Introducing Team Italy ManagerMike Piazza is a musical odyssey documentary featuring the music of Grammy nominee Pato Banton. Produced by award-winning director Roberto Angotti, Introducing Team Italy Manager Mike Piazza highlights the celebrated career of National Baseball Hall of Famer Mike Piazza.
The film’s opening scene takes place at the 2020 CON6 Italian Baseball and Softball Convention in Rimini, Italy, where Mike Piazza briefly takes the stage before flashing back to Shea Stadium in New York for the first live sporting event post-9/11. Through the lyrics of his song “What a Come Back”, renowned musician Pato Banton collaborates with director Roberto Angotti to tell the story of how Mike Piazza’s heroic home run helped heal a shaken-up nation in fear. In the case of Mike Piazza, who has beaten the odds from being a last-round courtesy draft pick to becoming a National Baseball Hall of Fame Inductee, the opening song exemplifies the resilience and perseverance Mike Piazza and the American people possessed.
New York Mets play-by-play announcer Wayne Randazzo makes brief but poignant appearances throughout the 36-minute documentary to attest to Mike Piazza’s footprint in New York and sports history as well as validate the Hall of Famer’s commitment to the growth and development of Italian baseball. Using tidbits of information from Mike Piazza’s New York Times best-selling autobiography Long Shot, the film touches on young Mike’s childhood affinity for Spider-Man and his pregame ritual of eating Tastykake on the way to Philadelphia Phillies games at Veteran’s Stadium.
Narrated by Pato Banton‘s song “No Worry Piazza,” the film retraces the path that Mike Piazza took growing up. A cameo appearance from longtime family friend and former Los Angeles Dodgers manager Tommy Lasorda confirms that Mike was overlooked as a prospect by major-league scouts at that time. The film traverses Piazza’s journey from high school baseball star to National Baseball Hall of Fame Inductee and on to his newest role as manager of the Italian national baseball team. Interview segments from former New York Mets pitcher and teammate John Franco as well as former MLB player and current Team Italy slugger Chris Colabello gauge the excitement around Mike as the new leader for Italian baseball.
The film revisits Mike Piazza’s call to the National Baseball Hall of Fame when he was selected as an inductee. With the backdrop of Pato Banton’s guitar-driven anthem “Never Give In Piazza,” viewers experience the determination and resilience of Mike Piazza firsthand. Making his way to Cooperstown, New York for the National Baseball Hall of Fame Induction Ceremony, Mike recognizes the roles that Tommy Lasorda and Reggie Smith played in his career. Piazza embraces the life lessons learned from these baseball legends, including to never give in and to never quit. Mike gives thanks to the country of Italy for giving him the gift of his father, whose unwavering faith in him served as an anchor. Then he honors his mother for giving him the gift of his Catholic faith. His parents formed the foundation upon which Mike grounded his career and life, and he brings that same foundation into his own marriage and family.
Using the classic “Niceness” rhythm, Pato Banton treats viewers to a new song entitled “Baseball Reggae,” an ode to the game and Italian family heritage Mike cherished with all his heart. It also pays tribute to the Italian baseball family of Joe DiMaggio, Roy Campanella, Yogi Berra, Ernie Lombardi, Tony Lazzeri, and Phil Rizzuto. The film reveals Mike’s Italian roots in Sciacca, Sicily, and he honors his family heritage by playing for Team Italy in the 2006 World Baseball Classic.
In the next song, “Go Mike Go”, Pato Banton personalizes the reggae classic and creates a fitting tribute to the leader of the Italian baseball revolution, Mike Piazza. From the first beat of the song when Citi Field comes alive as the site of the Mike Piazza Day celebration, viewers travel across the Atlantic mid-song and follow Mike Piazza to Italy. Then Mike Piazza speaks to the media for the first time from the Italian Olympic Committee headquarters in Rome after the official press conference announcing the new Team Italy manager took place.
