Brian Cashman is signed through 2014.

“Not a big fan of Cash any more, but I do have to give him credit for this year. The Yanks had a strong bench, great bullpen, above average starting pitching. Ironically, in the end, it was the Yanks’ hitting that led to the Yanks elimination.”
— Comment from Banterer Dimelo

The task of presenting an even-handed critique of the man we affectionately call “Cash Money” is surprisingly difficult. On one hand, there’s a record of success — six World Series appearances, four titles — only surpassed by George Weiss (no relation) and Ed Barrow. But there’s the counterargument that it’s easy to be successful when you work for a billion dollar enterprise and can show up, put pictures on a corkboard, affix a few stacks of bills to a sharp object and pick your target.

That perception is not reality.

Consider the pressure cooker. The expectation to win the World Series every year. That standard is set at the Steinbrenner level and trickles down to the fiber of each individual working in the organization. The work conditions, to put it diplomatically, are less than ideal. Forget the Steinbrenner factor for a second. Add Randy Levine, Lonn Trost, and the Tampa Brain Trust, and you have difficult politics to negotiate. This dynamic begat the most common criticism levied against Cashman: that he hasn’t built a team from scratch; that he wasn’t the one making the personnel decisions.

There is evidence to support that theory. Cashman was the beneficiary of the work done by Stick Michael and Bob Watson. Draft picks like Bernie Williams, Derek Jeter, Andy Pettitte, Mariano Rivera, and Jorge Posada had either blossomed or were maturing. Acquisitions like Paul O’Neill and Tino Martinez were already in place. Yes, he inherited a great team. It was made an all-time team when the Yankees traded Brian Buchanan, Eric Milton, Cristian Guzman, Danny Mota and cash to the Minnesota Twins for Chuck Knoblauch. Scott Brosius was picked up off the scrap heap to solidify third base. Those two moves alone proved to be a resounding introduction for the GM lauded as a Boy Wonder long before Theo Epstein.

But looking at Jason Giambi, Randy Johnson, Raul Mondesi, David Wells Part 2, Carl Pavano, Jaret Wright. Do those moves have Cashman’s stamp?

The tension led to Cashman having a Howard Beale moment at the end of the 2005 season. He considered leaving. Eventually, the gentlemen on the rung above Cashman decided to give him more autonomy, and he signed the extension that carried him through the 2008 season.

That winter, he signed CC Sabathia, AJ Burnett, Mark Teixeira and Nick Swisher to boost a team that had missed the playoffs for the first time since the 1994 strike. The 2009 World Championship team was all Cashman. Critics say he bought the title. But many youngsters on that team — Robinson Cano, Chien-Ming Wang pre-injury, Joba Chamberlain, and Phil Hughes — were able to have an impact because Cashman refused to trade them when presented the opportunities in previous years. Either Wang, or Cano, or both, were on the block for Randy Johnson and Johan Santana. Hughes was dangled as a chip as well. That season was the fruit of Cashman’s efforts to build the farm system.

In recent years, the Yankees have had depth. Instead of Tony Womack or Clay Bellinger, there was Jerry Hairston Jr., and Eric Chavez. Instead of John Vander Wal, there was a homegrown Brett Gardner, and Andruw Jones.

Perhaps the greatest difference in Cashman in the last six years of his tenure is his demeanor. There is a confidence that Cashman openly displays. He speaks to the media more directly and is more of a mouthpiece than he used to be. In some cases, the hard demeanor has backfired. The PR gaffes regarding the management of Bernie Williams’ exit, his silence during the Joe Torre negotiations following the 2007 playoff exit, the Joba Rules and everything that has occurred on that front, the Derek Jeter negotiations taking place in the media, and the Jorge Posada drama this past season all reflect negatively on Cashman. He whiffed on Cliff Lee not long after Lee whiffed the Yankees as a Texas Ranger.

And there are still moments when stories surface that Cashman’s authority has been overridden: The most glaring examples are 2007, when Hank Steinbrenner negotiated directly with Alex Rodriguez when A-Rod opted out of his contract; and last winter when Cashman said publicly he did not want to sign Rafael Soriano, and then lo and behold, Soriano was a Yankee and the heir apparent to Rivera, begrudgingly pitching the eighth inning a season after leading the AL in saves.

