Old kicks on the wall at a running store…

Here’s more Albert, with his real life brother:

Sometimes there is a scene in a movie that is so good that the rest of the movie pales in comparison. I always felt that Albert Brook’s second movie, “Modern Romance” never recovered after this sequence, where Albert is high on ‘ludes. Enjoy (Mr. Popularity, Mr. Popularity):

The rest of the movie is fun–and we’ll feature another good scene shortly–but this one takes the cake.

C’mon Everybody Do the Baseball!

Nice gams…from the New Yorker’s Photo Booth. 

[Picture by Stan Douglas]

Our man Glenn Stout is the latest writer to be interviewed by Chris Jones over at Son of Bold Venture. I love this bit:

CJ: As either a writer or an editor, you’ve had a hand in more than eighty books. Your blog is called verbplow. I get the sense that you must treat words like work, like a more manual brand of labor—that during the course of most days, you must sit down and force yourself either to read or to write something. How do you make yourself do it?

Glenn Stout: That’s funny you ask about that because just the other day I had this realization that all the things I’ve ever really liked to do are activities that require me to use my hands and my brain simultaneously. You are right that in a sense I do see writing as manual labor, and the metaphor in verb plow is intentional, but that doesn’t mean it’s not valued, or necessarily laborious, because there is also that “labor of love” thing. I love doing what I do and can’t believe I get to do this every day. Growing up the idea of becoming a writer was unimaginable. We didn’t have a lot of money. My parents didn’t read much. Words saved me. They took me away, sent me to college, delivered my life. Now I get to mine the language every day, and talk and work with other writers—that’s dreamland stuff.

I don’t see my work as a chore, and only rarely does it feel forced—I want to do this and by now it’s all a part of my life, like breathing. I spent a number of years doing actual manual labor and I have to say I learned as much about writing from pouring concrete and hauling steel as I ever did in any workshop, or any course. Manual labor teaches you to work in increments, to maintain, to stick to things, to finish what you start, and that’s what I do. On a practical level, I’ve been on my own, completely independent as a writer, mostly working on projects that I think have real value, for almost twenty years. I’m not on the faculty somewhere, on the staff of some publication, or living off a trust fund. For every second of the last twenty-one years I’ve always had book contracts to fulfill and deadlines to hit and either I take that seriously or I’m done, out of work.

Serving as Series Editor for Best American Sports Writing is like a part-time job at minimum wage, and is only a small part of what I do. People assume I’m incredibly disciplined, and in their terms, maybe I am, but I’ve never understood writers who say that they write 2,000 words a day, like punching a clock. I mean, good for them, but I don’t work that way, I can’t be that rigid. I think every writer has to discover that what works for others might not work for you. For me it’s like the old Earl Weaver line: “This ain’t football; we do this every day.” A significant part of doing anything stems from getting up early and putting your ass in the chair every day, and I do that. The rest is experience—learning how not to sabotage yourself.

Right on, Big Dog. Or as Woody once said, “Eighty percent of success is just showing up.”

Slow-cooked pork tacos from Food 52.

Most certainly, “Yes, please.”

Flipped:

David L. Ulin revisits James M. Cain’s novel, “Mildred Pierce” in the L.A. Times:

Of all the classic noir writers, perhaps none has been as tarnished by the brush of genre as James M. Cain. That’s because Cain — born in Baltimore in 1892, a protégé of H.L. Mencken and, briefly, managing editor of The New Yorker — was not a great hard-boiled novelist but a great novelist period, whose vision of 1930s Southern California is as acute and resonant as anything ever written about that time and place.

…“I make no conscious effort to be tough, or hard-boiled, or grim,” Cain once noted of his own writing, “or any of the things I am usually called. I merely try to write as the character would write, and I never forget that the average man, from the fields, the streets, the bars, the offices, and even the gutters of his country, has acquired a vividness of speech that goes beyond anything I could invent, and that if I stick to this heritage, this logos of the American countryside, I shall attain a maximum of effectiveness with very little effort.”

The Times recently did a piece on Crazy Legs’ cooking webcast.

Our good pal Josh Wilker is interviewed in the New Yorker’s book blog:

At one point in the book, you write, “I have spent most of my adult life imagining and reimagining the past and now I never know beyond a shadow of a doubt what actually happened.” Could you elaborate a little on that? Did that make it easier or harder to write “Cardboard Gods”?

I’ve written incessantly about the past for over two decades in any form I could manage—in notebook rantings, in poems, in letters, in essays, most recently in blog posts, and most extensively in fictional form. I am trying to get at certain emotional truths, I guess, and after a while any certainty I once had about how things actually occurred eroded. One thing I do remember for sure is that when I was a kid, I made a vow to myself to remember everything. But in trying to keep this vow I actually broke it, going over the same ground again and again until the ground had changed. It didn’t make it any easier or harder to write “Cardboard Gods.” The challenge of the writing of the book was the same challenge I’d always faced, which was to try to get the thing to feel true. I wanted the details to be honest, as honest as I could manage, and I certainly didn’t fabricate anything that I know didn’t happen, if that makes any sense, but I know my memory is faulty and that it long ago became subservient to my ruinous and sustaining need to narrate.