The film also captures Mike Piazza being interviewed by the Italian press at the 2020 CON6 Baseball and Softball Coaches Convention in Rimini. Using Pato Banton‘s “My Opinion” rhythm as a soundtrack, Team Italy manager Mike Piazza and pitching coach Bill Holmberg talk to their players behind closed doors about what it will take for them to make the upcoming World Baseball Classic roster. Highlights from Team Italy in the 2013 and 2017 World Baseball Classic competitions are shown with Pato Banton‘s “Gwarn Piazza” in the background.
Mike Piazza and Bill Holmberg share their philosophy of developing players at all age levels and their ongoing commitment to growing the game of baseball in Italy with director Roberto Angotti. The film concludes with rare footage of the 2020 CON6 Coaches Convention where Mike is freely taking photos with fans and signing memorabilia. Ultimately, Introducing Team Italy Manager Mike Piazza shows how much the Hall of Fame catcher loves Italy and how Italy wholeheartedly embraces him. Forza #Italia!
In an effort to promote reggae music while exemplifying unity among various races and cultures in England, UB40 became a politically-charged entity when the group began in 1979. Original UB40 lead vocalist Ali Campbell said, “We had something tangible to speak out against then. Now England is worse than it’s ever been. Politically, reggae has always spoken against the establishment. It’s synonymous with protest. We supported South Africa’s struggle against apartheid, and you can see the effect the entire movement had when the whole world stopped when Mandella passed away. It was felt around the world and that legacy is something South Africans can be proud of.” Approaching his 57th birthday in February and having sold more that 70 million records worldwide, Campbell has the same sense of urgency that the late and great Bob Marley had in spreading “Rebel Music” and “Positive Vibration”. Campbell explained: “We started out on the streets of Birmingham as kids wanting to make reggae music. I set UB40 up years ago when I started the band to travel the world promoting reggae and dub music. That was my mission back then and it still is today. We have been flying the flag for reggae basically.”
After 30 years of fronting UB40, Ali resigned from the band due to “intolerable management difficulties”. Original UB40 keyboardist Mickey Virtue followed Ali’s lead shortly thereafter in 2008. Having become disillusioned with the band’s creative direction since Ali’s departure, UB40’s dreadlocked MC and toaster Astro left the band in 2013 to reunite with Ali and Mickey. The trio have since reclaimed the name UB40 as their own to preserve the integrity of the band’s original signature sound and vision. Reggae Rebel Ali Campbell elaborated: “We feel that we can try and save the legacy of UB40 by touring and playing internationally. I still make reggae for the fans who love and supported us over the years. I still love my original influences like Peter Tosh and Stevie Wonder. I love dub since the music sometimes says more that lyrics can. It’s a great unifier. I still hold myself as being responsible for the continuation of reggae, and that’s what I will do for as long as I live.”
Having recently performed a series of sold-out concerts in Hawaii and celebrated his 57th birthday, reggae ambassador Ali Campbell returns to Southern California with UB40 original members Astro and Mickey Virtue for an exclusive appearance at the OC Fair Summer Concert Series at the Pacific Amphitheatre on July 31st. All reserved seats include free admission to the OC Fair. Purchase your tickets today by clicking HERE. Based on last year’s sold-out shows in Cerritos and San Diego, it is highly advisable to act fast to avoid disappointment.
When asked to special guest Friday morning at 8 am (Perth, Australia time) or Thursday afternoon at 4 pm (PST, USA time) on ABC Grandstand Strike Zone baseball radio show by host @CJColeman after completing my most comprehensive article to date
“MLB digs ‘Down Under’ and find nine Aussie stars”, I requested to include one of the featured Australian players–Pitcher Shane Lindsay of the Los Angeles Dodgers–because of a recent tweet received from @ABQTopes (LA Dodgers Triple-A affiliate Albuquerque Isotopes). I thought to myself that if anyone deserved to go directly from the Australian Baseball League straight to Major League Baseball without any pit stops it was the recently signed Dodger flamethrower. After the Isotopes were kind enough to retweet my article to its 2500 followers, I tweeted back: “Thanks for the RT (retweet) and for sending the Dodgers your best talent. Do you think Aussie Shane Lindsay will wear True Blue after ST (spring training)?”