The three-year extension made official on Tuesday is the second since that “I’m mad as hell and I’m not going to take it anymore” manifesto. If you believe Wally Matthews, the Yankees are meandering. They have no direction. A few recent moves would indicate otherwise: Sabathia is re-signed; Swisher’s option was picked up; Andrew Brackman has gone the way of the parrot in the Monty Python skit. Rafael Soriano’s option, according to reports, is likely to be exercised. Looks like the first priority is shoring up what you have before filling in the gaps.

Priorities are being set. Now that Cashman is settling back in, he can begin establishing the direction, which he has said is pitching. Twenty-nine other teams are doing the exact same thing.

We have seen Brian Cashman grow from Boy Wonder to steely-eyed fortysomething. The winter following Cashman’s last extension featured the biggest spending spree ever. What he spends — or doesn’t spend — could define the remainder of his career in New York.

Only Barrow, who lasted 24 seasons, had a longer tenure than Cashman. When faced with the question, “Who else could do this job?” Weighing all the factors, given what he’s endured, and how well he understands the central nervous system of the New York Yankees, it may be that Brian Cashman is the best person for the job. He is, at least, for three more years.

The Yanks cut Andrew Brackman loose today. Over at the Pinstriped Bible, Steven Goldman has more.

In the history of the movies, there are few actors and roles linked as indelibly as Boris Karloff and Frankenstein’s monster. Karloff had been acting in the movies for a decade by the time he donned Jack Pierce’s make-up in director James Whale’s “Frankenstein,” (which debuted 80 years ago this December) but it was the monster that made him a star. In return, Karloff made Universal’s (and Jack Pierce’s) version of Frankenstein’s monster an icon for the ages. Mary Shelley may have created the character in her 1818 novel, but its Pierce’s make-up and Karloff’s portrayal – the flat head, neck bolts, ill-fitting suit coat and heavy platform boots – that dominate the popular conception of him.

When Universal Pictures set out to make “Frankenstein,” it was to star Bela Lugosi, capitalizing on his “Dracula” success. However, after a few failed make-up tests, Lugosi left the project. Whale brought in 44 year old character actor Karloff, who created a movie monster for the ages. The monster doesn’t speak in the first Frankenstein film, but Karloff’s performance is a masterpiece of movie acting. Universal Pictures had thought the film would make Colin Clive (as Dr. Henry Frankenstein) a star, but instead audiences took to Karloff’s monster. Karloff’s monster, shuffles and lurches, moans and grunts, smashes and strangles and whimpers in fear. The image of the monster reaching for the light coming through the open ceiling seems to imbue the murderous brute with a spiritual yearning. The most shocking moment comes when the monster drowns a little girl as they play beside a pond.  The monster is bewildered and confused that little Maria does not float the same way the flowers they had been tossing in the water had. The movie’s script had taken a turn from Shelley’s novel, attempting to take away any humanity from the character of the monster, to make him a monster that could simply be seen as dangerous and bad and needing to be killed, but somehow Karloff got through to audiences anyway. As the townspeople revel in burning down the old mill with the monster inside, chances are even 1931 audiences were sad  to see the monster go.

The film was a hit and Universal went on to make several more Frankenstein films, with and without Karloff. The first of these, “Bride of Frankenstein,” also directed by Whale and starring Karloff and Clive, is the rare sequel that equals or surpasses the original. It’s also one of the loopiest horror movies ever made, with an introductory sequence of Shelley, Lord Byron and Percy Shelley sitting around on a stormy night to set up the sequel with her telling them that the story didn’t end the way they thought but — there was more! From there we re-enter the story of the monster, Henry Frankenstein (It’s unclear why the doctor’s name was changed from Victor, his name in the novel), and his bride Elizabeth. Now add a second “mad scientist,” Dr. Pretorius who also has learned how to create life and wants to team up with Frankenstein to create more creatures. Frankenstein wants no part of it, so Pretorius kidnaps Elizabeth to coerce him. Meanwhile, the monster, who had survived the first film’s fire thanks to an underground well is roaming around the countryside on a rampage. Luckily for him, he stumbles upon a blind hermit who feeds him and begins to teach him to speak. Yes, this is the sequence parodied so brilliantly by Peter Boyle and Gene Hackman in Mel Brooks’ great “Young Frankenstein,” but even the original scenes are hilarious (“Alone – baaaad! Friend – gooooood!”). Ultimately, the monster is detained long enough by Pretorius and Frankenstein so he can watch them create his bride – a female monster played by Elsa Lanchester (who also played Mary Shelley in the prologue). However, she doesn’t take much of a shine to Karloff’s monster (“She haaaaate me!”) and he decides to blow up the lab and all inside it, being nice enough to let his creator, Frankenstein and Elizabeth run to safety first. (Frankenstein’s monster here has clearly advanced to the mentality of an adolescent male – when the girl you like doesn’t want to get together with you, hey – flip that switch and melodramatically blow everyone up.)

