It was a treat to ride in a cab as a kid. The best was when we hailed one of those plump checker cabs, the kinds with the fold-out seats in the back. My brother, sister, and I would fight to claim those two seats.
Checker cabs were the bomb.
[Picture by Joel Zimmer]
New Yorkers cherish our space because it is hard to come by. Happy weekend.
Nicholas Dawidoff profiles Paul Simon in the latest issue of Rolling Stone. The piece is not available on-line but here are a couple of cherce bits:
“One day not long ago, Donald Fagen, of Steely Dan, who has admired Simon’s work for decades but knows him only slightly, offered up a spontaneous theory of Simon’s childhood. ‘There’s a certain kind of New York Jew,’ Fagan began, “almost a stereotype, really, to whom music and baseball are very important. I think it has to do with the parents. The parents are either immigrants or first-generation Americans who felt like outsiders, and assimilation was the key thought–they gravitated to black music and baseball looking for an alternative culture. My parents forced me to get a crew cut; they wanted me to be an astronaut. I wouldn’t be surprised if all that’s true in Paul’s case.”
Baseball and black music? I can relate.
And this:
“One day when I am visiting Simon at the Brill Building, we go off to throw a baseball. Simon picks a guitar with his right hand, but on a baseball field, he goes the other way. ‘That’s something I remember about my father,’ he tells me. “I was five or six and we were having a catch. He got me a glove. A righty glove. I’d take it off to throw it back. He’d say, ‘No, no. We do it this way.’ Eventually he came into the house and told my mother, ‘Belle, we got a lefty!’ There’s incredible pleasure in throwing a ball. Having a catch with your dad is having a conversation. As you throw the ball back and forth it’s heavenly.”
I don’t have any fond memories of having a catch with my father–those were uncomfortable moments, filled with impatience, anger, and tears–but I loved having a catch with my younger brother (still do though I can’t remember the last time we had one). There is an intimate connection when you are having a good catch that is unspoken but powerful. The rhythm is easy, contemplative and soothing.
[Photo Credit: Bruce Davidson]
Check out this great new site, Sportsfeat.com where vintage sports writing is celebrated. Dig this piece from Sport Magazine on Earl Monroe by the Wood Man:
I didn’t follow basketball until 1967. Baseball, boxing, and the theater provided most of my entertainment. The theater has since become boring and there are no plays approaching the pleasure given by a good sporting event. Even a game against a last-place team holds the possibility of thrills, whereas in the theater all seems relatively predictable. Baseball remains a joy for me, but basketball has emerged as the most beautiful of sports. In basketball, more than in virtually any other sport, personal style shines brightest. It allows for eccentric, individual play.
Give the basketball to such diverse talents as Julius Erving, Kareem Abdul-Jabbar, Walt Frazier, Rick Barry, George McGinnis, Dave Bing, or Bob McAdoo, to name a tiny fraction, and you get dramatically distinctive styles of dribbling, passing, shooting, and defensive play. There is great room in basketball for demonstrable physical artistry that often can be compared to serious dance.
So there I was in 1967 leafing through the sports section of a newspaper one day (I still read that section first) when I came across the name Earl Monroe. I had never heard of Monroe, knew nothing of his daily rookie brilliance nor ever heard of his astounding feats at Winston-Salem. I just liked the name, free-floating, three syllables, and euphonious to me. Earl Monroe. The name worked. (Years later, when I did a film called Sleeper, I named myself Miles Monroe. On me it was kind of a funny name.) I came across Monroe’s name again every few days as I glanced over the basketball box scores in a casual, disinterested way and noticed that he invariably led the scoring column.
The other night I was in a cab with a chatty Russian driver from Brooklyn, a fat guy with a baby face.
He didn’t shut up the entire time which was okay with me. When he got to my apartment building he turned to me and said, “My father had four rules to life. One, whatever you do, try your best everyday. Some days won’t work out–hell, some days I can hardly leave my house–but try your best. Number two, don’t pay attention to what other people say because who cares? So, there you have it.”
“What about the other two?” I said.
“Ah, I forget. I have it written down somewhere.” He shrugged. “What counts is this: Do your best everyday, disregard what they say.””
[Photo Credit: Wired.com]
There is a new book out from W.W. Norton, “The Times Square Story,” by Geoffrey O’Brien that looks like a keeper.
