which makes it hard to buy into the idea that he’s really gone. That’s not entirely fair to the film, of course; someone seeing it in a theater in 1969 wouldn’t have had that foreknowledge.

The movie also borrows very heavily from The Good, the Bad and the Ugly, especially in the dynamic between Sabata and Banjo. By the time we got to the ending, the parallels were so strong that I could practically hear a writers’ room conversation along the lines of, “How do we make this feel like that ending?” followed by enthusiastic nodding.

Some of the stylistic gimmicks didn’t help. Sabata’s magical control over tossed coins struck me as more silly than impressive—less iconic gunslinger, more Wild West Fonzie. And while Keith warned us in advance that this would lean more toward humor than the classic spaghetti westerns I love, I still think it would have benefited from dialing that back a notch. It mostly avoids going full Up the MacGreggors! thankfully, but then there’s that awful “boing” sound effect whenever Sabata outsmarts someone. Everyone else seemed amused; I just cringed.

On the other hand, I absolutely loved the the theme song. That surf-music twang was unexpected, catchy, and easily my favorite part of the experience. At least Sabata left me with a tune in my head (which I then downloaded from Youtube.


Sunday, January 4, 2026

cinema history class: the funhouse (1981)

The session: Work-Aways

Four Movies with horrible horrible characters who remind Keith of some of our craziest work-away stories


As always, there may be spoilers here. And the trailer may be NSFW and/or NSFL.

Week 4: The Funhouse (1981)
Directed by Tobe Hooper

My Level of Prior Knowledge
Never heard of it.

Plot:
A group of teenagers sneak into a traveling carnival’s funhouse after hours, hoping for a night of thrills. Instead, they become trapped, and are stalked by a grotesque masked killer hiding among the carnival attractions. As the night unfolds, the funhouse turns into a deadly maze where escape becomes increasingly desperate.

Reaction and Other Folderol:
After watching The Funhouse, I’m comfortable saying this: it’s not a work of art, but it absolutely delivers on what it promises. Between the acting, the camera work, and especially the makeup, it does a terrific job of creating a deeply creepy carnival atmosphere—even before you fully register that the people running the place are inbred freaks. That mood of unease is there almost immediately, which matters, because the movie is otherwise pretty formula-driven and stuffed with familiar horror tropes (seriously, does anyone in real life ever climb down a trellis?).

What really surprised me was how much it stirred up childhood memories. Once or twice as a kid I got to see a traveling carnival roll into Honesdale, PA, and this movie brought those memories back—then smeared them with grime, menace, and dread. That’s probably the film’s biggest success: it takes something already a little uncanny and just keeps nudging it further into nightmare territory.

There are things that don’t quite sit right, though. I assume the parents are so odd-looking because it helped set the tone, but did it really have to be that on-the-nose? And the opening scene—an obvious Psycho homage—does a great job setting the tone, but it’s also genuinely unsettling in an unintended way: a kid exposing his big sister’s breasts while she barely reacts? That’s less “homage” and more “why did no one flag this?”

Still, the central idea—a traveling carnival run by inbred freaks—is actually kind of interesting, and it carries the movie a long way. Elizabeth Berridge, in particular, is really good here, which makes me wonder why she didn’t become a bigger scream-queen name. Bad timing? Market saturation? Just one of those horror-career mysteries.

The biggest problem, though, is that no one is likable. At all. Which makes it hard to care when they start getting picked off, because you’re not rooting for anyone so much as waiting for the next kill. But even with that flaw, The Funhouse succeeds where it counts: it creates unease early, sustains it effectively, and leaves you feeling like you’ve wandered into a place you definitely shouldn’t have—and stayed too long.

Joe gave it a 10, but stop me if you've heard that one before.









Sunday, December 21, 2025

baseball stoopidstats: wins through 2025

One of my annual rituals is checking how cumulative win totals have shifted the historical rankings. Most years, the changes are modest, which is exactly what you’d expect when you’re layering a single season onto more than a century of baseball history. Still, even small movements can be revealing, especially when they involve long-defunct teams, obsolete nicknames, or modern branding oddities.

At the franchise level, all of the changes involved active teams. That’s not surprising: each of the thirty current franchises has more cumulative wins than any one of the 150 defunct franchises, so none of the defunct fran chises could have moved. The Astros moved from 18th to 17th, passing the Angels. The Mets moved from 20th to 19th, passing the Rangers, though that “passing” comes with an asterisk: the Mets and Rangers are now tied in total wins, and I give the Mets the edge because they have fewer losses. The Marlins moved from 28th to 27th, passing the Rockies.

