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Baseball

It was the morning of my tenth birthday. My dad and I had tickets to see the Phillies host the Astros at Connie Mack Stadium. But outside it was pouring, a typical late August thunderstorm in south-central Pennsylvania. I’d been waiting for this game all summer and it was hard to hold back my disappointment. Being the soft hearted and generous soul he was, my father agreed to make the three-hour roundtrip to Philadelphia regardless of the storm.

We arrived at the ancient ballpark in time for the first pitch, the sun now blasting through the clouds. Except for a few thousand other hard core fans, we had the stadium to ourselves. Connie Mack was originally known as Shibe Park and opened in 1909 as the home of the Philadelphia Athletics. It had a nostalgic vibe with wooden seats and bleachers and ornamental wrought iron posts, the kind of place that came of age when Rogers Hornsby and Babe Ruth and Ty Cobb were stars. Connie Mack Stadium reached its glory (and highest single day turnout) when Jackie Robinson made his debut in a double header between the Phillies and the Brooklyn Dodgers on May 11, 1947.

The Phillies won that rainy August Sunday and I can say with over 50 years of experience that being a Phillies fan is like having malaria. It stays in your blood for life and at some point every summer you get sick.

Playing baseball was a big part of my identity growing up. Despite severe hay fever I loved the baseball season. Waiting for the pre-season to begin, the chance to play two games a week, the uniform, the crack of wooden and aluminum bats, the snack shop with snow cones and bubble gum and extra treats when we won. I even loved baseball as a catcher wearing all that extra gear in 98 degree weather with 100 percent humidity. To feed my passion I invented my own fantasy league long before anything like that ever existed, using a baseball card game and dice and meticulous score keeping.

The fields were in an industrial area of town. The grass was mowed regularly and the foul lines and batter’s box laid down with fresh lime before every game. There were dugouts made of cinder blocks and painted plywood advertisements on the outfield fences and an electronic scoreboard and an announcer. It was all serious business, which didn’t thrill my dad. He thought we kids should just be thrown in a pit with balls, bats and gloves and encouraged to make up our own rules. Sometimes my grandparents would come to watch. My Dad’s dad, Howard, had white hair and a white goatee and the kids would say, “Hey look, Colonel Sanders is here!” That was my grandpa.

For many years I was a very good player for my age and I think that had to do with my eyesight. When I was ten I hit a double off of Bob Fox who was two years older than me and really intimidating. I ripped a fastball off one of the wooden advertising plaques in center field. I must have been gloating because the next time I came up Bob Fox drilled me in the ribs, which left a bruise for about a week. Still, that double was worth it and foreshadowed the hitter I would become.

I remained an All Star for a number of years. My eyesight changed drastically between my twelfth and thirteenth years. I’ve worn prescription glasses ever since. That made catching harder and curtailed my peripheral vision.

The summer after eighth grade my parents agreed to send me to Mickey Owens Baseball Camp in Miller, Missouri. This was a huge deal. It meant flying on my own to St. Louis and venturing out in the world for the first time away from my family. I met kids from all over the country, including Carl from San Diego who had also just completed eighth grade. He had blond hair and talked like a surfer and his favorite expression was “Alrighty then!” Carl regaled me with stories about nickel bags of marijuana and one of his friends who had gotten his girlfriend pregnant in junior high school. That was a real eye opener. They grew up much faster on the West Coast.

The counselors were athletes who were trying to become pros. They timed our speed between home plate and first base with a stop watch. We had sessions on hitting, fielding, pitching and catching, the ins and outs of sliding. It was all baseball all the time. We played three games per day until the oppressive midwestern sun went down. I was still catching and wearing all that gear but I would soon transition to the outfield. I think it was around this time I began to realize that I might not have what it takes to be a professional baseball player. For a very select few baseball is a field of dreams. For others it’s where childhood dreams die.