Although Karloff would play a variety of roles throughout his long film, stage and television career, he would always be linked to the horror genre and to Frankenstein in particular. However, he was always appreciative of the role that made him a star. As he said, “The monster was the best friend I ever had.”

Brian Cashman is back.

Henri Matisse

How to make cereal milk.

[Photo Credit: ptitchef]

Our good pal Mark Lamster had a long piece in the New York Times last Sunday. You don’t want to miss it:

IT sounds like something out of a dime novel, or maybe a Nicolas Cage film. Behind the mute facade of a largely windowless neo-Gothic tower lies an ingenious system of steel vaults traveling on rails. Within those armored containers, which have been in continuous use since the Jazz Age, are stored some of New York City’s most precious objects and, presumably, a good number of its darkest secrets.

This building actually exists, and you will find it on an otherwise unremarkable stretch of Second Avenue, just north of the end of the Ed Koch Queensboro Bridge. It is the Day & Meyer, Murray & Young warehouse, and since it opened in 1928 it has been the storage building of choice for many of New York’s wealthiest families, most prestigious art dealers and grandest museums.

The company’s early client list reads like a condensation of the New York Social Register, with names like Astor and Auchincloss, du Pont and Guggenheim, Havemeyer and Vanderbilt prominent. The press baron William Randolph Hearst stored entire rooms bought in Europe there during the construction of his castle at San Simeon, Calif.

Congrats to Mark for the story, and another job well done.

C.C. Sabathia, still a Yankee. Wonderful news.

My cousin’s too big for trick-or-treating, but he was still bummed that Halloween was cancelled. Downed power lines, still rippling with electricity, all over his town. Kids had to stay inside, munching from the family stash.

In our neighborhood, it was business as usual, a rare time when Halloween in the city is better than the variety just across the Bridge.

We have a candy exchange in a big park. The scene is both efficient and chaotic as you can fill your pumpkin in minutes, but the total experience pales in comparison to the coordinated march from house to house that I remember from my childhood.

Luckily, we have a few local spots that give my kids an idea of how it’s supposed to be…

Yeah, let’s keep thing scary. More from Francis Bacon.

Yeah, Candy Corn. I don’t get it. It’s not the worst thing you could get for Halloween, that’d be a box of raisins I figure. But it’s nothing that makes me happy. So? What’s your ideal Halloween candy treat?

Mommy, what’s a gravedigger?

Vanishing Act

By John Schulian

In my show business alphabet, the scarlet letter will always be “s” for syndication. The instant I started wearing it, the network and cable people doing high-end dramas treated me like I was descended from intellectual pygmies who eat rabid bats and worship Soupy Sales. Only the young and promising receive special dispensation for working on a syndicated show to get a foot in Hollywood’s door. But I was 51 when I crawled away from “Xena” and “Hercules,” old enough to have known better. I would have had to be a miracle worker to avoid being branded as a junk peddler and cast into darkness. Alas, I was fresh out of miracles.

My new status hit me like a pie in the face on my next gig, an appallingly uninspired private eye show called “Lawless.” The title had absolutely nothing to do with Lucy, though I couldn’t help wishing she were around to give our leading man lessons in how to roll with the flow instead of turning to stone whenever the camera was on him. Brian Bosworth was a washed-up football star who realized how badly he wanted to act when Bo Jackson trampled him on national TV. The Boz got his chance in a series of cheap action movies that proved he wasn’t any better at it than he was at tackling. But that didn’t stop the brain trust at Fox TV from handing him “Lawless.” The thinking seemed to be that if enough helicopters landed in Lawlesss’s mother’s backyard simultaneously, we’d have a hit.

