Queens get the money…

Picture via Ryan Panos.

J Dilla’s vinyl weighs a ton.

Food 52 gives asparagus with pancetta.

Gather round.

[Photo Credit: James Stoker]

Over at Grantland, Bryan Curtis has a piece on the Arizona immigration law at spring training:

The Arizona law, known as SB 1070, went into effect in September. Six months later, half the players in baseball have reported to the greater Phoenix area. More than one-quarter of those players are Latino. Even though every one of them is fully documented, SB 1070 has made major leaguers into unwitting test subjects and spring training into a simulated game of “Who looks suspicious?” “The Dominican ballplayer that speaks Spanish, in the eyes of some, that’s ‘reasonable suspicion,'” says Raul Grijalva, a Democratic U.S. congressman from Tucson.

“I got a driver’s license,” Herrera says. Every time Herrera ventures outside the ballpark, he makes sure he takes it with him. Talk to Latino players in Arizona and you find them constantly patting their pockets for licenses, green cards, passports.

“I carry them all the time,” says Martin Prado, a Venezuelan-born third baseman with the Diamondbacks. “Just in case. You never know.”

[Photo Via: It’s a Long Season]

Picture by John W. Tomac.

Vernon Wells’ father, Vernon (the artist known as “V”) Wells, is an illustrator.

Check out his site.

On Ruth Ann Steinhagen.

Mark Jacobson on the new Kubrick documentary:

After Strangelove, the canon was filled in. There was The Killing, from 1956, in which Kubrick reconfigured time to stage a racetrack heist and had Vince Edwards tell Marie Windsor, “Don’t bug me, I got to live my life a certain way.” There was Tony Curtis, talking like Sidney Falco/Bernie Schwartz as he washes Laurence Olivier’s back in Spartacus. And, of course, there was James Mason’s Humbert Humbert shooting Clare Quilty in the boxing glove and telling Dolores Haze of the “great feeling of tenderness” he has for her. But how could anyone have predicted the transformative experience of 2001? Four straight nights, we lay on the carpet between the first row and the screen, staring up into the Light. When it was over, the usher peeled us from the floor.

Which brings us up to The Shining, which, like so many Kubrick fans of my vintage, I lined up to see the night it opened at the now-torn-down Criterion Theatre in old, scuzzy Times Square.* Barry Lyndon had been an oil painting. But The Shining augured so much more. Pre-Internet rumors had been circling for months: Kubrick, holed up in his English mansion, had ordered forklifts of books delivered to his file-filled study. He read the first few pages of each book, groaned, and threw it against the wall with a thump. A huge pile of discarded material grew, a dozen feet high or more. Then the thumping stopped. The master had found his new vehicle: a Stephen King horror story set in a haunted hotel. Brian De Palma had a hit with Carrie; King was hot. Bemoaning that for all his success he had yet to make a film that had “done blockbuster business,” Kubrick pounced. Aesthetically, it made sense—a Kubrick horror picture, a return to the reliable genre chassis, one more opportunity to merge the high and the low in that seamless wiseguy way.

Except it sucked. For the Kubrick fan, The Shining was like watching Roger Corman on Robitussin, a 16-rpm Fall of the House of Usher, some classroom chunk of faux-Pirandello absurdism. Among my ilk, the verdict was that the great Stanley, egghead avatar of Cold War cool, had gone terminally corny midway through A Clockwork Orange, halfway through the “Singin’ in the Rain” scene. The Shining seemed the final nail in the suddenly square-shape coffin. It was a rough year for the heroes of youth, with Bob Dylan born again, Muhammad Ali finished, and now Kubrick.

I mean, “Here’s Johnny!” This was supposed to be funny?

Saveur gives a mess o Parsley recipes.

Pick up a book and read now I’m wise.