I had promised my dad I would try out for the high school football team in return for sponsoring the trip to Missouri. I did try out but got injured very quickly. It wasn’t easy to start football in high school without having played formally at a younger age. I played baseball until my junior year. When I didn’t cut my hair high enough above my collar, I was cut from the team by coach Bushy. He was determined to weed out the Freaks from the Jocks. Somewhere along the line I had lost my competitive drive. Almost immediately I started playing guitar and studying ceramics and experimenting with drugs and alcohol and living closer to the life my San Diego friend Carl had described years earlier in the cabin at baseball camp.

To this day I spend way too much time following the malaria stricken Phillies. For many people it’s way too slow and much more of a game than a sport. I marvel at its innate brilliance, the hundred-mile per hour fastballs, the probability (and improbability) of a catcher throwing out someone trying to steal second base, the home runs and sacrifices and double plays, and just how hard it is to close out a game with a small lead. The one thing I can’t understand is the spitting. Why do they have to spit so much?

I’m offended when I hear someone say that so and so “sucks” when talking about a professional ball player. It’s so difficult to play baseball at the highest level, even though some days watching the pros feels like you’re at a Little League game. To be in that rarified company of people who make their living at a kid’s game is such an extraordinary accomplishment.

I am thinking in particular about a current Phillies player named Mark Appel. He was a high school star from California who went to Stanford and was selected number 1 in the Major League Draft by the Houston Astros. Then he went through a decade of setbacks — mental anxieties, injuries and illnesses. For years he carried the burden of being “the biggest Number 1 draft bust in the history of baseball.” He even stepped away from the game for a time.

Finally, this season, at the age of 30, Mark Appel walked onto the field at Citizen’s Bank in a Phillies uniform. It brought him to tears. In a recent article in the New York Times, after finally achieving his dream of playing on a major league field, Appel said:

“I came into this year knowing each day might be my last. Genuinely I was at a point where I was still trying to figure out what my role was — reliever, starter — do I still have it in me to put up good numbers, things like that. So if each day was going to be my last, I’m going to enjoy it. And I really enjoyed tonight.”*

These are words spoken from the deep well of the human spirit, which, more often than you may realize, finds its way onto a baseball field.

Now if we could only move beyond the spitting.

 

* “If Each Day Was Going to be My Last, I’m Going to Enjoy It,” New York Times, Victor Mather, June 30, 2022.

Photo: York Dispatch, Summer 1971, (middle row, second from left).

©2022, Dan Imhoff. All rights reserved.

Almuerzo

When I was working on the Peregrino album I commuted from the Ruzafa neighborhood to Estudio Millennia in La Fontet de San Luis. The walk took 25 minutes and I could use the time for vocal warmups or to meditate on what we were trying to accomplish on that particular day. Recording sessions started at 10:30. Already there were hundreds of people sitting at sidewalk tables enjoying almuerzo, which lasts from 9 to 12 and is the second of the Valencianos’ five daily meals. This always put me in a good mood.

The almuerzo, or esmorzaret as they call it in the local language, is a way of life in the Province of Valencia. It’s a vestige of an agrarian culture where the workday started early and a considerable caloric intake was essential. Transplanted into a 21st century urban environment the almuerzo has evolved into a gastronomic phenomenon that other Spaniards view with awe.

Cured olives and roasted peanuts are a requisite appetizer. Sometimes they serve light green pickled guandillo peppers which are finger-length and pack a vinegary and spicy crunch. The beer and wine are flowing. Next come sandwiches called bocadillos. These are half baguettes, crusty on the outside and soft on the inside, brimming with manchego and jamón, fried calamari and alli oli, some variation of the Spanish omelette called tortilla, meatballs, or a myriad offerings. The almuerzo is typically finished off with a coffee. A popular version, called a cremaet, is spiked with a layer of rum and sugar.

There is something tremendously fascinating and uplifting about people who go to bed at 1 or 2 and start the party back up again at 10 a.m. These aren’t just college students. It’s universal: young and old, police officers and heavy equipment operators, grandparents and office workers. At least one part of the world still knows how to enjoy themselves.