Over at Bombsite, O’Brien is interviewed by Banter favorite, Luc Sante, where the talk is about the old Times Square:
LS Times Square has been the madcap entertainment capital of the world since at least 1906. But there is a special potency to the postwar era. It seems like the one that will be engraved in collective memory; there’s an enormous subculture based on Times Square in the 1950s and ‘60s—books, videos, CDs, Psychotronic…
GO It’s the old seediness, the old sordidness, which has a completely different meaning now. Part of what changed in Times Square was the advent of hard-core pornographic movies at the end of the 1960s, which put the previous movies in a very different light. It’s as if everything up to that point had been a long, complicated tease and then finally the tease was over. The character of Times Square changed drastically in the ‘70s; by the early ‘80s it was a pretty scary place. It certainly was a different place to walk around in than it had been in the ‘60s. Having grown up in suburban Long Island, I had never seen anything like that. There was really a sense of, Oh, this is the culture I live in. This is what our culture is really thinking about underneath everything else: gigantic forms, enormous shapes, all the hot buttons being pushed, the beautiful unsubtlety of everything. At the same time, there were all kinds of strange subtleties to be discovered. I’m thinking about the movies I watched in the ‘60s, Italian horror movies, science fiction movies, all those spy movies that you and I both seem to have been marked by.
…LS Now, in a way, Times Square is everywhere.
GO Times Square was a kind of zoo of images which are available everywhere now. There is almost no more need for Times Square in the same way there was no need for porno theaters after video came out. You rent movies now about mad doctors dismembering people or people being held in South American prison camps or whatever your particular fancy is. So Times Square is everywhere in this sort of disembodied form, but without the smoke, without the hot dogs, without the peripheral population of people which made it human and which made it seem like part of the world. Now it seems like some weird hyperspace culture of self-replicating images.
LS That is the shape of the future. All of culture is disembodied. You and your 75 friends on the Internet who are interested in H0-scale railroads have never actually met. In city after city, whatever was the equivalent of Times Square is gone, though you can see its vague outline. I was in Seattle last month and realized my hotel was on what used to be that strip. You could tell because across the street there was still one pawn shop and one gun shop. All the movie theaters were gone.
GO I had a similar experience in San Jose, which has otherwise been dismantled and rebuilt as a theme park called Downtown San Jose. I went wandering and found a strip with some funky little stores that were selling bizarre memorabilia and old knickknacks. That general air of rotting paper is always a clue you’re getting near. The only beautiful building I saw in San Jose was a battered old movie theater, which I was told was the subject of a massive political struggle between the people who wanted to preserve it and the developers who wanted to tear it down. It had become the battleground for the preservation of some kind of ancient, sleazy, downtown culture.
The book is about the 1960s but I remember the Times Square of the early ’80s.
My old man lived in Weehawken for a year in 1981-82 and we often walked across 42nd street from the Port Authority on 8th Avenue to Grand Central on the East Side, where he’d put us back on a train to Westchester. I always felt safe with my dad but I remember feeling danger and unease every step of the way. I’ll never forget the signs for Kung Fu movies and the Porno theaters–what was the difference between X and XXX, anyway?–the hookers with bruises on their legs and the men looking at you with screwed up faces.
“The Times Square Story” is out now. Check for it.
Robert Altman once said that you could write a movie by listening to snippets of conversation as you walked down the street.
Overheard on my lunch today…
Short woman talking into her cell phone: “Don’t hang up on me, bitch, I’m trying to f***ing talk to you.”
Two young women:
“W’e’re late, it’s already 1:15.”
“I’ve got 1:07.”
“Oh, that’s cause I set my watch ahead so that I freak myself out so that I’m not late in the morning.”
“That’s smart.”
Business guy talking to another business guy: “And I didn’t get in until 2 but I don’t even feel hung over.”
Dude on his cell phone: “C’mon baby, you know I love you. I love you like cooked food. What? No, for real, I love you like Red Lobsters.”
[Picture by William Gedney]
A boy climbed into the seat next to me on the subway this morning and pressed his face against the window. We were underground and he looked into the darkness, yellow and red lights whooshing by. The train went above ground for a stop and then back into the tunnel. The boy didn’t seem to notice the change from dark to light and back again.
I remember staring out of the train window as a kid, fascinated by what was out there in the darkness, beyond the graffiti and the sparks of light and the dirt. It was all so mysterious and exciting, a playground for a young boy’s imagination.
[Photo Credit: Kirstiecat]
I had dinner at my aunt and uncle’s on the Upper West Side a few weeks ago and we got to talking about Morris, the deli counter man at the old Daitch Shopwell that used to be on Broadway. They loved Morris and the little old ladies who would visit him. This is what they overheard, back when.