Hot dog.

If you haven’t read Josh’s book, Cardboard Gods, well, it is now available in paperback. Get goin’, now, git.

Baseball is back, let us give thanks. The sermon today is from Annie Savoy:

“I believe in the Church of Baseball. I’ve tried all the major religions and most of the minor ones. I’ve worshipped Buddha, Allah, Brahma, Vishnu, Siva, trees, mushrooms and Isadora Duncan. I know things. For instance, there are 108 beads in a Catholic rosary and there are 108 stitches in a baseball. When I heard that I gave Jesus a chance. But it just didn’t work out between us. The Lord laid too much guilt on me. I prefer metaphysics to theology. You see, there’s no guilt in baseball and it’s never boring … which make it like sex. There’s never been a ballplayer slept with me who didn’t have the best year of his career. Making love is like hitting a baseball: you gotta relax and concentrate. Besides I’d never sleep with a player hitting under .250 … not unless he had a lot of RBI’s and was a great glove up the middle.

You see, there’s a certain amount of life wisdom I give these boys. I can expand their minds. Sometimes when I’ve got a ballplayer alone, I’ll just read Emily Dickinson or Walt Whitman to him, and the guys are so sweet, they always stay and listen. ‘Course a guy’ll listen to anything if he thinks it’s foreplay. I make them feel confident and they make me feel safe and pretty. ‘Course, what I give them lasts a lifetime, what they give me lasts 142 games. Sometimes it seems like a bad trade. But bad trades are part of baseball – now who can forget Frank Robinson for Milt Pappas, for God’s sake? It’s a long season and you gotta trust. I’ve tried ’em all, I really have, and the only church that truly feeds the soul is the Church of Baseball.”

A-a-a-men!

A.J. Burnett and Brad Penny are former teammates. Today, they start against each other in the Bronx. Which dude has the best stuff? Watch and learn and remember, Todd Drew never gave up on ol’ A.J., so neither should we.

Let’s Go Yank-ees!

Big sports day, Yanks later this afternoon, Final Four this evening. The sun has returned to the Bronx. Enjoy it and we’ll be back later for the game.

Oh, and in case you haven’t been following, The Yankee Analysts have been absolutely killin’ it lately. Check ’em out!

Here’s some Saturday Soul for your face:

This week, Gary Smith profiled the Phillies starting rotation in SI’s Baseball Preview issue.

And in the latest edition of the New York Times Magazine, Pat Jordan takes on Philadelphia’s four aces:

Mike Schmidt was standing behind a batting cage, still as trim as during his playing days. A handsome, middle-aged man with swept-back, silvery hair and a thick mustache. I asked him what he thought of the four Phillies pitchers.

“Well,” he said, “now when the Phillies come to town, the other team knows they’re being challenged by four No. 1 pitchers. They have to amp up their mental game. I used to see my at-bats the night before a game when I laid my head down on the pillow. Gibson, Seaver, Ryan. I had to have a plan. When I went to Houston, they had three good pitchers. The fourth was Nolan Ryan. I could go to sleep with the other three, but Ryan kept me awake. Ryan! Ryan! Ryan! My plan was, don’t miss his fastball if he threw it over the plate. If he got two strikes on me, I’d have to face his curveball.” He turned and looked at me with his small blue eyes, which had fear in them. “Ryan was scary!” he said. He shook his head, as if seeing Ryan on the mound. Ryan began his motion and fired the ball at his head. Schmidt had a split second to make a decision. Was it a 100 m.p.h. fastball that could kill him if it hit him in the head, or was it that wicked curveball? If he dove away from the plate and the pitch was a curveball that broke over the plate, he’d look like a fool and a coward. But if it wasn’t a curveball, if it was that 100 m.p.h. fastball, and he didn’t dive away from the plate . . . well, he didn’t even want to think about that.

“Ryan, Gibson, Seaver, they made you defensive,” he said. “Does that make sense? You were afraid of the ball. There’s no fear of the ball today with cutters, splitters and changeups.”

“What about the Phillies’ four pitchers?” I said.

“They’re not scary,” he said. “Even if they all win 20 games, the Phillies don’t have a pitcher who strikes fear in a hitter.”

Two very different takes on “the best rotation in baseball” from two very different writers.

And while we are talking pitching, here’s Steve Rushin’s piece on the Braves’ five aces from the 1993 SI Baseball Preview.

 Doity Wahtuh Delights.

[Picture by Bags]

The great Clyde Stubblefield wants to get paid.

I’ll always love the underdog. The stars will receive their share of press, that’s a certainty, but I’m more interested in the backstories of baseball’s unwashed: the journeymen, the utility men, the eccentric characters in the back of the bullpen. Those are the guys I root for, the guys whose stories are of most interest to me.

