Monthly Archives: January 2012

Jorge Posada officially retired today.

Here’s video of Diane Munson from the YES Network:

From Brother Stein:

From a wonderful, in-depth interview with our man Schulian by Pete Croatto, who runs a great site:

Yes, Ali was unspeakably cruel to Frazier in the build-up to their fights, calling him “a gorilla” and, worse, an Uncle Tom. But no one ever said Ali was perfect. He was as flawed and complicated as any other human being, with his mean streak and his public philandering and, for all I know, his snoring. He may not have been a Rhodes scholar, either, which was a point Kram hammered relentlessly. But somehow Ali always managed to find his better self when the occasion demanded it. Rising out of a business in which men are paid to destroy each other—Ali-Frazier III is a classic example—he performed acts of charity, bravery, and self-sacrifice. Some were high profile—opposing the war in Vietnam, championing black pride—while others were small personal gestures, like financing soup kitchens or building homes for poor families. Ali may have been acting on instinct instead of intellect in some cases; in others he may have seen his selfishness morph into something good. Who knows what was going on inside his head? All I can say is that I saw him do far more good than bad, and when he was done, he had become far more than a heavyweight champion. He had become a great man.

It seems anticlimactic to say he was great to cover, too. A writer’s dream. He was funny and irreverent and brash and, when the occasion called for it, humble and sensitive. There weren’t many people in the sports media whose names he remembered—Howard Cosell, naturally, and Dick Young and George Plimpton, whom he called “Kennedy”—and yet the media flocked to him because they knew that when he was around, something was going to happen. He might trade insults with Bundini Brown, the shaman of his entourage, or back up a prediction with a goofy poem. When he took a vow of silence before his first fight with Leon Spinks, he slapped a piece of tape across his mouth—and even then he was more interesting than anyone who was talking.

I could go on and on, but you get my drift. Ali was a once-in-a-lifetime subject for a sports writer, maybe for any kind of writer. I know he was that way for me, and I always prided myself in saying the story came first. But he made me care about him in a way no other athlete did. It was his charm, his courage, his audacity, his greatness in the ring. When I saw Larry Holmes destroy him in Las Vegas, it was like watching an execution. It was the worst night of my life as a sports writer, and I’m sure I’m not the only one who feels that way. I felt bad for myself, of course, because I knew I wouldn’t be writing about him for much longer. But I felt worse for Ali because of the way he’d been beaten. Even though Holmes did what he could to hold back, he had to keep fighting until Ali’s craven manager, Herbert Muhammad, told Angelo Dundee to stop it. By then Ali had been damaged in a way he will never get past. All these years later, the memory still haunts me. Maybe that’s the measure of just how special he was.

[Photo Credit: Thomas Hoepker]

I’ve been eating kale like it’s going out of style lately. Usually, I  saute it in olive oil along with some garlic for a few minutes. Salt n serve.

This salad looks nice. From Food 52.

The Pineda-Montero deal is official. Chad Jennings has the details.

Here’s a nice piece on Pineda by Christian Red in the Daily News.

[Photo Credit: Appleplusskeleton]

Today’s New York Minute is brought to you by Ted Berg.

Here’s more movie memories from the great Charles Simic:

Back in the 1990s, I got an interesting call from a newspaper editor in Europe. He asked me if I could remember the first movie I saw as child that I liked, not because of the plot, but because of something else in it, something I had no words for at the time. Without ever thinking about it before, I knew what he had in mind. I recalled instantly trying to convey to a couple of my pals back in Belgrade what I liked about Victorio De Sica’s Bicycle Thieves, and becoming incoherent, as far as they were concerned. Like me, they were strictly fans of Westerns and gangster movies, but these were in short supply in the postwar Communist years, when we had a choice between upbeat Soviet films about fighting the Nazis and building socialism, or bleak Italian and French neo-realist films that were supposed to teach us a lesson by showing us the miserable lives of the working classes in the capitalist world.