Old Lady: Is the potato salad fresh?
Morris: Yes, we made it today.
Old Lady: It looks like yesterday.
Morris: Lady, you’re from yesterday.
Old Lady: How’s the roast beef?
Morris: It’s gorgeous.
Old Lady: Give me a half of a quarter pound of baloney.
Morris: You’re having a party?
One of the enduring images I have of my grandfather on my father’s side is of him leaning against the window of Zabar’s. It was a Saturday afternoon in the early 1980s, a time of day when nobody in their right mind would venture inside. Grandpa was a pragmatic man. He waited outside while my grandmother bought Nova and was throwing bolos inside.
I’ve always tried to be practical like him but sometimes I’ll throw caution to the wind. Like last night, when I thought it’d be fine to stop by Fairway on the way back uptown to the Bronx. Late afternoon, Sunday. Brilliant. In no time, I was sweating like a madman, navigating around the crowded store. I couldn’t have just gone to the market a few blocks north, owned by Fairway no less. No, I had to be clever.
As I came to the end of my shopping list, I was standing in the organic department. I realized that I had to go back downstairs for English muffins. I wanted to throw a punch or at least a punchline. Some gallows humor was called for. I looked up and there was Tina Fey and her family, a daughter with big, beautiful eyes, and her husband, a short, nice-looking guy. Who else would appreciate a good Fairway joke but Tina Fey? But I was dripping with sweat and had bad breath. And I didn’t have anything funny to say. If I tried to say anything to her I’d come across even dorkier than Liz Lemon. I didn’t want to blow up her spot but even more than that, I just wanted to get my English muffins and vamoose.
Anyhow, it was a New York moment.
I’m on the 1 train this morning when I see an old lady, bundled up for the cold, address a man who is leaning against the subway door, reading the New York Times.
“You’d better grab something to hold onto,” she said. “Otherwise, the doors might open, you’ll fall out and die and then we’ll all be late.”
The man folded his paper and looked down at the woman.
“Wow. That’s some scenario,” he said and returned to the paper.
“Yes,” she said, “Yes, it is.”
I smiled. She looked around and caught my eye and smiled. I was about to say something when I remembered an old family saying: “It’s not you, mind your own, sit down, shut-up.”
I stayed shut-up and let it pass.
I love this day in New York. It is so still, so calm (you can even find a parking space!). But not for long, just a few precious hours more. Tomorrow, everyone will be back to work, kids will cram the subways again. But for now, neighborhoods are sleepy. From my apartment I can hear the subway in the distance, softly chugging along. There, the sound of a stray bird. And that’s it. Silence. Happiness.
The new production of Arthur Miller’s “A View from the Bridge” was enthusiastically reviewed by Ben Brantley in the New York Times earlier this week:
Even more than with “Death of a Salesman,” Miller used “Bridge” to sell his theory that true tragic heroes may well emerge from the common run of contemporary lives. So eager was he to make the point that he even included a one-man Greek chorus, an Italian-born lawyer named Alfieri (here played by Michael Cristofer), who speaks loftily about the grandeur of the story’s “bloody course” of incestuous longings and fatal consequences.
Perhaps Miller felt that plays, like classical heroes, required tragic flaws, and thus provided one for “Bridge” in the form of the long-winded Alfieri. This drama needs no annotator or apologist if it’s acted with the naturalistic refinement — and accumulation of revelatory detail — found in this interpretation.
I had wondered if “Bridge” really needed another revival. New York saw a first-rate production only a dozen years ago, directed by Michael Mayer, with Anthony LaPaglia, Allison Janney and the young Brittany Murphy (who died at 32 last year). But this latest incarnation makes the case that certain plays, like certain operas, are rich enough to be revisited as often and as long as there are performers with strong, original voices and fresh insights.
In today’s Wall Street Journal, Nathan Ward, whose book, “Dark Harbor: The War for the New York Waterfront,” will be published later this year, has an interesting column about the play’s orgins:
About a year after Miller’s death in February 2005, and a few months before Longhi passed away, I happened to interview the lawyer about the old waterfront. Unlike his “portly” stage likeness Alfieri, Longhi was, at 90, a tall, trim and elegant man. Sitting in his Manhattan law office on lower Broadway, he recalled how his friend Miller, who lived in picturesque Brooklyn Heights in the late ’40s, “often thought about that mysterious world of the Brooklyn Italian waterfront. . . . But he being an intellectual, who’s gonna talk to him? Nobody.” In his autobiography, “Timebends,” Miller remembered wondering, on his daily walks, about “the sinister waterfront world of gangster-ridden unions, assassinations, beatings, bodies thrown into the lovely bay at night.” But, he was forced to admit, “I could never penetrate the permanent reign of quiet terror on the waterfront hardly three blocks from my peaceful apartment.”