I dedicated the last four weeks in search of the best tortilla in Valencia and quickly learned firsthand that there is no such thing. The best tortilla, more often than not, is the one right in front of you. Hopefully you are thanking your lucky stars before digging in.

A Spanish tortilla consists of beaten eggs and a filling, typically potatoes — or onions and potatoes. The filling is cooked in hot oil and strained then blended in a bowl with the eggs. That mixture is poured into a pan with more olive oil over a medium flame. Once the moisture cooks off the spongy omelette is skillfully flipped so it browns on both sides. The thickness varies from one to almost three inches. It should be soft and glistening but not raw or too runny inside.

The Conquistadors brought the potato from Peru to Spain in the 16th century. Whether a tortilla should include onions is a major cultural divide. Everybody has a preference that probably originates in the womb. None of the restauranteurs who I asked were forthcoming about what set their tortillas apart. Was it the olive oil, the cooking time, secret sources of eggs, potatoes or onions, just the right amount of salt?

For me, eating even half a tortilla for almuerzo usually also counts for lunch, or comida. That’s the third meal in Spain’s bottomless quiver of eating and drinking rituals. With a filling of potatoes and onions (my preference!), spring garlic, veggies, or bacalao (a salty cod and potato mixture which is also super good), tortillas are fortifying. I tried them in city markets, a former Communist Party headquarters and in the home of my dear friend, Jorge, who gave me a personal demonstration on the finer aspects of tortilla making. A Madrileña told me the only place you can find a legitimate tortilla in the whole country is in the capital.

In his excellent book, Grape, Olive, Pig, Matt Goulding writes that in the years following the Spanish Civil War, a popular recipe was tortilla de patatas sin patatas ni huevos, (a tortilla without eggs or potatoes). Written by Ignasi Domènech, this was a response to the poverty that gripped southern Europe in the middle of the 20th century. Food was often in short supply. Dirt was added to bread flour. People learned to transform scraps of meat and vegetables into dishes. In this omelette recipe, the rind and pith of an orange mimicked the texture of the potato. Flour and water replaced the egg. Decades later this culture of culinary ingenuity propelled Spanish chefs onto the global stage. Combining traditional techniques with micro-gastronomy and tasting menus, they revolutionized 21 century restaurant cuisine.

My friend, Salva, recounted with relish that one of his childhood favorites was tortilla with potato chips. “It’s nice and crunchy and the chips already have a lot of oil.” This is a common dish in Andalusia. You can even find a recipe for omelette with potato chips from superstar chef Ferran Adrià (El Bulli). 

The tortilla has a few hilarious roles in the 1990s social satire “Jamón Jamón.” Silvia, played by the often half-naked 18 year old Penélope Cruz, says that if it wasn’t for helping her mother, who sold tortillas to pay their bills, she would never make another one again. Later in the film, her lover, Raúl, played by her now husband, Javier Bardem, proclaims that Silvia’s breasts taste like jamón and tortillas and chili peppers. This was director Bigas Luna whirling up Spanish cuisine with sexuality in a cinematic blender. It definitely worked for me.

©2022, Dan Imhoff. All Rights Reserved.

Matt Goulding, Grape, Olive, Pig: Deep Travels Through Spain’s Food Culture, Harper Wave, 2016. Look for my interview with Matt in the upcoming Season 2 of the Full Expression Podcast.

Rewilding

A number of years ago I found myself in northern Argentina being chased through a grassland by a giant anteater. It was a large mammal with a tapered snout and nails on its front paws like curly fries. In Spanish he’s known as oso hormiguero gigante.  He (I believe it was a male) had been radio-collared and reintroduced in an area of wetlands called the Esteros of Iberrá in the province of Corrientes.