The day I saw Bicycle Thieves I had become an aesthete without realizing it, more concerned with how a particular film was made, than with whatever twists its plot had. All of a sudden, the way the camera moved, a scene was cut and a certain image was framed, were all-important to me. I’d lie in bed at night replaying some scene from a movie again and again, making it more suspenseful, erotic and, of course poetic, and taking immense pleasure in that activity. No wonder my friends began to think of me as being a little weird when it comes to movies. I was twelve years old, clueless about most things in life, but already carrying in my head my very own exclusive and constantly expanding film library, not yet a match for Halliwell’s, but large enough to occupy me and enrich my inner life when I lay awake at night.

Star Wars is the first movie I remember seeing in the theater other than Lassie and my Dad took my brother and me to see Superman, as well. But The Empire Strikes Back was the first movie that I was obsessed with. It came out six months before my parents’ marriage ended and I got Darth Vadar and my father and the frozen Han Solo all wrapped up in my mind and it wouldn’t let go. It was thrilling–a true escape–but gave me no relief.

“Babe Ruth” By William Auerbach-Levy (Via MrBrnMkg)

From the collection “When The Lights Go Down,” here is Pauline Kael on Jack Nicholson in One Flew Over the Cuckoo’s Nest:

Nicholson is an actor who knows how to play an audience; he knows how to get us to share in a character. In The Last Detail, his sweet-sadastic alternating current kept us watching him, and we followed his lowlifer’s spoor through Chinatown. Nicholson is no flower-child nice guy; he’s got that half smile–the calculated insult that alerts audiences to how close to the surface his hostility is. He’s the people’s freak of the new stars.

…Since Nicholson doesn’t score when he plays unmagnetic characters–and he must it by now–the danger in Cuckoo’s Nest is that he’ll take over: that he’ll use his boyish shark’s grin, the familiar preening, brutal one-upsmanship. He’s won the audience with his cocky freaks, and this is the big one–the bull goose loony. Nicholson can be too knowing about the audience, and the part he plays here is pure temptation. Before Kesey went to Stanford to study writing, he’d gone to Los Angeles in the hope of becoming an actor, and role-playing is built into McMurphy’s character: he’s swept up by the men’s desire for him to be their savior. Except for the red-haired-giant externals, the authority-hating hero of the book is so much of a Nicholson role that the actor may not seem to be getting a chance to do much new in it. But Nicholson doesn’t use the glinting, funny-malign eyes this time; he has a different look–McMurphy’s eyes are father away, muggy, veiled even from himself. The role-playing is still there, in the grandstanding that McMurphy does when he returns to the ward after shock treatment; it has to be there, or there’s no way of accounting for why he’s sacrificed. But Nicholson tones it down. As McMurphy, he doesn’t keep a piece of himself out of the character, guarding it and making the audience aware that he’s got his control center and can turn on the juice. He actually looks relaxed at times, punchy, almost helpless–you can forget it’s Nicholson. McMurphy is a tired, baffled man, and with his character more unresolved he gains depth. [Director, Milos] Forman hasn’t let the McMurphy character run away with the picture, and it’s Nicholson’s best performance.

And from the same book:

Despite his excessive dynamism (and maybe partly because of it), this satirical actor has probably gone further into the tragicomedy of hardhat macho than any other actor. He exposes cracks in the barroom-character armor and makes those cracks funny, in a low-down, grungy way. With his horny leers and his little-boy cockiness and one-upmanship, he illuminates the sources of male bravado. His whole acting style is based on the little guy coming on strong, because being a tough guy is the only ideal he’s ever aspired to. This little guy doesn’t make it, of course; Nicholson is the macho loser-hero. (In an earlier era, Nicholson would probably have played big guys.)

From the most tasty blog, The Dog’s Breakfast, dig this savory tart of butternut squash with chorizo and caramelized onion.

As hard as it is for me to believe, I started collecting baseball cards 40 years ago. (Yes, I am becoming old.) To celebrate the anniversary, along with a set that collectors now consider iconic within the hobby, I’ll be spotlighting certain Yankee players from the 1972 Topps collection here in 2012.

For some reason, Topps chose yellow as its baseline color for Yankee cards. Yellow has never been part of the team’s color scheme; it has always been Navy blue and white, with some red thrown into the old Yankee Doodle hat logo. But yellow is what Topps selected, making that the color of memory for the ‘72 Yankees.