…Miller first heard the story that became “A View From the Bridge” while on a trip with Longhi to Sicily in 1948. “Longhi mentioned a story . . . of a longshoreman who had ratted to the Immigration Bureau on two brothers,” Miller wrote, “his own relatives, illegal immigrants who were living in his very home, in order to break an engagement between one of them and his niece.” Longhi told me, “it happened to my client . . . who turned to me and said, ‘I’m going to kill so-and-so,’ and then it turned out that I figured he must be in love with the kid. And I told this story to Miller and he said, ‘What an opera!'”
No one would mistake Red Hook or Columbia Street today for the place whose tough waterfront culture so shocked Miller in the late ’40s. But the last time I was down there, I saw a throwback to Eddie’s world, an aspect of New York dock life that never completely dies: Up on the Waterfront Commission building there was a new banner advertising a special crime-tips number that read: “HAD ENOUGH? Theft, corruption, and organized crime cost the port millions of dollars and thousands of jobs.” One side of the street may sell New Zealand meat pies and feature a French backyard bistro, but the ragged side of his old neighborhood Eddie Carbone would know at a glance.
There was one kid who stood out among all the others. The one a coach is always hoping he’ll see: the kid who went after ground balls with a kind of liquid grace, whose hands were sure, who listened. Ernies Alemais was the coach doing the talking. First he talked to the kid and found out he had played four years of Little League but now, at 11, had no team to call his own and said he didn’t have the time to look for one. And then, when the fielding, throwing and hitting drills were done and a six-on-six Whiffle Ball game was, too, Ernies talked to the kid’s grandmother about a better tomorrow.
On the patch of Bronx real estate where he runs the Uptown Sports Complex between a funeral home and an OTB parlor, Ernies told her of the talent he had seen in her boy and how that talent could keep him in school and maybe someday take him to college. The kid’s grandmother smiled as if she had just been thrown a life preserver. Then she dipped into her purse and offered Ernies a tip.
He smiled and put his hand on hers. “I don’t want a tip,” he said. “I want your boy to come back.”
The words were the kind Ernies Alemais lives to speak, and the kind he never heard when he was a kid himself. To look at him now at 35—well-scrubbed, meticulously casual in sandals, jeans and T-shirt, a Dominican Matthew McConaughey—it is hard to believe he never heard someone preach the gospel he lives by. But he was that rare Dominican kid who grew up without baseball.
There were no places like the Uptown Sports Complex when Ernies was growing up. His father wasn’t around either, though he gave him the first name with the odd spelling after seeing it on a bodega. But there was no time to teach Ernies baseball.
“I asked my dad a few years ago why he didn’t teach the game to me,” said Ernies recently, standing next to one of the hitting cages in the Complex. “He had no words for me. No words. He was sorry.”
That was enough for Ernies, an achiever who was the captain of the football team and class president at John F Kennedy in the Bronx during his senior year when it won the city championship. He was too small to play D-1 football, so six months after he graduated, Ernies got a job in building maintenance where he would remain for the next sixteen years. His aversion to school was in no small part because of his lifelong struggles with dyslexia.
“I got left back in third grade and they wanted to put me in Special Ed but my mother wouldn’t have it,” he said. “In junior high, I had Resource, which was between regular school and Special Ed.”
Ernies has always been bothered by his dyslexia, something he likes to keep private. But when he realized his dyslexia was going to come out in this post, he told me, “Well, if it’ll help one person who has dyslexia realize they can achieve things despite this handicap then go ahead and put it in. I’m not ashamed of it. I’ve compensated for my lack of book smarts with charisma,” he says.
“He isn’t cocky,” says longtime friend Jesse Garcia (also known around these parts as “Dimelo”), who was a year behind Ernies at JFK. “If he doesn’t know something he’ll ask. He doesn’t have a problem saying ‘I don’t know.’ I was reading about Derek Jeter the other day and the article said he feels that he’ll never fail. That’s like Ernie. He might fail but he always acts like there will be a successful outcome.”