My guide was a veterinarian from Europe working with Tompkins Conservation, now known as Rewilding Argentina. She carried a hand-held tracking device that looked like a small satellite dish. What the oso hormiguero really wanted was one of the milkshakes the recovery team had been occasionally feeding him since his release to the wild. This afternoon we didn’t have one. Hence our dash through the overhead reeds once we’d spotted him from a safe distance. This was a surprisingly agile animal who really wanted his milkshake. My heart was literally beating out of my chest with both fear and excitement.

If you’ve ever seen ant hills in northern Argentina you can understand why someone might want to reintroduce a giant anteater. The ant colonies are unlike any I have ever seen. They move in caravans carrying blades of grass and other materials three times their body length, basically carving inch-wide super highways out of the grasslands. Their ant hills are equivalent to skyscrapers, maybe bigger than ours on a relative scale, about chest high to a human and made of red clay that bakes like adobe. You need a tractor to knock them down and they can cover acres of land. Giant anteaters have thin straw-like tongues and eat ants and termites. They are also endemic to this grassland habitat.

Rewilding is a concept that has been around for many decades. The team at Rewilding Argentina refers to this work as restoring a landscape to “Full Nature.” They are master puzzle solvers who study how ecosystems have been torn apart and then find ways to restore habitats and species and communities to some semblance of natural balance. This idea is gaining interest all over the world. Integral to these efforts are species reintroduction projects on every continent: tigers in India, lynx in Spain, wild horses and donkeys (Kulan) in the Ukraine, wolves in North America, beavers in England, jaguars in Argentina, various marsupials in Australia, large animals in southern Africa. This is an extremely abbreviated list.

We recently spent two days in an auditorium listening to speakers at the First Global Meeting of Translocation Practitioners in Valencia, Spain. The conference was organized by Ignacio Jimenez, who has worked for decades to save endangered animals and spearheaded the giant anteater (and other species) reintroductions for Rewilding Argentina. It took place in the Oceanogràfic, an aquarium complex that is part of the Ciudad de las Artes y Ciencias in the city’s old river bed. The backdrop of the stage was the glass wall of an aquarium. Speakers from around the world recounted their tales of relocating wild animals to protected landscapes. Behind the speakers was an ever evolving scene of swimming and twirling and gliding fish and sharks. 

Their stories were the stories of the heroic struggle to reverse the extinction crisis. We heard in great detail about their trials and tribulations, successes and failures. All kinds of factors can derail reintroduction efforts: diseases that affect prey and move up the food chain; hostile communities who poison or hunt wolves and tigers; years of successful gains wiped out by drought; the hybridization of wild animals with other species (red wolves mating with coyotes, for example); bureaucratic road blocks.

One of the presenter’s slides was deeply alarming. At the dawn of the human era, 99 percent of the weight of the Earth’s vertebrates and landmass consisted of and supported what we today call wildlife. Out of the wild came domestication. Most of the species that didn’t suit human needs for food, fiber, traction, companionship, indulgences or our sense of security were exterminated or driven to increasingly remote places. Today livestock account for two-thirds of the Earth’s vertebrates and landmass and humans about one-third. Wildlife are down to 1 percent.

The speakers highlighted many lessons learned about Rewilding over the last four decades:

  • much of the work is political rather than biological in nature;
  • stories matter more than data;
  • people are threatened by the concept of rewilding — especially of large carnivores;
  • talking about community- and nature-based economies is far more relatable than “rewilding”;
  • there is a bias that farming, ranching, forestry or development are economically superior to land conservation;
  • biologists are becoming more flexible (and less purist) about the introduction of species from other regions, countries and even continents;
  • zoos may become important sources of species genetics through captive breeding programs;
  • the true measure of success for a rewilding effort is the ability to translocate “surplus” populations to other areas;
  • you can never be too complacent, challenges are always right around the corner.

It’s difficult to hear that restoring the beauty of the natural world is not a compelling enough reason for communities and governments to get behind rewilding efforts. Yet this is what we heard over and over for two days. Local communities must become partners in these projects and they must see that the economic benefits will outweigh the risks.