I found myself in the trenches with Frank Lupo, who had created or co-created something like 16 series, and Richard Christian Matheson, who had scored big in TV and was now devoting most of his time to writing novels and screenplays. While the network dithered about choppers and the proper sidekick for Bosworth, our biggest decision every day was where to eat lunch. The rest of the time, we cashed fat paychecks, complained about our offices in a converted Culver City warehouse, and listened to Lupo tell stories. My favorite was about Robert Blake, in his “Baretta” days, introducing himself to this son of a Brooklyn pizza maker by saying, “I’m crazy, you know.”

On Friday nights, gang kids would gather in the shadows of our dead-end street to drink and howl at the moon while we scampered for our respective Mercedes. That was as close to the real world as we came, unless you want to consider the fate of “Lawless” itself. Fox didn’t get its desired number of helicopters and we were left to bang out scripts in a white heat. Predictably, the show was cancelled after one episode. The only reason “Lawless” lasted that long was because the network didn’t have anything to replace it at the half-hour.

Lew Jenkins

From that point forward, I could see the last of the sand running through my hourglass. I tried to buy myself more time by writing screenplays, one of them based on W.C. Heinz’s unforgettable magazine story about Lew Jenkins, a go-to-hell prizefighter from Texas who became a war hero in Korea. The Jenkins script got me a flurry of meetings and, for a minute or two, made me the poster boy for the Creative Artists Agency’s in-house campaign to have its TV writers cross over to movies. Unfortunately my timing was dreadful. “Cinderella Man” was already in the works, and so was a Meg Ryan movie about a real-life female fight manager. I wanted to tell the people who were using those projects as a reason to say no to me that Jenkins’ story was better than either of them. But I kept my mouth shut, and when movie people asked if I had any other ideas, I always mentioned Gram Parsons, who married classic country music to a rock-and-roll sensibility and died of hard living way too young. I didn’t get anywhere with that one, either. Johnny Knoxville did. Need I say more?

Eventually I did what most every frustrated screenwriter does. I changed agents. Why not? I’d changed agents, and agencies, even when I wasn’t frustrated. I’d changed them because one agent was a creep who sexually harassed his female assistants. And because my instincts told me another was a bad fit for me. And because a woman who represented me left United Talent for CAA after she became a target for an abrasive, emotionally damaged colleague she had made the mistake of dating.

When I talked myself into believing she had lost sight of whatever it was I did best, I jumped again, to Paul Haas, at ICM. It was the worst move I ever made professionally. When I think of him now, I’m reminded of Murray Kempton’s analysis of Bill Clinton: “too smart by half.” Haas wasn’t book smart, though; he was Hollywood smart, slick and self-absorbed, almost feral in his quest to get to the top of the meat pile. Not unusual qualities in an agent, but I failed to see the warning sign that said “by half” until he told me to meet with the producers of a show about a fat cop who was a martial arts wizard. It was exactly the kind of claptrap I wanted to get away from, so I refused. Then the producers of another show about a fat cop said they didn’t want to meet with me because I’d done “Xena” and “Hercules.” They robbed me of the chance to say no to them first, the bastards.

Far worse, however, was that Haas soon lost interest in me. He had bigger fish to fry, more important clients who could make him more money, and a more prestigious place at the table to claim for his own. The only attention I got from him bordered on condescension. When I wrote pieces for GQ and Sports Illustrated to maintain my sanity, he congratulated me on “reinventing” myself, as if I’d never told him that I was a newspaper and magazine guy at heart. That wasn’t the only thing he didn’t pay attention to. There was also my Lew Jenkins screenplay, which he handed off to two of ICM’s young sharks. Their names were Todd and Danny, and on those rare occasions when I look at the trade papers now, I see they’ve prospered. But when they were supposed to be championing my cause, I never heard from them. After a year of being ignored, I complained to Haas and quickly got a call from Todd. Or Danny.

“That was a great script,” whichever one I was talking to said.

“Thanks,” I said.