As with all of the regular issue ‘72 cards, Yankee players appeared in photographs that were either portraits, profiles, or posed shots. Topps did issue some “In Action” cards for a few Yankees, including Thurman Munson, Johnny Ellis, and Fritz Peterson, and we’ll tackle some of those throughout the year. But our emphasis will be on the regular issue cards, which were photographed at the original Yankee Stadium, various American League ballparks, or at the Yankees’ spring training site inFt.Lauderdale.

So let our tour of 1972 cards begin, with a player who is not often remembered for being a Yankee. Felipe Alou’s card shows him wearing the Yankees’ road uniform in a ballpark that may or may not be Anaheim Stadium. The photo, which is slightly out of focus, shows Alou finishing a practicing swing while giving the cameraman a serious stare. As posed shots go, it is classic Topps.

For those who recall Alou as the manager of the Expos and Giants, it’s easy to overlook just how good a player he was throughout the sixties and early seventies. The native Dominican was one of those five-tool players we hear so often about, but rarely get to see. In his prime, he hit with legitimate power, ran well enough to steal 10 to 12 bases a year, batted in the .280 to .290 range, and possessed enough arm and range to play all three outfield positions. Alou wasn’t quite a Hall of Famer–he was a couple of notches below that–but he was a damned fine ballplayer.

The peak of his career came in 1966, when he played center field for the Atlanta Braves and led the National League in hits, runs, and total bases. With a career high 31 home runs and an OPS of .894, Alou placed fifth in the league’s MVP voting.

By the time that he joined the Yankees early in 1971, Alou was no longer that same player, no longer in his prime. But he was still serviceable, a good role player who gave the Yankees depth in the outfield and at first base. The Yankees acquired him on April 9 of that season, just four days after the opening of the season. They acquired him from the Oakland A’s, who had deemed him valuable enough to be their Opening Day starter in left field.

In truth, Alou had been the center of trade rumors from the latter days of spring training through the first week of the regular season. There had been talk that the A’s might send him to the Brewers for some infield depth, but the Yankees apparently made Charlie Finley an offer that he felt was superior to what was presented by the Brewers. The Yankees sent Finley two pitchers, right-hander Ron Klimkowski and left-hander Rob Gardner. They were two decent middle relievers, but neither was expected to play a huge role with the Yankees in 1971. In fact, Gardner had been sent out to Triple-A Syracuse just before Opening Day.

The consensus of scouts maintained that Finley had not received enough value in return for Alou. The Oakland players knew that they would miss Alou, one of the most well-liked and respected players throughout the major leagues. A’s captain Sal Bando had once offered Alou the highest of praise. “He’s one of the greatest men I’ve ever met in baseball,” Bando told Ron Bergman, the A’s’ beat writer. “You think a man who’s been around as long as he has would pace himself a little. But he embarrasses you the way he hustles.” Yankee management was simply thrilled to have acquired a veteran leader and professional hitter.

Though there had been rumors of a possible trade, the timing of the deal—just a handful of days into the regular season—caught Alou by surprise. He had just moved his wife and children into an Oakland apartment, where they were scheduled to stay for the entire ‘71 season. Those plans would have to be scrapped, but the Yankees graciously gave Alou the necessary time to move his family out of the Oakland apartment and make new accommodations in the New York metropolitan region.

When Alou finally reported to the Yankees a few days later, he found an interesting way to find something positive in being traded from Oakland to New York. It involved the simplicity of his uniform. “At least I know this is the uniform I’m going to be wearing everyday,” Felipe told the New York Times in referring to the traditional home Yankee pinstripes. “Out there, I didn’t know which [A’s] uniform to wear when. We had one uniform for the first game of a doubleheader and another for the second.  Once I put on the wrong uniform.”

Indeed, the A’s led both leagues in the number of uniform combinations. On some days, the A’s wore Kelly green uniforms with gold undershirts. Then there were games when they donned white jerseys (wedding gown white, as Finley called it) and pants with green sleeves. On other days, they wore Fort Knox gold uniforms with green undershirts. Life would be much simpler with the Yankees: pinstripes at home and standard gray on the road.