The good news is that Rewilding is extremely effective at job creation. Meanwhile, agricultural areas around the world are being dewatered, depopulated, poisoned and are dependent upon billions of dollars of government support. Many conservationists have learned that, in addition to identifying and preparing animals for relocation, their main challenge is political. Communities need to understand the natural legacies they have lost. New businesses can be incentivized. And politicians sometimes must be allowed to take the credit once all the work is done. 

While Argentina is a relative newcomer to the rewilding movement, South Africa has been at it for decades. Wildlife protection has been monetized on a variety of levels. They have developed an infrastructure of helicopters and other equipment to transport elephants, rhinos, cheetahs, and other very large animals across countries and continents. Conservation organizations and government agencies have invested considerable resources in defending themselves and wildlife against well-armed and sophisticated poaching operations. Most of the conference presenters acknowledged the enormous contributions of the South African conservationists. 

There is a sane vision for the future: nature-based economies centered around resilient rural communities, eco tourism and creating the most biodiverse landscapes we can imagine.

Say whatever needs to be said to rewild hearts and minds. Release whatever you can. Save whatever you can. Don’t hesitate. And offer a prayer for the conservation translocation practitioners. Their work is beyond inspiring.

Photo: Oso hormiguero gigante (notice its tongue!), Jackie Russell, DVM

©2022, Dan Imhoff. All Rights Reserved.

Half Life

Skiing is a big part of who I am as a person, and I always get thinking every mid-March about a misadventure I had in the snow thirty years ago. So seldom is our will to survive truly tested.

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Rescue Dog

After a year and a half we took our first flight east on a much needed visit to see family members. Along the way we met our very first Farmer’s market poet in the hip city of Durham.

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Mucha Mierda

There’s a great club in Valencia, Spain called Bar Centro Excursionista where I’ve had some of my funnest gigs ever. While working on my latest album I learned how you say “break a leg” in Spanish.

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Plaza de Toros

Bull fights are still common in many cities across Spain. We were given tickets to see a few corridas in the historic Plaza de Toros in the heart of Valencia. Very quickly I was routing for the bulls.

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Performance Art

I must confess that I am sometimes at a loss when it comes to understanding the performance and conceptual aspects of contemporary art. Call me old fashioned but I wonder if the masters aren’t foaming at the mouth and rolling in their graves that disciplines like drawing and painting and sculpture are often no longer the domains of modern artists. I guess it could be argued that all art is a performance of some kind and duration. And artists have been throwing conventions out the window for at least a century trying to discover original identities in an increasingly noisy and cluttered and imitative world.
So I arrived at the Museum of Contemporary Art in Seville with the feeling that I probably wasn’t intellectually equipped to appreciate what I was about to experience. I was there with my brother who has spent his entire adult life as a practicing architect and our 88 year old mother who had exhausted legs but an open mind and the desire to spend precious time with two of her four sons. Housed in a former monastery, the museum is worth a visit all by itself. The formerly sacred spaces have been transformed into galleries that are evocative and tranquil and in keeping with the international trend toward repurposing classic buildings for sprawling modern art installations.

On exhibit was the riotously funny and mentally challenging oeuvre of Belgian artist Jean Fabre. Acknowledged as one of the late 20th century’s most successful contemporary artists, Fabre also seems also to have at least a few seriously loose screws. Who in their right mind, for example, would use various weights of sandpaper to scrape the paint off the legs of a wooden table and then do the same to his own shaven legs until they bled, making paintings with the dripping blood? I must give Fabre credit for both creatively balanced composition and for exchanging flesh and blood for canvass and palette. Sanding table legs bare then sanding your own legs raw, now that is some bad ass parallel construction, and very hard to blot out of your mind once you’ve seen it.

