There’s a bit of poetic justice in the first black player for the White Sox and the first black coach in the entire Show with the Cubs becoming Hall of Famers together. But only a bit. Minnie Miñoso and Buck O’Neil should have been voted the honour while they were still alive, not posthumously by the Early Baseball Committee.

So should Dick Allen have been voted the honour while he was still alive. But Allen missed out by a single vote with the Golden Days Era Committee on Sunday. The committee elected Allen’s great contemporary Tony Oliva, but Oliva is still alive to accept the honour.

Miñoso died at 89 in 2015; O’Neil, at 94 in 2006; Allen, at 78, almost a year ago. Nobody ever said things were entirely fair even disallowing the races of these three men, but it’s not so simple to say better late than never for Miñoso and O’Neil; or, for Allen, who’ll surely be voted the honour in due course without having lived to accept it.

Cuban-born Saturnino Orestes Arrieta Miñoso didn’t get his chance in the Show until he was 25, thanks to baseball’s segregation until Jackie Robinson emerged. When the seven-time All-Star finally arrived in 1951—eight games with the Indians before his trade to the White Sox—Miñoso posted a season that should have earned him both the league’s Rookie of the Year and Most Valuable Player honours.

Award voters in those years had already come to terms with non-white players, but they were still distant enough from the idea that a league’s most valuable player didn’t necessarily have to be on a pennant winner. Miñoso’s season eclipsed the two Yankees who won those respective awards, Gil McDougald (Rookie of the Year) and Yogi Berra (Most Valuable Player), at least at the plate.

Berra’s award probably came as much for his handling of the Yankee pitching staff as for his team-leading runs scored and runs batted in. McDougald had a solid season, but Miñoso out-hit him, out-scored him, and out-stole him. (Miñoso led the league with 31 stolen bases and could be argued as the real father of the Show’s stolen-base renaissance his eventual Hall of Fame teammate Luis Aparicio kicked off in earnest later in the decade.) He also walked more often, struck out less often, and played more field positions competently than the multi-positional McDougald did.

Miñoso put up a lot of MVP-level seasons without winning the award, even though he might plausibly have won three such awards if voters then looked beyond assuming pennant winners automatically carried the league’s most valuable players. He was also (read very carefully) the first black Latino to crack the Show.

In the years that followed after his career ended, there came a few who looked deeper and concluded that Miñoso might have been the most deserving player not to reach Cooperstown for a very long time. When Allen Barra wrote Clearing the Bases in 2002, he devoted an entire chapter to Miñoso and drew that very conclusion, even if he had Miñoso’s age as a Show rookie wrong. (Barra said 29; Miñoso was 25. But still.)

“His 1951 season,” Barra wrote, “taught a lesson to Latin players for the next forty-odd years: you will have to do better than the non-Latin player just to be noticed, and far better to win an award . . . Minnie Miñoso was a better ballplayer than several white players of his time who are in the Hall of Fame. He was also better than [several] black players from his era that are in the Hall of Fame.”

He was also an effervescent personality who used it to win White Sox World over emphatically, while he played and for decades to follow. Chided once because his English was rather halting, Miñoso is said to have replied, “Ball, bat, glove, she no speak English.” At least as classic as the day black Puerto Rican first baseman Vic Power, told by a Southern server that the restaurant didn’t serve black people, was said to have replied, “That’s ok, I don’t eat black people.”

John Jordan O’Neil won one Negro Leagues batting title, made three Negro Leagues All-Star teams, and was known to be swift and slick at first base, but his stronger metier was as a leader and a manager. In fact, O’Neil managed the legendary Kansas City Monarchs to three pennants before baseball’s integration began to mean the death knell for the Negro Leagues themselves.

As a Cubs coach and scout O’Neil was immeaurable in his mentorship of Hall of Famers such as Ernie Banks and Billy Williams. In due course, he discovered Hall of Famer Lou Brock and World Series hero Joe Carter. As a baseball ambassador, both concurrent to his work with the Cubs and beyond it, O’Neil was even more immeasurable for helping to keep the Negro Leagues legacy alive.

This friendly, soulful man who was a people person first and foremost told all who’d listen that, regardless of the disgrace that kept himself and his fellows from their warranted tastes of what was then considered the only major league baseball life, those who played Negro Leagues baseball managed to have fun, live reasonably, and savour the good in life.

I once wrote that getting O’Neil to shut up about baseball would have been like trying to take the alto saxophone out of Charlie Parker’s mouth. “People feel sorry for me,” O’Neil once said. “Man, I heard Charlie Parker!” Referencing, of course, the virtuoso alto saxophonist who helped change jazz irrevocably with his running mates Dizzy Gillespie (trumpet), Thelonious Monk (piano, composer), and Kenny Clarke (drums, the first to shift timekeeping to a ride cymbal away from the bass drum) by inventing the smaller-lineup, freer-wheeling style known as bebop.

O’Neil was a jazz nut who linked the musical art to baseball unapologetically and seamlessly. “Music can’t be racist. I don’t care what,” he told Joe Posnanski for the invaluable The Soul of Baseball: A Road Trip Through Buck O’Neil’s America.

It’s like baseball. Baseball is not racist. Were there racist ballplayers? Of course. The mediocre ones . . . They were worried about their jobs. They knew that when black players started getting into the major leagues, they would go, and they were scared. But we never had any trouble with the real baseball players. The great players. No, to them it was all about one thing. Can he play? That was it. Can he play?