There was only one change in the location rankings, though it technically involved two locations switching places. “N/A,” my category for teams whose names did not include a geographic location, moved from 41st to 40th, passing Providence. This year’s Athletics season counts toward “N/A,” since the team played without a location in its name. The last time Providence appeared as a team location was 1885, so this was a case of a 21st-century naming decision nudging past a city that hasn’t had a major-league team since the 19th century.

The lone change in state rankings mirrors that shift almost exactly. “N/A” moved from 27th to 26th, passing Rhode Island. That’s no coincidence: Providence is the only location ever associated with a Rhode Island team, so once Providence slipped, Rhode Island followed.

The most activity this year came in the nickname rankings. “Mariners” moved from 28th to 27th, passing “N/A,” my category for teams that played without a nickname. The last time a team lacked a nickname was 1911, which once felt safely locked in baseball’s distant past. A few years ago, I would have said the same about teams playing without a location in their name, so clearly I should be careful with declarations like that.

In just its fourth year of use, “Guardians” jumped from 66th to 60th, passing six nicknames that are no longer in use: Hoosiers (last used in 1914), Metropolitans (1887), Cubans (1948), Orphans (1901), Club (1932), and ABCs (1938). It’s a good reminder of how quickly an active franchise can accumulate enough wins to move past names that survive only as historical curiosities. Elsewhere in the nickname rankings, “Astros” moved from 19th to 18th, passing “Mets,” while “Marlins” moved from 31st to 30th, passing “Rockies.”

Finally, a few milestones are worth noting. The Cincinnati Reds passed 11,000 franchise victories. The Boston Red Sox passed 10,000. And Pennsylvania passed 28,000 total victories for teams with locations in the state, including Altoona (6 victories), Harrisburg (151), Hilldale (282), Homestead (636), Pittsburgh (11,367) and Philadelphia (15,634).

As usual, the rankings didn’t lurch; they crept. But in those small shifts you can still see the slow accumulation of modern seasons, the fading weight of long-defunct teams, and the occasional reminder that baseball history has a way of colliding with the present in unexpected ways.

Sunday, December 14, 2025

cinema history class: beyond the darkness (1979)

The session: Work-Aways

Four Movies with horrible horrible characters who remind Keith of some of our craziest work-away stories

(Note: I could not find the trailer on Youtube, so I am sharing this instead.

As always, there may be spoilers here. And the trailer may be NSFW and/or NSFL.

Week 3: Beyond the Darkness (1979)
Directed by Joe D'Amato

My Level of Prior Knowledge
Never heard of it.

Plot:
A disturbed taxidermist can't bear to say goodbye to his deceased lover, so he preserves her corpse, keeping it hidden in his home. When his obsession deepens, he embarks on a series of increasingly gruesome murders to prevent others from discovering his secret.

Reaction and Other Folderol:
The first thing that grabbed me about Beyond the Darkness was the music. Keith has shown us a bunch of movies scored by Goblin over the years, and their electronic soundtracks are always a treat—and I kind of got a kick out of the fact that this movie credits them as “The Goblins,” which somehow feels even more perfect. Between that pulsing, uneasy score and the absolutely first-rate gore effects (yes, including the cannibalism), the movie is constantly doing something to keep your attention. The effects work is genuinely impressive and often stunning, even by Italian horror standards.

Story-wise, it’s hard not to notice how much the film borrows from Psycho, especially in its setup and obsessions. That said, the plot still feels like it needed one more pass. The private investigator, in particular, feels underused—he’s introduced like he’s going to matter in a big way, but then he’s mostly just… there. When the movie finally delivers its “punchline” with him, it’s not entirely clear what point it’s trying to make, which makes the whole thread feel like a tease that never quite pays off.

Oddly enough, though, despite those narrative shortcomings, the movie does more character development than I expected. There’s an attempt to understand the people involved rather than just using them as fodder, which adds an unexpected layer. And honestly, between Goblin’s score and the relentless, beautifully executed gore, I was pretty much enthralled the whole time anyway—plot gaps and all.

Of course, Joe rated it a 10. But so did Ethan, and he's the toughest grader in the class. So maybe Joe's rating is actually justified this time.