Most of Jean Fabre’s work has been captured on film with remarkable quality and editing and noteworthy performances. He has certainly mastered the art of making an absurd premise believable. One noteworthy performance was a collaboration with avant garde filmmaker Pierre Coulibeuf called ‘Doctor Fabre Will Cure You’ (2013). Standing pope-like on a balcony, dressed in a white doctor’s jacket and surrounded by the cut up parts of hogs, Fabre addresses a crowd. “Dr. Fabre will cure you!” he proclaims, picking up the face of a slaughtered pig and working the hinged jaw open and closed. “Use your mouth!” he shouts, tossing the pig face to the crowd. He picks up two eyeballs, holds them to his own eyes then throws them to the crowd. “Use your eyes!” Alas, he plucks two ears from the balcony handrail and holds them to the sides of his head. “Use your ears!” he calls and throws them to the crowd. “Dr. Fabre will cure you!”

Much of Fabre’s work resonates with the idea that we have forgotten our animal nature, a completely valid artistic message, especially if it puts us in touch with other species. A hilarious skit places him in the bowels of a subway dressed in knight’s armor flailing a sword over his head with both hands. Between the heft of the sword and the bulk of the armor he is continually staggering and falling down and flailing to get back to his feet. It is an extremely Quixotic scene as the only enemy Fabre is battling in the tunnel is his own inability to remain standing. A beautiful woman appears and tells him, “Remember, you are an animal.” Maybe this is beginning to make sense.

Fabre’s journal entries were featured throughout the retrospective. His ‘Bic Art’ was among my favorite pieces. Using the everyday Bic pen as pigment and industrial cloths used to mop museum floors as canvases, Fabre created a series of handmade posters that display a disciplined line drawing style. The Bic pen itself is emblematic of Fabre’s somewhat radical critique of art, society, and capitalism and appear throughout his work.

John and our mother watched an entire movie of Fabre’s antics while I further explored the grounds of the museum which included a number of commercial kilns. Maybe the monks were ceramicists? I’m not sure if Dr. Fabre cured us but throughout our visit we talked about his sanded legs and his dancing on a marble staircase like Fred Astaire while cats were randomly tossed in the air in the foreground. Another film showed him shot numerous times in a vest followed by his beautiful girlfriend, convincingly pretending she was a dog, sniffing over his slumped bloody body. There’s only one person in the world who can make this stuff up.

We went from the museum to a Flamenco show in Seville’s Triana District and experienced an entirely different form of performance art. It was highly emotional and transcendent and spontaneous. A guitarist came on stage by himself and played a solo composition that blended Spanish classical and Flamenco. He brandished his instrument with astonishing virtuosity. Then a male and female dancer and a male and female singer and percussionist joined him on the stage and the show gathered intensity as they took turns performing in various configurations. There was clapping and toe and heel tapping on the wooden board in the center of the stage and the rhythmic response of the guitarist to the dancer’s feet and the singers’ clapping in a display of practiced improvisation, the right hand of the guitarist responding precisely to the rhythms tapped and kicked by the dancers. There was the exquisite singing of a long haired well dressed man who could hold a note quavering with mournful semitones for at least two minutes. With barely a movement he breathed and began anew with the beautiful dancer spinning and diving and furiously tapping and convincingly telling a story so timeless and other worldly. David Byrne wrote that “we hear with our eyes,” meaning that we experience live performances on a variety of sensory levels of which the most important may be sight. Truer words may have never been spoken.

The dictionary sheds this light on the etymology of performance.

perform (v.)

c. 1300, “carry into effect, fulfill, discharge,” via Anglo-French performer, altered (by influence of Old French forme “form”) from Old French parfornir “to do, carry out, finish, accomplish,” from par- “completely” (see per-) + fornir “to provide” (see furnish).

Theatrical/musical sense is from c. 1600. The verb was used with wider senses in Middle English than now, including “to make, construct; produce, bring about;” also “come true” (of dreams), and to performen muche time was “to live long.” Related: Performed; performing.

On a simplistic level, the way we live our lives truly becomes our art and in that respect, each step along the way contributes to the performance. But in the end, as in art, we know authenticity when we see it.