O’Neil made his way into his country’s complete consciousness once and for all time when he factored large in Ken Burns’s 1994 documentary, Baseball. Others of his generation who endured with him made fans, but O’Neil made friends. He became what Pete Rose only claimed himself to be, the single best and most effective ambassador for the game ever seen—and that’s saying a lot.

He missed being elected to the Hall of Fame in 2006, by the Committee on African-American Baseball. There was much speculation that his exclusion then had to do with a dispute between O’Neil and the Negro Leagues Baseball Museum’s original research director, Larry Lester, over policy issues. But I’ve never forgotten the sweet grace with which O’Neil accepted the result.

“I was on the ballot, man! I was on the ballot!” he exclaimed, while saying it showed America itself was growing up and getting better even if the growing pains continued to be  too profound.

God’s been good to me. They didn’t think Buck was good enough to be in the Hall of Fame. That’s the way they thought about it and that’s the way it is, so we’re going to live with that. Now, if I’m a Hall of Famer for you, that’s all right with me. Just keep loving old Buck. Don’t weep for Buck. No, man, be happy, be thankful.

O’Neil accepted when invited to induct the seventeen in Cooperstown. His speech evoked living history, deep love, and concluded when he got the Hall of Famers on the podium and the crowd on the lawns to hold hands and sing a line from his favourite gospel song, “The greatest thing in all my life is loving you.”

Three months later, that irrepressibly active and life-affirming man died under the double blow of bone marrow cancer and heart failure.

I have long argued that Tony Oliva deserved to be elected to the Hall of Fame, and I’ve found no evidence to change that conclusion—but Dick Allen, whose career dovetailed completely to his, was over twice the player Oliva was, especially at the plate.

I saw both of them play while growing up and beyond. Oliva was a smart batsmith and run-preventive right fielder. Allen was a wrecking machine at the plate and a brain on the bases in all regards; his Rookie of the Year season compared favourably to Joe DiMaggio’s and he didn’t just hit home runs, what he hit should have had not meals and stewardesses but astronauts on board.

I once did an analysis that concluded a fully-healthy Allen might have finished his career with about 525 home runs, while a fully-healthy Oliva might have finished his with about 315. Neither man reached the Sacred 3,000 Hit Club; hell, neither of them reached 2,000 lifetime hits. But the Hall of Fame is supposed to be about greatness, not mere longevity or compilation. Allen and Oliva were Hall of Fame-great, but only one is now a Hall of Famer.

Allen’s unwanted war with 1960s Philadelphia’s racial growing pains, the city’s carnivorous sports press, and isolated bigots on his own teams too often eroded the memory of just how great he really was. So did the injuries that kept him (and Oliva, in all fairness) from having a more natural decline phase than he (and Oliva) should have had.

But I’m going there again. Line them up by my Real Batting Average metric—total bases + walks + intentional walks + sacrifice flies + hit by pitches, divided by total plate appearances—and Tony Oliva’s going to be holding Dick Allen’s coat, in peak and career value.

First, their peak values:

Player, peak	PA	TB	BB	IBB	SF	HBP	RBA
Dick Allen, 1964-72	5457	2592	685	120	33	11	.631
Tony Oliva, 1964-70	4552	2090	303	82	38	36	.560

Now, their career values:

Player, career	PA	TB	BB	IBB	SF	HBP	RBA
Dick Allen, 1963-77	7315	3379	894	138	53	16	.612
Tony Oliva, 1962-76	6880	3002	448	131	57	59	.537

I wrote more extensively about Allen when he lost his battle with cancer last year. And it’s also fair to mention that, in his later years, Allen not only made peace with the Phillies organisation but became one of the most popular members of the team’s speakers’ bureau.

But one more time, here, I’ll hand Jay Jaffe the last word—the best short summary of the hell through which Allen was put so unconscionably in his Philadelphia years by a Philadelphia sports press and population uncertain or unthinking about the city’s racial growing pains, and by some teammates likewise uncertain or unthinking—from The Cooperstown Casebook:

[C]hoosing to vote for him means focusing on that considerable peak while giving him the benefit of the doubt on the factors that shortened his career. From here, the litany is sizable enough to justify that. Allen did nothing to deserve the racism and hatred he battled in Little Rock and Philadelphia, or the condescension of the lily-white media that refused to even call him by his correct name. To underplay the extent to which those forces shaped his conduct and his public persona thereafter is to hold him to an impossibly high standard; not everyone can be Jackie Robinson or Ernie Banks. The distortions that influenced the negative views of him . . . were damaging. To give them the upper hand is to reject honest inquiry into his career.

The next Golden Days Era Committee meeting will be five years from now. Allen waited long enough while he was alive. He damn well deserves a plaque in Cooperstown, even if his family alone can now accept on his behalf.

It’s an absolute wonderful thing to see Minnie Miñoso and Buck O’Neil get their due even posthumously. It’s a wonderful thing to see elected Bud Fowler (arguably the first black professional baseball player); Gil Hodges (the great Brooklyn Dodgers first baseman/Miracle Mets pennant-winning manager); and, Oliva plus his great Twins teammate Jim Kaat, pitcher, whose Hall case is really a) borderline at beat and b) could be seen by re-arranging his best seasons. (Kaat tended to pitch his best baseball too often when someone else was having an off-chart career year.)

But Dick Allen’s continuing exclusion remains a disgrace.