Ernies is a featured player in a long essay I’ve got on summer sports in New York City over at SI.com:
It’s not that sports matter more to New Yorkers than they do to Philadelphians or Angelinos. What distinguishes sports here is New York’s quintessential diversity. In any given area of town, you will find any number of games being played by any number of nationalities, side-by-side.
Take Van Cortlandt. On this Sunday afternoon, I saw over a dozen soccer games, three cricket matches and six softball games being played at once in the open field on the west side of the park. A group of proud, hard-looking black and Spanish women trudged across the great field after a softball game just as a collection of dapper-looking West Indian and Pakistani teenagers convened for a cricket match.
Next to the field is the oldest public golf course in the country; and next to that are the riding stables. Below both are public pools, a cross-country track, tennis and basketball courts and more baseball fields. A couple of blocks away, tucked off 240th Street, is Gaelic Park, a treasure shared by Manhattan College and the Gaelic Athletic Association.
In the summer, off-the-boat Irish boys, strong, pink necked and pale legged, play terrific games of such primordial Viking sports as Gaelic football and hurling (think of field hockey, lacrosse, and baseball mashed together). Young women play football too, and then pound beers over by the picnic table. The field comes equipped with a bar. When I visited, a few hundred people sat in the bleachers. Across the field in the small press box, an old-timer fixed himself a cup of Barry’s tea and spread butter on a thick slice of Irish Soda Bread. “They ran out of scones today,” he said. A thin man in front of him packed up his laptop, having just finished an article on the women’s football match, and changed into shorts and spikes as he prepared to referee the hurling match.
“We multi-task,” he said.
I also saw a bunch of street basketball, at 145 and Lenox, at the Rucker and at Dyckman. And I got to meet Ruth Payne, a fascinating woman and double dutch coach who helped double dutch become an official varsity sport in the New York City school system. The fifteenth of eighteen kids, Payne never married and doesn’t have any children of her own. But early in her life she became the designated family babysitter and subsequently has been a mentor to dozens of children from her neighborhood of Bed Stuy, Brooklyn. Like Alemais, she is one of the good ones.
Emma Span helped out with reporting on this project and the accompanying videos were produced, shot, and edited by Collin Orcott, a talented J-school student who interned at SI this past summer. We put a ton of work into the assignment and I’m pleased with how it turned out.
Hope you enjoy.
A few months ago I invited myself to Ray Robinson’s apartment, ostensibly to get his list of ten essential baseball books, but really so I could lay eyes on his library of sports books. Robinson, an author (Iron Horse) and longtime magazine editor, grew up on the Upper West Side, near Columbia. When he was a kid, Robinson got a delivery job at a local liquor store, and he found himself making stops over at Babe Ruth’s apartment at 110 Riverside Drive. He’d say, ‘Thanks keed,'” Ray told me. “He called everybody ‘keeed,’ because he couldn’t remember anyone’s name. And he would invariably honor me with a couple of dollar bills.”
Ray and his wife, Phyliss were wonderful with me. We chatted in the living room of their comfortable New York apartment for about an hour and Ray shared his selections of favorite baseball books with me. I poked my nose through his collection and as I was about to leave, Ray said, “Oh, would you like to see my scrapbooks?”
“Sure, I would.”
Ray picked-up a bright orange plastic bag from the bottom of the bookshelf, the kind you’d get from the local Chinese take out. He pulled out two weathered books, practically falling apart, one dated 1932, the other, 1933. They were filled with pictures of players from every team in baseball. Ray cut-out images mostly from The New York Sun, The Saturday Evening Post, assorted baseball magazines as well as baseball cards. Then, along with some friends, he’d scout the hotel lobbies where the out-of-town teams stayed, to get autographs.
The books are lovingly, obsessively assembled, filled with small notations. Ray expressed some embarrassment when I complemented him on how wonderful, how personal the books are. He dismissed his sketch of the Babe as being awful, but I liked it and his wife did too.
Ray asked if he should sell the books–after all, he’s got a couple of Lefty Groves in there, a Honus Wagner, Dizzy Dean. Phyliss said that she didn’t think that was a good idea. I quickly agreed.
“You can’t sell these,” I said. “They belong in a museum or for your grandkids.”
As I looked carefully through the two books, Ray kept wondering if he should sell them. I said, “No way,” but when I left I felt foolish. Who am I to say that he shouldn’t sell them? There is probably some serious money in those two books. Still, they feel too personal to part with. They are not kept under a glass case, they are in a plastic bag on the shelf, a secret baseball treasure on the Upper East Side.
