People From St Louis

"My ambition is to hit .400 and talk 1.000."

"But it don't bother me. I never yet saw anybody hit the baseball with their face. Besides, I like to get kidded; that means they like me. When they stop kidding me, I'm in trouble."

"Lopat was the cutest of the gang, the easiest to catch because he had almost perfect control of every pitch at different speeds. He made batters impatient. They couldn't wait for what looked so easy to hit and they'd swing at his motion."

"Before the playoff game in a World Series with the Dodgers in Brooklyn, Casey Stengel said in the clubhouse, "Well, this is it. Now who do you want to pitch?" The 40 guys in the clubhouse shouted "Raschi!" so loud the Dodgers must have heard it across the way. That's what we Yankees thought of Raschi. What did Raschi have? He had a slider and a curve that wasn't too good, but what made him so rough was a fast ball that got them out. Funny thing about him was that he couldn't relieve as good as Toots Shor. The guy was built to finish what he started."

"Rock Hudson, I suppose."

"I always know how Hutch did when we follow Detroit into a town. If we got stools in the dressing room, I know he won. If we got kindling, he lost."

"What's wrong with readin' comic books? I don't understand this kiddin' about readin' comic books. When I get through with 'em the other players on our club borrow them from me. Nobody makes a fuss about that."

"From the kids on the neighborhood Stag Athletic Club baseball team on the Hill. We went to a movie one afternoon, and there was one of those yogi characters in the picture. Coming out of the joint, one of the kids looked at me, started laughing, and said: "Hey, Berra walks just like that yogi in the movie." I've been Yogi ever since."

"You guys are trying to stop Musial in 15 minutes while the National League ain’t stopped him in 15 years."

"Yogi Berra, christened Lawrence, is the Sam Goldwyn of the baseball industry. The late Goldwyn, a highly successful movie executive, was famous for his quaint and curious aberrations in talking: "Gentlemen, include me out." "I can answer that in two words: im-possible!" "Anyone who goes to a psychiatrist should have his head examined." These lapses, known as Goldwynisms, were mainly the creations of the Goldwyn press department. And so it is with Berra — a public relations man, Jackie Farrell, of the New York Yankees, contrived most of the quips and gaffes attributed to the illustrious catcher-turned-manager."

"Yogi had the fastest bat I ever saw. he could hit a ball late that was already past him, and take it out of the park. The pitchers were afraid of him because he'd hit anything, so they didn't know what to throw. Yogi had them psyched out and he wasn't even trying to psyche them out."

"They made up amusing stories about Berra. He read comic books. It seemed incongruous to see him catching the college-bred Raschi and Reynolds and the chubby little man of the world, Lopat. But they were perfectly content to let the squatty kid from The Hill in St. Louis call the shots. The pitcher has yet to come along who didn't want to throw to Berra. A ballplayer doesn't have to have higher education when he has baseball instinct, and Berra was richly endowed with that. Yogi Berra is a rich man materially now, but there is no more swagger in him than there was when he first showed up, a humble lad not quite sure where he belonged and asking nothing more than the chance. Now, at least, you know he belonged."

"Fans have labeled Yogi Berra "Mr. Malaprop," but I don't think that's accurate. He doesn't use the wrong words. He just puts words together in ways nobody else would ever do."

"I remember a game I was broadcasting. Yogi was in left and Mickey Mantle was in center. Yogi whistled to Mantle and started moving him around. After the game I asked Yogi why he was giving advice to Mantle, a great center fielder for so many years. You know what he told me? "Joey, Mickey didn't know that the guy hits there with two strikes." Yogi knows baseball. There's no doubt about that."

"Yogi is the most relaxed hitter I ever saw or faced. What a guy! In spite of all the great things he's accomplished over the years he's lost none of his humility and none of his niceness. He's truly one of nature's noblemen."

"Yogi Berra is easily the best and most valuable catcher in baseball today. I know he has already broken a lot of my records, and Yogi's only started. He has been a great kid to work with. First of all, he started with fine natural ability. He has a strong throwing arm and a keen batting eye. And about the nicest disposition that anyone ever knew. No young ballplayer has ever taken the heavy and savage riding that Yogi had to take. But no one ever got his goat. There were ballplayers on the Tigers and other clubs riding Yogi who couldn't tie his shoes. Berra just grinned—and went on driving across winning runs. Far from being dumb, Yogi always has his eyes open and he learns quickly. His reflexes are very good—which means that mind and muscle work together."

"Most of the Yankee attack this season came right from Mickey Mantle and Yogi Berra. And right there, I think, is the center of this whole debate. You take Mantle, and if Ol' Diz is back a few years he gives him the high fast one on the inside and he strikes out. Oh, he hits the ball a mile during the season—but in a seven-game World Series those strikeouts hurt and that's what I figure that guy will do a lot, especially seeing that he's injured. This leaves the Yankees with Berra, which ain't bad. He is the most dangerous hitter in the American League. A tough game is his particular kind of bear meat. He chews along easy-like, then hits any pitch in the book out of sight."