Moments later @ABQTopes replied,
“He has the tools to impress, but new ownership will have the final say.” Time will tell who exactly will sign Lindsay’s checks, but in the meantime he is training rigorously in Arizona to prepare for the pitcher and catcher February 21st report date at Camelback Ranch in Glendale. Shane emailed me: “Hey mate, doing good…working my butt off in Phoenix and getting ready for camp at athlete performance.” Lindsay is taking this challenge very seriously.
Without a doubt, Lindsay could very well be vintage Jonathan Broxton
with additional strength out of the bullpen. Last season wearing Chicago White Sox silks, the gutsy and often “wild” Australian hurler was not afraid to throw inside with his intimidating signature upper 90’s fastball to strike out hitters. The Dodgers believe Shane Lindsay has what it takes to become successful in MLB, and all he has to do now is figure out who to impress…the “wild” Kim Kardashian?In order for me to impress on why you should vote for me to be in the 2012 MLB Fan Cave by clicking HERE so that I may deliver an innovative and fresh approach to the coverage of pro baseball and also report on the latest cutting-edge music and pop culture trends, it is imperative to hear from others about my positive influence on them–as I am not accustomed to being my own publicist! Let’s first connect the dots through the Skunk Records and Sublime stories as told by San Diego-based Slightly Stoopiddrummer Ryan ‘RyMo’ Moran.
While on the road with Rebelution , Ryan Morgan recently spoke about my good friend, Mike ‘Miguel’ Happoldt–co-founder of Skunk Records and producer for Sublime, Slightly Stoopid, Unwritten Law, Long Beach Dub All-Stars and Long Beach Shortbus. ‘RyMo’ explained, “In a nutshell, Skunk Records was two people. It was Brad Nowellfrom Sublime, and Mike Happoldt. Mike Happoldt is still one of our producers to this day, we work with him all the time. Basically those two guys started that record label as an underground Long Beach record label. It was basically two friends who just put their heads together and said, ‘Hey, we’re going to start recording.’ At the time, Mike Happoldt was called ‘Miguel’. Miguel was going to Long Beach State and he was in a recording arts music program there … and so after hours there they would sneak into Long Beach State, and Sublime recorded a whole bunch of stuff there. They would basically just sneak in after hours and use the studio from like, 8 p.m. ‘till 4 in the morning and then come back in the next night and do it all again. Skunk Records really was just a grass roots movement between those two guys.
Now sadly, we all know the story that Brad Nowell passed away in ’96 from an overdose on heroin, which sucked. At that point Mike, or Miguel, basically kept the label going, but it shrunk considerably. It went from like a full-on functioning label to just basically him doing stuff out of his house on a smaller scale. Basically, Skunk Records released quite a few records from bands like The Ziggens, one of Sublime’s favorite bands from back in the day. They released a good amount of other stuff —- obviously the work they did with Long Beach Dub All-Stars. Basically, Skunk Records is just Miguel Happoldt. It’s his project.”
When LA music industry insider executive Dana Smart interviewed Mike ‘Miguel’ Happoldt about Sublime and the influence of reggae, yours truly got some serious props.
Mike said, “Brad was a huge fan of DJ Roberto Angotti of KNAC (not metal yet) in Long Beach. He taped every show between 1985 and 1986.” You can listen to some of the songs that Brad loved by clicking on the following podcast link–The Waxcast Episode 2: Homage to Reggae Revolution–a loyal listener’s tribute to my radio show
before moving on to Los Angeles’ #1 Young Adult Radio Leader, ‘The World Famous KROQ 106.7 FM’, where I deejayed from 1986 through 1992.