Yesterday, the New York Times featured a short essay by Ray Robinson about his scrapbooks.
Check it out and dig what I was able to see:
It goes without saying that respect is something that you have to earn in life, but it is especially true in a barber shop. It comes slowly, with time. It can’t be forced, can’t be bought. I have been getting my haircut in Ray’s shop on Smith street in Brooklyn for close to ten years now. That’s where my barber, Efrain, found a chair to cut heads after he lost his store, futher down Smith closer to Atlantic Avenue, when the neighbhorhood started to gentrify in the late ’90s. I’m not really close with Ray or his son Macho, a rolly guy in his early thirties, who cuts heads next to his father. They don’t like baseball. They like boxing.
It was a warm spring afternoon at the barber shop when I walked in a few days ago. Both Ray and Macho greetly me with affection. I went to the back, where Efrain was standing over a man, a straight razor in his right hand and his left palm cupped full of shaving cream.
I put down my napsack and went back to the front of the shop to sit and wait my turn. Three other guys, all regulars, all friends with Macho, were there. I started talking to Ray about a book I had just read, Mark Kram’s Ghosts of Manilla. Soon, he was holding court, telling stories about Ali. A thick, muscular kid who was sitting across from me, told me that he had tons of old boxing matches on videotape, including the Thrilla in Manilla. When I described Kramm’s impressions of the fight, he goes, “Yo, dude, I’m getting goosebumps just thinking about it.” The light poured through the front window of the shop, onto his forearms where I could see the goosebumps.
I visited my friend Johnny Red Sox yesterday afternoon. John lives between York and East End on the upper east side, which is, in the words on my late father, “the ass-end of the world.” (When my brother lived in Brooklyn, Pop told him it was “the ass-end of the planet.” Ben said, “Don’t you mean the ass-end of New York?” And Dad replied testily, “You know what I mean.” As if there was a difference.) John I and trooped back west to Central Park. It was brisk and windy but very nice in the sun. Most of the grassy areas were roped-off, but eventually we found a spot to have our first catch of the year.
A father and son were there throwing a ball around. Shortly thereafter, two French kids–maybe ten and seven, respectively–showed up with mitts and an old ball. The older one was serious-minded. The younger kid was bored. Neither instinctively knew how to catch the ball, but the older one was trying very hard. I gave him a head-nod at one point, and you could tell he was thrilled by the gesture.
They moved around nervously as the ball came their way and dropped more than they caught. The younger kid kept catching the ball accidently with his bare hand. Nothing about the catch seemed fun for him. But the older kid was insistent. I caught glimpses of what they were doing as John and I threw the ball back-and-forth. I thought about helping them out but didn’t and got caught up in conversation with John.
When we took a break, I noticed that the two kids had put their gloves down and were now kicking a soccer ball around. Ah, the International version of having a catch. The little one was zipping around the dirt, enthused. The older one was still serious, but working on some fancy kicking moves. When he booted a ball past the little kid he issued an immediate, “Pardon” (my bad).
There was one infield that was open to the public and we saw two high school kids hitting grounders to each other. One stood at home plate with a mitt on one hand and a bat in the other. He dropped the ball from his glove, and smacked a grounder.
When he got back to John’s crib, the last inning of the Yankee game was on and we watched the highly-touted Jose Tabata hit. Did you guys catch that? It was an impressive at-bat. He looked at fastball outside for a ball, swung through a breaking pitch and then was jammed by a fastball that was in on his fists. He took the next pitch outside for a ball, and then looked at another fastball in on his hands, this time for a ball. (I don’t recall but he may have also fouled off a pitch or two.) The next pitch was a fastball on the outside part of the plate. Tabata lined it over the right field fence for a home run.
SI.com’s Bryan Smith was at the game and e-mailed me later. “Jose Tabata is going to be a star. Love the body on that kid.”
Last night, Cliff and I met up after work for a bite to eat. On my way over to his office–“the ugly building with the rounded corners,” as Cliff calls it, or the building with the garish Frank Stella sculptures in the lobby, as I remember it–I see some girls getting ready for a softball game. On the east side of Hudson street between LeRoy and Clarkson streets is James J Walker Park, which has a fenced-in turf softball field. Beyond right-center field–and moving due east–are a series of handball courts, and behind that is the Carmine Street pool (which was where Martin Scorsese shot the pool sequence in “Raging Bull,” when DeNiro meets Cathy Moriarty). The Hudson River is not far off, and a gentle breeze helps cut through the summer haze.