[Picture by Bags]

After the owners and players agreed on the most recent CBA, the Yankees, and everybody who followed the Yankees, saw there was a giant, flaming loophole begging to be jumped through in 2014. It’s entirely possible the loophole was forged and set aflame specifically to incentivize the Yankees to lower their payroll – temporarily or otherwise.

The Yankees, as gleeful, recidivist violators of the salary threshold, stand to be punished at ever-increasing rates according to the new CBA. However, if they get under the salary limit in 2014 ($189 million), they can reset their clock. The next time they go over, which we all hope and pray will be 2015, they will be punished as first time offenders and save a ton of dough.

Thus a goal was born in the winter of 2011 – to trim annual salary from the customary $210 million down to $189 million within two years. This is made more difficult because the Yankees owe a lot of money to CC Sabathia, Alex Rodriguez and Mark Teixeira in 2014, and Alex and Teix no longer play up to their paychecks. To field a World Series contender in 2014 would take creativity, starting right then and there.

Spending big on free agents isn’t as easy under these new constraints, but there are other ways to acquire talent. International free agents have no track record and less bargaining power, so their first contracts are often very reasonable. Posting fees don’t count towards the salary cap and the contracts that follow them are also very reasonable.

Of course without the Major League track record comes a huge risk of getting a crappy, Kei-Igawa-level talent. That’s why the Yankees usually have an advantage when it comes time to sign them; they can absorb that hit better than anyone else. The Yankees employed Hideki Irabu, Orlando Hernandez, Jose Contreras, Hideki Matsui and Kei Igawa via these routes and, on the whole, they received excellent return on their investments.

Two major players came down the pike just after the Yankees signed the CBA. The Oakland A’s Yoenis Cespedes was one of the best outfielders in the American League last year. He makes nine million dollars a year.

Rather than find out just how much ground Brett Gardner can cover, the Yankees just gave Ichiro Suzuki a two year commitment for $13 million. And now they’ve pumped more 2014 cash into Vernon Wells, where’s there’s plenty of room where his baseball talent used to be. There no question that Cespedes was a risk, but I have a hard time thinking he was a bigger risk of failure than the players who have already proven they have straight sucked eggs for the last two years.

Yu Darvish was hot topic around here last year and he divided the room. Japanese pitchers have faired poorly in the USA, though not universally, domo arigato Kuroda-san, and Darvish came attached to a big posting fee. He won 16 and struck out 221 in 191 innings for the Rangers. He walked too many and wasn’t a Cy Young candidate or anything, but he sure looks good at $9.3 million a year for the next five years. After one-year deals to Kuroda and Pettitte expire and Phil Hughes files for free agency, the 2014 rotation looks like CC Sabathia and a wishing well.

The Yankees did not seriously pursue either of these players, nor did they get close to Aroldis Chapman, though his courtship took place before the current CBA and its loopholes. Whether that makes the Yankees lack of effort to acquire his raw yet undeniable talent more or less forgivable is up to you.

Either the Yankees don’t know how to evaluate international talent or they are cheaper than we thought. When Chapman came and went without any news of an offer from the Yankees, I was surprised. When they lost with a whimper on Darvish and Cespedes (not to mention Jorge Soler)?

The acquisition of Wells and Suzuki suggest a combination of penny-pinching and incompetence and incompetent penny-pinching that is downright scary.

Got off the train on 231 and Broadway one night last week and saw a guy selling books on the street. The man was barely holding it together and he didn’t look to have much of anything but then I saw this: Heinz!

Torn cover, sure, but a first edition. I gave him a couple of bucks for it. He was grateful and so was I.

Motherwell Monday.

Man, this is just about the coolest thing I’ve seen in a while.

No, wait–not that, Vernon Wells.

Coolin’…

[Photo Credit: Bull Days]

Gone but not forgotten…

[Photo Via: Dream Landscapes]

If I stay here I’ll go nuts.

Oh My God by Shannon Plumb from Smack Mellon on Vimeo.

My pal Shannon.