“Remind me what it was about, would you?”

I hung up. If it hadn’t, I would have told Todd – or Danny – I had a new screenplay that I had written specifically for the purpose of sticking up his ass. Even now I have moments when I fantasize about seeing one of them in some fancy-schmancy restaurant and decking him. Not so much as a “Remember me?” Just lights out. But I’m too old for such nonsense and too weary to get exercised over the everyday cruelties that pass for standard business practices in Hollywood. Maybe I was gassed back then too and just wouldn’t admit it. How else to explain the fact that I never fired Haas no matter how useless he was?

It took an old friend from “Midnight Caller,” Stephen Zito, to open the door for me at “JAG.” The show was more fun than I expected it to be with one exception: its creator and executive producer, Don Bellisario. With a foul-smelling cigar smoldering in his mouth, a disdain for any idea that wasn’t his, and a tin ear for dialogue, Bellisario leeched all the joy out of writing. He was a bully and a lout and a war lover who’d never been to war. You’d have to go a long way to find anyone in TV more despised. I’m surprised I lasted 25 episodes. Not that things improved when Haas steered me to “Outer Limits” and I promptly shot myself in the foot by telling an executive producer with a lube-job haircut that a story he embraced was no story at all. That would have been my last stand if David Israel hadn’t brought me aboard as his right-hand man on “Tremors.” It had monsters, oddball humor, and weird characters in a forgotten desert town. Hits have been made of less. But we were saddled with the two amiably passive-aggressive guys who wrote the movies on which “Tremors” was based, and they refused to adapt to the realities of TV. They just made the same mistakes over and over until they looked up one day and the show was off the air.

I was as far as I could be from those heady times when Steven Bochco invited me to come out and try my hand at writing scripts. Where once the TV business had given me with hope, I now felt diminished. I found myself remembering the long-in-tooth writers who had come in to pitch their tired episode ideas on “Miami Vice” and “Midnight Caller,” and how I had promised myself I wouldn’t end up the way they had. If I insisted on squeezing the last drop of juice from the orange, that was exactly who I’d be – short on pride and dignity, just a beggar with a nice car. It felt as though there were less of me every time I turned around. I was in a bad sci-fi movie and I was slowly vanishing.

Click here for the full “From Ali to Xena” archives.

C.C. Sabathia is expected to opt out of his contract today and the Yankees are expected to announce that Brian Cashman will return as general manager. Robinson Cano and Nick Swisher had their options picked up by the team over the weekend.

Last winter, the Yanks lost out on the Cliff Lee sweepstakes. They hope not bag their man Sabathia this time around.

Stay tuned.

Aliens (1986)

In 1979, director Ridley Scott brought us “Alien“, a horror/sci-fi film revolving around the crew of a space freighter Nostromo battling a merciless extraterrestrial being wanting to use humans as “hosts”.  The alien being “attached” to the face of the victim, and implanted its egg down the victim’s throat.  The egg would grow and eventually a new “baby alien” would announce its presence by bursting through the victim’s chest.  Oh, and the blood of these aliens appears to be a highly corrosive acid, so please don’t let any of it get on you.

The film provided a rarity … a female lead character (Ellen Ripley, portrayed by a then-barely known Sigourney Weaver) that didn’t launch into a “Perils of Pauline” dialogue during a crisis.  The movie was an unexpected hit.  Seven years later, James Cameron, fresh off his massive hit “The Terminator,”  gave us “Aliens”.  Rarely has a sequel measured up to its predecessor, let alone surpassed it.

As the film opens Ripley, (the only human survivor from the destroyed Nostromo of the original film) is rescued and revived after drifting for years in a space shuttle while in a form of “hypersleep”.  Her employers, a corporation named Weyland-Yutani, do not believe her tale of the “alien” encounter as no physical evidence of the creature survived the destruction of the Nostromo.   She has her space flight license suspended as a result of this, and learns that LV-426, the planet where her crew first encountered the Alien eggs, is now home to a terraforming colony.