Luis Ayala is this year’s Yankee underdog. If you could have predicted that Luis Ayala, 33-year-old right-hander, would make the 25-man Opening Day roster, then you should be using your predictive skills by purchasing as many lottery tickets as possible. I would have given Mark Prior, Sergio Mitre, Greg Golson, or Justin Maxwell far better chances of sticking with the Yankees for the start of the regular season. But they’re all back in the minor leagues, or with other teams, and Ayala is not. Somehow, he’s a Yankee.

Luis Ayala is not to be confused with Bobby Ayala, the stocky right-handed reliever who once pitched for the Mariners and faced the Yankees in that haunting 1995 American League Division Series. That Ayala once had one of the worst seasons in the history of modern day relief pitching; in 1998, he went 1-10 with a 7.29 ERA and allowed a cascade of 100 hits in 75 innings. He is long since retired, having last pitched in 1999 for the Cubs.

Luis Ayala is also not to be mistaken for Benny Ayala, an outfielder from an earlier generation who made his big league debut for the Mets in 1974. Benny earned a World Series ring as a backup flychaser with the 1983 champion Orioles. For the most part, Benny was a part-time outfielder who never achieved more than platoon status with the Mets, Cardinals, Orioles, and Indians, but was surprisingly popular because of his lyrical name. Mets fans, in particular, loved to yell out, “Benny Ayala!” as they mimicked Met broadcasters Bob Murphy and Lindsey Nelson. It became a rallying cry, of sorts, in some Westchester neighborhoods during the swinging seventies.

No, this is Luis Ayala, a native of Mexico, who has had a surprisingly decent six-year career as a middle reliever, forging a lifetime ERA of 3.67. After toiling in the Mexican League, Ayala was purchased by the old Montreal Expos after the start of the new millennium. He made it to the major leagues in 2003, a part of Frank Robinson’s pitching staff. Over his first four seasons with the Expos/Nationals, Ayala was highly effective, posting three seasons with ERAs below 3.00. He ranked among the best set-up relievers in the National League.

Like many relievers, Ayala’s fortunes fluctuated. He pitched so dreadfully for the Nationals during the first half of 2008 that they dumped him on the Mets for the infamous player to be named later. Ayala continued to pitch poorly for New York, which gladly allowed him to become a free agent at season’s end.

In 2009, Ayala pitched for Mexico in the World Baseball Classic, but was hit hard by the international opposition. Having signed with the Twins, Ayala threw mediocre ball for half a season; he requested a trade but instead drew his release. The Marlins picked him up, but watched him pitch horribly, posting an era of 11.74 in ten appearances. At the end of the season, the Marlins let him become a free agent once again, convinced that he had nothing left to offer at the age of 31.

Few could have blamed Ayala for calling it quits, but he stubbornly persisted in his belief that he could still pitch effectively at baseball‘s highest level. First he had to overcome a harrowing experience. In January of 2010, several gunmen emerged from three vehicles and invaded his home located near Los Mochis, Mexico. They shot down the door and handcuffed Ayala, who appeared to have been targeted as their kidnapping victim. Fortunately, police intervened and prevented Ayala from being abducted. Both Ayala and his family were unharmed.

Undeterred by the bizarre incident, Ayala went to spring training with the Dodgers. Over the course of 2010, he pitched for three different organizations, logged ineffective stints in each of their minor league systems, and failed to make it back to the big leagues with any of them. Without a single major league inning to his credit in 2010, it seemed obvious that Ayala should retire.

He didn’t. The Yankees signed him to a minor league contract, with an invite to spring camp in Tampa. Ayala pitched well almost every time out, permitting only one run in 11 innings spread over 11 appearances, with nine strikeouts and an ERA of 0.79. Still on the outside looking in, Ayala then watched Pedro Feliciano go down with an oblique strain and saw Mitre leave via a trade for spare outfielder Chris Dickerson. Against every imaginable odd, Luis Ayala earned the seventh spot in the bullpen and the final spot on the 25-man roster.

If you haven’t seen Ayala pitch, his delivery is a little weird, to put it kindly. He short-arms the ball, throwing from a semi-sidearm motion. Funky and awkward, It’s a bit painful to watch, and he doesn’t seem to be throwing the ball very hard, but hitters in the Grapefruit League hardly touched him during spring training.

I don’t know how long Ayala will remain in the Bronx, but I do know this: I’ll be rooting for him every time he steps onto the mound.

Bruce Markusen observes the Yankees from a perch in Cooperstown, NY.

I am fortunate to have a friend like Bags, a guy who likes to wander around with one of his many cameras and shoot the city. Today is dedicated to Bags. Keep ’em coming, Hoss, you make the Banter a richer place.

Let’s start with what a co-worker calls “brehfess.” Doughnut, anyone?