Dude, I couldn’t stay awake last night, missed the end of the game. When I woke up and saw the box score, I was like this:

Now, since I didn’t actually stay up late for the second night in a row to see Mariano lose that Texas Horror Show, I’m trying to remain hopeful. Yeah, even though Cliff Lee pitches today for the Rangers. This is Lee’s first game back from the DL and he hasn’t been his usual dominant self since joining Texas. I could see him shutting the Yanks out for seven innings but I could also see the Yanks touching him up some too. Maybe Derek Jeter has a great game.

It’s all up to that Mystery Man Moseley:

C’mon, son, make like Aaron Small and shut-shut ’em down.

Never mind the hankies, Let’s Go Yan-Kees!

The Yanks have been branded so far this weekend in Texas, a weekend to forget:

Here’s the TV theme song of the night. Remember this short-lived Dabney Coleman vehicle? Played a sports writer? Wish they had it on DVD, man.

I covered the last game at the old Yankee Stadium for SI. Spent almost the entire time trailing Ray Negron, who at one point, gave a two-hour private tour of the place to a party of four headlined by Richard Gere. The filmmaker Barbara Kopple was part of the media swarm and she followed Ray and his group with her camera crew, hoping to get some footage of Gere. For his part, Gere was gracious and allowed her to film him some.

Well, Kopple’s ESPN documentary will air soon but it seems that Yankee president Randy Levine doesn’t much care for it. Which means, it might be pretty good, after all.

Pat Jordan is 69 years old and still writing. He jokingly refers to himself as the “Last Knight of the Freelance,” and it’s true, he’s the last guy of his generation to still make a living as a freelance magazine writer. He writes for the dough but he also writes because that’s what he does, that’s who he is–he wouldn’t know what to do with himself if he wasn’t working.

Jordan takes on another old pro, William Shatner in a profile that appears in this week’s New York Times Magazine:

Shatner was interviewed once by a snarky British talk-show host, who showed scenes from Shatner’s TV cop show, “T. J. Hooker,” and asked, “What do you think about your acting?” Shatner replied: “Oh, I was terrible. How could I have played it that way?” Outside Starbucks, Shatner said to me: “If someone criticizes my acting, they may be right. Sometimes you shouldn’t work so hard” to entertain. Then, softly, he said: “I never thought of myself as a great actor, like Olivier. I was a working actor. I entertained people and always tried to be terrific at whatever it was.” His problem and his salvation. He played so many different roles that “people couldn’t define me like they could De Niro. I took whatever work came my way to pay the bills, even if it wasn’t a decent role.” His motto was “Work equals work,” which destroyed any hope he had of being taken seriously as an actor but also brought him longevity, wealth and fame. “I was always grubbing,” he said. “But I was saying the words somewhere.” He leaned toward me and said, with mock import, “I love to evoke the bones and meat and thoughts of characters.” He put his hand on my knee, squeezed gently, then said with breathless intimacy: “I said this one line for Priceline 20 times. I struggled to get the nuance. My silence reverberated in the ether.” His face was close to mine, as if imparting a great secret. “If you add a car and a hotel room, you will get an even better price from Priceline.com.” I nodded. “See! You got it!” Then, matter-of-factly, he straightened up and emphasized how much satisfaction that one line gave him. “A pro takes the job knowing it’s not a great role, just a paying job. But every word has music in it. My satisfaction is trying to reach that music.”