I would see Brad regularly when I promoted Club Reggae at Fenders Ballroom in downtown Long Beach, where huge punk groups would perform in the larger room and Jamaica’s Wailing Souls and Eek-A-Mouse, England’s Pato Banton and Tippa Irie as well as LA’s Untouchables and Fishbone and other reggae/ska groups would play in my part of the ballroom on weekends. We would not discriminate against anyone who would enter our Punky Reggae Party. Long Beach experienced a London boomtown feeling in the early/mid-80’s. I clearly remember Brad joining me in the DJ booth when I promoted Eek-A-Mouse and Sublime together at Bogart’s in Long Beach. He came again to check me at an Andy Summers gig as well. When singer Gwen Stefani and bassist Tony Kanal from No Doubt were a couple without a contract, they would frequent my OC Club Reggae where I would test market their records on the dance floor. After graduating early in 1980 from high school at age 17, I studied abroad in London and immersed myself in the 2 Tone movement. Borrowing elements of ska, punk rock, rocksteady, reggae and New Wave, bands like The Specials, The Selecter, The (English) Beat, Madness, Bad Manners, and The Bodysnatchers were the talk of the town. However, it was UB40’s “My Way of Thinking” that captured my imagination. Their progressive and upbeat style of British reggae was ear candy, and I could not get enough of it. I also learned of another Birmingham-based band called Steel Pulse. I collected records from London’s Aswad and Linton Kwesi Johnson as well. The artists trusted me, and I traveled with UB40 throughout America as their emcee while supporting Sting and The Police. I became the first radio deejay to interview British reggae, ska and two tone artists and break their records in America while hosting “Roberto, Rock, Reggae” on KSPC 88.7 in Claremont, California. Although a college station, the strong 3000 watt signal penetrated in Orange, LA, Riverside and San Bernardino counties. Within two years in 1982, I got my first real job in commercial radio when I was hired as a new music jock.
Working overnights at ‘Rock N Rhythm KNAC’ in Long Beach, I mixed New Wave and Classic Rock from the 50’s-70’s in this unique format which allowed deejay freedom with two personal choices per hour. I would bring in my crate of records from independent and unsigned artists to customize my radio show with a healthy dose of reggae and ska. After I had created a huge buzz for the music, I was rewarded with the first reggae show–“Reggae Revolution”–on commercial radio in addition to working my KNAC new music weekend deejay shifts and serving as program director of Pomona College’s KSPC. Often I would receive acetate test press copies of songs fresh out of the studio from up-and-coming LA New Wave bands like the Mystic Knights of the Oingo Boingo (who would later drop the long name), The Motels, X, The Blasters, The Plimsouls and Missing Persons. The groups would have listening parties while paying close attention to the audio quality of the recording on-the-air before going back in the studio to master the song.
Although we did not have the signal strength of LA powerhouse KROQ, Long Beach’s KNAC–lead by the innovative program director Jimmy ‘The Saint’ Christopher (who would later become the PA announcer for the Texas Rangers at the Ballpark at Arlington)–was looked upon by the music industry as an indicator station. While other stations would only play one or two tracks from an album, KNAC would dig deeper and play as many as four or five. Once research had indicated that the public liked the tracks, then only would the more conservative and bigger KROQ’s of the world would add songs to the playlist–especially if there was payola.
I thought that I would never sell my soul to the corporate giants, but it took a KNAC format change to Metal in 1986 for me to take a sabbatical in the UK and come back stronger than ever at KROQ. While a Film Studies major at Claremont McKenna College, I had done a documentary of the English Beat and written my thesis on reggae based upon two interviews with legendary original Wailer, the late and great Peter Tosh. He was the Original Jamaican Rude Boy that many of the two tone characters emulated years later in England.After graduating from college and taking some time off, I embarked on a journey to document UB40’s making of the ‘Geoffrey Morgan’ Album in their hometown of Birmingham, England. Staying at each band-member’s house a week at a time, it goes without saying that the lads were tired of my eternal smiling grin and my video camera staring at them every step of the way. Upon arriving at their DEP studios in the industrial section of Birmingham’s Digbeth, the band suggested I go down to an open audition held underground at a local pub where local talent would be performing live.