Ripley is later visited by an employee of Weyland-Yutani, Carter Burke (Paul Reiser, in a rare dramatic turn)  and Lieutenant Gorman (William Hope) of the Colonial Marines, who inform her that contact has been lost with the colony on LV-426. The company decides to dispatch Burke and a unit of marines to investigate.  Ripley is given the chance to restore her flight status and have her work contract picked up if she will accompany them as a consultant. Naturally shell-shocked by her previous encounter with the Alien, Ripley initially refuses to join, but finally accepts as she realizes she can face her post-traumatic fears. Aboard the warship Sulaco she is introduced to the Colonial Marines, including Sergeant Apone (Al Matthews, who it turns out actually was a Marine for six years), Corporal Hicks (Michael Biehn, working with Cameron again after starring in “The Terminator”), Privates Vasquez (the wonderful chameleon of an actress Jenette Goldstein) and Hudson (Bill Paxton, another Cameron holdover from “The Terminator”), and the android Bishop (Lance Henriksen, and yes, he appeared in “The Terminator” as well).

The Marines are dropped onto the surface of the planet and find the colony seemingly deserted.  The gungho troops, pumped up by Sergeant Apone but led by the soon-to-be-revealed very inexperienced and over-his-head Gorman, have never encountered anything like this.  Their entrance into the colony’s main building is at first executed with typical military precision, but when things start to turn against them, and members are picked off one-by-one by Aliens, Gorman freezes, and Ripley takes over.

A little while later, two living Alien creatures (having hatched from the eggs that had been inside their human hosts) are found in containment tanks in the medical lab, and the only colonist found is a traumatized young girl nicknamed Newt (Carrie Henn).  Henn, no more than eight or nine when the movie was shot, gives a wonderfully nuanced performance.  It is an exquisite look of utter blankness and shock upon her face as she is discovered, initially resists being “captured” by the Marines, and finally allows Ripley to hold her and calm her down.  (Interestingly, this is Henn’s only acting credit in her life . . . she grew up to be a schoolteacher).

Flashing forward a bit, Ripley discovers that Burke hopes to return Alien specimens to the company laboratories where he can profit from their use as biological weapons. She threatens to expose him, but Bishop soon informs the group of a greater threat: the planet’s energy processing station has become unstable and will soon detonate with a catastrophic impact. Now it becomes a race not to save any survivors on the planet, but to just get off the planet.

Ripley, with her maternal instinct dial now at “full”, and Newt fall asleep in the medical laboratory, awakening to find themselves locked in the room with the two facehuggers, which have been released from their tanks. Ripley alerts the marines, who rescue them and kill the creatures. Ripley accuses Burke of attempting to smuggle implanted Alien embryos past Earth’s quarantine inside her and Newt, and of planning to kill the rest of the marines in hypersleep during the return trip. The electricity is suddenly cut off and numerous Aliens attack through the ceiling. An extended and tense battle scene ensues, with Hudson, Burke, Gorman, and Vasquez eventually all killed and Newt captured by the Aliens.

Ripley and an injured Hicks reach Bishop and a rescue dropship, but mama Ripley refuses to leave Newt behind as the countdown to planet extinction nears.  She locates Newt, and torches the Alien queen’s hive of eggs, enraging the queen.  In the film’s climactic scene, we see Ripley’s transformation from simple “employee” to “soldier”. She dons an “exosuit” normally used for loading heavy cargo, and utters to the Alien queen the catchphrase of the movie, summarizing her maternal instincts and pissed-off attitude in six simple words.

“Get away from her you bitch!”

Grab your popcorn, settle on your couch, and hold onto a pillow … tight.   You are in for one scary adrenaline-fueled ride.

It snowed yesterday, big, fat flakes and up here in the Bronx we got a couple of inches and a lot of tree branches down. It is almost surreal this morning because the sun is out, the trees still have green leaves, and yet there is snow on the ground.

Go figure.

[Picture by Bags]

Another season in the books. Congrats to the Cards, the unlikely champs in what proved to be an exciting season. And what an October.

But we do this 365 around these parts and cover so much more than baseball. We’ll have Hot Stove and all sorts of goodness for you. Keep comin’ back.

[Photo Credit: Joe Martz]

This is it, the 2011 season comes down to one last game.

Let’s Go Base-ball!

[Photo Credit: via Running Amuck]

John and Suzyn Waldman will be back calling Yankee games on the radio next year.

[Photo Credit: N.Y. Daily News]