Five days after the trade, on April 14, Alou made his Yankee debut wearing the pinstripes. He started in right field at The Stadium against Tigers left-hander Mickey Lolich. Alou went just 1-for-5 that day, but he made the one hit memorable–a solo home run that was part of an 8-4 victory over Detroit.

Alou’s arrival in New York also created confusion for us young Yankee fans. We assumed that his name was pronounced “feh-leep ah-lew.” We didn’t realize that you had to pronounce the final “e” in his first name, making it “feh-leep-ay.” For some reason “feh-leep ah-lew” sounded right. But we were wrong, as we often were with the pronunciations of Latino ballplayers.

Alou would become a semi-regular for the Yankees in ‘71, at first playing right field, then moving to first base. He played 56 games in right field, 42 games at first base, and even filled in 20 times in center field. At 36 years of age, he was hardly a force–he powered only eight home runs and slugged a mere .410–but he did hit .289 with an on-base percentage of .334. Under ideal circumstances, he would have been a platoon player for a strong contender, but at 82-80, the Yankees needed him to take on a more prominent role.

With his speed diminishing, the Yankees reduced his outfield role, making him a platoon first baseman with Ron Blomberg. They hoped that Alou could produce at his 1971 level, but one year older, his play continued to fall off. He played only 120 games, his lowest output since his 1969 season with the Braves. He hit only six home runs as his slugging percentage fell below .400. By now it was obvious that Alou could no longer play every day, and might not even be able to help in much of a bench role, but the Yankees brought him back for 1973.

Though Alou’s skills were waning, the Yankees appreciated his demeanor and attitude. When a reporter asked manager Ralph Houk whom he considered the team leader, the skipper thought for a moment before responding, “I’d say Felipe.” In terms of fundamental and professionalism, no one on the Yankees matched Alou. “Felipe plays every day like a pro,” Houk told Yankee beat writer Jim Ogle in 1973. “Have you ever seen him make a mistake? I’m talking about judgment, not [physical] errors. Everyone makes errors, but Felipe doesn’t do the wrong thing very often. Have you ever watched Felipe go down the line, then take the turn at first base on a hit to the outfield? If there is even the slightest bobble, he’s on his way to second.”

Alou’s 1973 season with the Yankees would provide an intriguing twist. The Yankees had made a wintertime deal, sending journeyman Rob Gardner (who had since rejoined the team) and Rich McKinney to the A’s for right fielder Matty Alou. For the first time since 1964, the Alou brothers would play as teammates, just as they had done with the Giants. In fact, withSan Francisco, all three of the Alous—Felipe, Matty, and Jesus—had played together in the same outfield. (The three would have a reunion of sorts in 1973. When the A’s, featuring Jesus Alou, came to Yankee Stadium for a series in 1973, photographers made sure to snap shots of the three brothers together. One of these photographs would become the basis for an SSPC baseball card in 1978.)

Three specific memories stand out for me from the Yankees’ 1973 season. That was the year that George Steinbrenner assumed control of the franchise. That was the spring that Mike Kekich and Fritz Peterson announced the trade of their wives, children, and family pets. And that was the year that the Alous, reunited after a nine-year absence, became two of the notable faces of the Yankee franchise.

The Yankees made Matty their starting right fielder. They put Felipe back at first base. Facially, they looked somewhat alike, which created confusion for some Yankee fans. But for me, it was easy to tell them apart. Felipe wore glasses; Matty did not. Felipe was tall and batted right-handed. Matty was short and batted from the left side.

Matty hit well and fielded well, but it was strange that the Yankees used him, a singles hitter with virtually no power, to bat third instead of leadoff. Felipe struggled, his play falling off even further after the decline of 1972, and he lost the first base job. Interestingly, the Yankees replaced Felipe with Matty, who moved to first base despite being only five feet, nine inches tall. Felipe eventually made some starts in right field, mostly against left-handed pitching, as he platooned with Johnny Callison. But Felipe just couldn’t hit anymore. At age 38, he had lost most of his batting skills.