My life would change forever… At the time, a local MC by the name of Pato Banton had recorded two tracks on UB40’s ‘Baggariddim’ Double Album. One of the tracks, “Hip Hop Lyrical Robot”, was a B Side to the #1 song “I Got You Babe” featuring Chrissie Hynde from The Pretenders. After the success of the Beat’s “Pato and Roger Ago Talk” off the Beat’s ‘Special Beat Service’ Album, Ranking Roger continued to produce Birmingham’s top MC while Pato was on fire.
Roger did not disappoint the local reggae massive when he produced Pato’s 12″ single called “Mash Up The Telly”, which was the song that I had videotaped at the audition and later became a big UK smash hit. Before I could stop the camera and say hello, Pato was out the door and gone… I was blown away at his amazing talent and charisma on camera. I showed the footage to UB40 back at the studio, and the next day keyboardist Mickey Virtue game me Pato’s 12″ single “The Boss” and business card.
I immediately phoned and arranged a meeting with Pato’s manager, Grantley ‘G.T.’ Haynes. I learned that he also managed another client from London’s #1 Saxon Sound named Tippa Irie, who had massive success with “Hello Darling”. I had been sending postcards to KROQ Program Director Rick Carroll so he would expect me when I arrived back in LA. Equipped with new vinyl and a vengeance to get back on the radio, I brought back “Reggae Revolution” to the Southern California airwaves with a much improved signal that reached five times the amount of listeners I had previously at KNAC. Within a few months,Pato Banton and Tippa Irie were signed to U.S. recording contracts.
I arranged for Pato to record a song at the KROQ studios with the San Diego-based rock group Private Domain. The end result was “Absolute Perfection”, and the song became an instant hit on commercial radio throughout America in addition to a staple in the KROQ Top 10 playlist. Later I took Tippa Irie to see his first Black Eyed Peas concert at the Belly Up in Solana Beach. The end result there was “Hey Mama”, a track that broke radio charts internationally and was a MTV favorite. UB40 have always respected my writing style, and they paid me the ultimate compliment when they asked me to write the liner notes for their Dancehall Album.
After they flew me to Jamaica, I was able to work out of Ali Campbell and Brian Travers’ Oracabessa Records HQ in St. Mary. There I would vibe up full stop and meet a long cast of Jamaican stars passing through including Sly & Robbie, Rappa Robert, Toots Hibbert, Jack Radics and Mr. Vegas. Once word got out that I was writing liners, the phone rang constantly. The Sublime camp always loved my articles for Mean Street Magazine and asked for to write the liner notes for ‘Sublime: Everything Under the Sun’ Box Set. Mad Professor requested that I write Macka B’s ‘Global Messenger’ CD liners as well.
Music Club U.S.A. allowed me to go through the entire Fashion Records catalogue out of South London and produce two compilation CDs: ‘Love All Night’ and ‘Essential Dancehall Classics’. Despite having my plate full between teaching English in Orange County and freelance writing nonstop, I continued working with Pato Banton as he had a long list of recording artists who to this day consider him an inspiration and a foundation artist. Sting recorded with Pato on a couple occasions and flew he and his band on his private jet to Spain. Peter Gabriel recruited Pato to join him on his international WOMAD Tour. Ali and Robin Campbell scored a #1 hit with Pato on “Baby Come Back”. I have since arranged for Pato Banton to tour with the likes of 311, Matisyahu, English Beat, and Argentina’s Los Pericos. Tippa Irie and Pato Banton are first-rate live performers and consummate professionals in the recording studio. Both constantly in demand, it won’t
be long before they each throw out the first pitch at an upcoming MLB game and perform live in the MLB Fan Cave.