Photograph via Awake My Soul.
Monday
May 4, 2026
Since 2002
Let’s Go to the Videotape
Or, you know, You Tube:
[Photo Credit: Koji Watanabe/Getty Images]
Run to Daylight!
A couple of days ago I posted an excerpt of W.C. Heinz’s Vince Lombardi book, Run to Daylight!, over at The Daily Beast.
It also includes a preface by David Maraniss that can also be found in a new 50th anniversary edition of the book.
Check it outski.
Taster’s Cherce
How to store your herbs (Food 52).
Morning Art
Happy New Year 1956 by Jack Davis.
Where & When: Game 33
Welcome back to another go-round with Where & When. Last time we went out of town to discover the truth, today we come back home (so to speak) to find some more truth. So let’s get our keyboards ready and surf:
I like this picture; I can tell you that not much in this view has changed (really). I’ll tell you what those changes are though if you tell me where this is (the station and the name of the main street the photo depicts), plus an approximate year. This is another easy one; not to tax you as we continue to discuss the recent additions to the club, the outlook going forward and how freezing cold it is outside for most of us. How about a large mug of hot chocolate with whipped cream for the first person with both location and approximate date, and a hot cup of Oolong tea for the rest of us who follow up. I am feeling a little better as I recover from a bad cold, so I’ll try to check in once in a while. As I always say, I’m open to suggestions for future challenges and don’t peek at the photo credit for the answer (that’s more for the new readers who might be following us today). Feel free to discuss and leave your answers in the thread. And now I take my leave of you good folks, have a good day!
[Photo credit: Subchat.com]
Afternoon Art
“Gamora” by Andy Macdonald.
Soul Brother Number One
Egotrip: thank you…again.
[Photo Credit: Al Satterwhite]
You Don’t See Us, But We See You
A few years ago, he was picked up by the police in Long Branch, New Jersey, for the crime of walking in the rain, dressed in sweatpants and a hooded sweatshirt, and peering into the window of a home for sale in a dodgy neighborhood. The news was greeted with a lot of predictable headlines—NO DIRECTION HOME, A COMPLETE UNKNOWN, etc. But here’s the obvious question, asked by a friend of his: “Do you really think that’s the first time that he’s done that? He does a lot of walking no one would expect. He’ll walk through neighborhoods undetected and talk to people on their front porches. It’s the only freedom Bob Dylan has—the freedom to move around mysteriously.”
People say that a lot about Dylan: His privacy is all he has. It’s an odd thing to say. It assumes he’s powerless and needs to be protected. But Bob Dylan has never been powerless. Even when his songs stood up for the powerless, he was always pioneering new ways to use the power of his fame, of which the two-way mirror of his privacy is the ultimate expression. Yes, it’s cool when Ron Delsener says, “I’ve seen Dylan walk down Seventh Avenue in a cowboy hat and nobody recognize him. I’ve seen him eat at a diner and nobody come over to him”—it makes you think that Dylan is out among us, invisible now, with no secrets to conceal, and that at any time we might turn around and see him. But we never do; nobody ever does, even where he lives. What a woman who works the tunnel between the buses and the backstage area at an arena outside of Atlanta remembers about Dylan is not that she saw him; what she remembers is “I was not allowed to look at him.”
He was, of course, on his way to the stage when he passed her averted eyes—on his way to be looked at and listened to. It sounds like a paradox typical of Bob Dylan, worthy of Bob Dylan, but it’s really pretty straightforward as an exercise of star power. The crossed relationship between Bob Dylan and his audience is the most enduring one in all of rock ‘n’ roll, and it keeps going—and will keep going to the last breath—because from the start he laid down a simple and impossible rule:
We don’t go to see Bob Dylan.
Bob Dylan goes to see us.
[Picture Via: Like a Rolling Stone]
Art of the Deal
David Waldstein details the Yankees’ pitch to Masahiro Tanaka:
When it was the Yankees’ turn, they dispatched Cashman; Manager Joe Girardi; the team president Randy Levine; the assistant general managers Billy Eppler and Jean Afterman; the pitching coach Larry Rothschild; Trey Hillman, a former manager of the Nippon Ham Fighters and now a member of the Yankees’ player-development department; and George Rose, the Yankees’ Japanese liaison and the former interpreter for Hideki Irabu, who pitched for the Yankees in the late 1990s.
During the Beverly Hills meeting, Tanaka told the Yankees that some of the other clubs he had met with said they planned to ease him into their rotations without putting too much pressure on him. That did not sit well with him.
“He didn’t want to be eased into anything,” said one of the Yankee executives in the room at the time. “He said he wanted to be the man.”
The Yankees came away impressed by his confidence. They felt he resembled Matsui, whose quiet but strong personality became an enduring part of Yankee teams in the previous decade.
New York Minute
Pictures of the subway back in 1981 by Christopher Morris (via The Wandrlustr). For more, head on over to Time‘s great Lightbox page.
Morning Art
“The Paper Poppies” by William Nicholson (1919)
"This ain't football. We do this every day."
--Earl Weaver
--Earl Weaver