When the Yankees fell out of contention that summer, the front office felt it was time to move out some of their past-their-prime veterans. So they released Callison. A few weeks later, they decided it was time to cut ties with the aging Alous. On September 4, the Yankees announced two separate but related transactions. They sold Matty to the Padres. They also sold Felipe on waivers to the Expos. It was only fitting that the brothers would depart New York on the exact same day.

Felipe Alou batted .208 in 20 games for the Expos, who sold him to the Brewers after the season. Alou batted three times with Milwaukee, without a hit, and then drew his release. And thus came to an end a 17-year career in the big leagues.

Alou would never return to the Yankee organization. But he and the Yankees nearly enjoyed a reunion of sorts in 1994. Alou, by now the manager of the Expos, was leading his team to the best record (74-40) in the National League. In the meantime, the Yankees led the American League East. Then came the strike. If not for the labor/management conflict canceling the rest of the season and the World Series, it’s quite possible that Alou would have met the Yankees in the Fall Classic.

Like so many possibilities in baseball, it just never did come to pass.

[Photo Credit: Attic Insulation]

There was a good review in the Times yesterday by Cullen Murphy. It is about a new book on Georges Remi (aka Herge), the creator of Tintin:

What’s most distinctive about Tintin is the artwork. Hergé’s trademark ligne claire style, which developed gradually, dispensed with shading and relied on inked lines of uniform weight. To accentuate that line — “the true backbone,” Hergé would insist — colors were restricted to a range of relatively soft tones. Although the characters were cartoon figures, the backgrounds were realistic, even elegant. Hergé did a vast amount of research into cars, ships, airplanes, animals. His pacing and composition owed much to movies.

You can order “Herge, Son of Tintin,” By Benoit Peeters here.

Seen in the bathroom of a bar in the East Village.

In case you’d forgotten: Dylan is the Still King.

A rare MC Lyte Joint (Featuring Milk D): The Emcee.

This one is for Chyll Will, Ms. October and Dimelo. Nod your head, my dudes, it’s Monday.

Two riveting, heartbreaking games today. A day of pain for the Harbaugh family (oh, the agony of defeat), and the Giants and Pats will meet in the Super Bowl again.

Congrats to both teams. The Giants, man what a great effort, running through Green Bay and now San Francisco. My gut says that Tom Brady ain’t losing to Big Blue twice but he doesn’t play defense and it would be foolish to underestimate Eli Manning and his Giants.

Great day of football.

Championship Game Sunday.

[Photo Credit: Sanders on Sports]

And how about a little love for Johnny Otis?

Rest in Peace. A master.

Dig the range:

[Drawing by Larry Roibal]

Saturday night in New York. The snow has stopped. Perfect night to dip out to the movies or to stay home, lay on the couch and read a book, watch a movie, order takeout. Or maybe fix up a soup or a stew or something that is stick-to-your-ribs good.

NFL championship games tomorrow. The Amazing Knicks back in action tonight. Feel free to kibbitz about whatever comes to mind. In the meantime, check out this cleverness:

[Photo Credit: It’s Johnson!]

Snow in New York.

Remembering Etta James.

Dig this one: 07 How Deep is the Ocean.

And this: Etta James – You ‘ve Changed.

[Photo Via: It’s Johnson!]

Feeling blue?

Need a pick-me-up?

Try Charles Simic’s Buster Keaton Cure:

Charlie Chaplin’s bum is at the mercy of a cruel world. Keaton, with his impassive face and a hat flat as a pancake, is a stoic. He confronts one setback after another with serenity worthy of a Buddhist monk. In one short film, “The Goat” (1921) he’s standing on the sidewalk behind two tailor’s dummies, under the impression that they are at the end of a bread line. When he discovers his mistake, he moves on quietly.

Keaton’s movies were a big success in Europe since his type of comedy doesn’t need a translation. I first saw one of his shorts in occupied Belgrade during the Second World War. I liked him instantly. His films are full of remarkable acrobatic stunts. Keaton started out in vaudeville when he was four years old working with his parents, whose comedy act included a lot of roughhousing; he was thrown by his father across the stage and sometimes even at the hecklers in the audience.

Ah, Buster. My hero.