"He's smart, all right. There's no one in baseball smarter than Yogi."

"After the seventh inning, when runs count the most, he's the most dangerous hitter who ever lived."

"He hit it off the ground. And in the eighth, off the same pitch—a low, inside fast ball—he hits inside third. Three hits and he didn't hit a good pitch all day. How the hell do you pitch a guy like that?"

"He ain't much to look at and he looks like he's doing everything wrong, but he can hit. He got two hits off us on wild pitches."

"If the truth must be told, I'd never even heard of Berra, but I figured that if he was worth fifty grand to Ottie he must be worth fifty grand to me. That's why I turned him down. But one day I'm in my office and the girl comes in to announce that Mr. Berra is outside to see me. "Berra?" I say to myself. "That must be the kid Ottie was trying to buy." So I tell her to show him in. So I waited for my first look at the prize package which was worth $50,000. The instant I saw him my heart sank and I wondered why I had been so foolish as to refuse to sell him. In bustled a stocky little guy in a sailor suit. He had no neck and his muscles were virtually busting the buttons off his uniform. He was one of the most unprepossessing fellows I ever set eyes on in my life. And the sailor suit accentuated every defect. Since then, though, I've never regretted the move."

"Yogi, and all the Yankees, for that matter. But I saw Clemente when I was coaching for the Mets. I believe he was the best I saw."

"People think Mickey Mantle is the toughest hitter in the league, but I can usually get him out if I don't make a mistake. The real toughest clutch hitter is Berra. As you change speeds and move around, Berra moves right with you. Rosen does the same thing, but fortunately he's playing third behind me so I don't have to pitch to him. Believe me, the two best clutch hitters in the game are Berra and Rosen. Most of us pitchers wish to hell they'd switch to golf."

"Poor Yogi. Everybody's picking on him. Whenever he gets a hit and you ask him if it was high or low, he just mumbles: "I dunno. It was a good one.""

""Most people have music in the center of their lives. I believe my work sheds light on how music affects us and why it is so influential." from http://web.archive.org/20030225083736/www.ucla.edu/spotlight/archive/html_2001_2002/fac0502_mcclalry.html"

"Rather than protecting music as a sublimely meaningless activity that has managed to escape social signification, I insist on treating it as a medium that participates in social formation by influencing the ways we perceive our feelings, our bodies, our desires, our very subjectivities - even if it does so surreptitiously, without most of us knowning how. It is too important a cultural force to be shrouded by mystified notions of Romantic transcendence."

"Tonality itself - with its process of instilling expectations and subsequently withholding promised fulfillment until climax - is the principal musical means during the period from 1600 to 1900 for arousing and channeling desire."

"The point of recapitulation in the first movement of Beethoven's Ninth Symphony unleashes one of the most horrifyingly violent episodes in the history of music....The point is not to hold up Beethoven as exceptionally monstrous. The Ninth Symphony is probably our most compelling articulation in music of the contradictory impulses that have organized patriarchal culture since the Enlightenment. Moreover, within the parameters of his own musical compositions, he may be heard as enacting a critique of narrative obligations that is...devastating."

"If I tend to reread the European past in my own Postmodern image, if I frequently write about Bach and Beethoven in the same ways in which I discuss the Artist Formerly Known as Prince and John Zorn, it is not to denigrate the canon but rather to show the power of music all throughout its history as a signifying practice. For this is how culture always works—always grounded in codes and social contracts, always open to fusions, extensions, transformations. To me, music never seems so trivial as in its 'purely musical' readings. If there was at one time a rationale for adopting such an intellectual position, that time has long since past. And if the belief in the nineteenth-century notion of aesthetic autonomy continues to be an issue when we study cultural history, it can no longer be privileged as somehow true."

"Sister, mother And spirit of the river, spirit of the sea, Suffer me not to be separated And let my cry come unto Thee."

"Even among these rocks, Our peace in His will."

"Blessed sister, holy mother, spirit of the fountain, spirit of the garden, Suffer us not to mock ourselves with falsehood Teach us to care and not to care"

"This is the time of tension between dying and birth The place of solitude where three dreams cross Between blue rocks."

"And the lost heart stiffens and rejoices In the lost lilac and the lost sea voices And the weak spirit quickens to rebel For the bent golden-rod and the lost sea smell."

"Wavering between the profit and the loss In this brief transit where the dreams cross The dreamcrossed twilight between birth and dying (Bless me father) though I do not wish to wish these things From the wide window towards the granite shore The white sails still fly seaward, seaward flying Unbroken wings."

"Where shall the word be found, where will the word Resound? Not here, there is not enough silence."

"If the lost word is lost, if the spent word is spent If the unheard, unspoken Word is unspoken, unheard; Still is the unspoken word, the Word unheard, The Word without a word, the Word within The world and for the world; And the light shone in darkness and Against the Word the unstilled world still whirled About the centre of the silent Word."

"Redeem The time. Redeem The unread vision in the higher dream While jewelled unicorns draw by the gilded hearse."

"Blown hair is sweet, brown hair over the mouth blown, Lilac and brown hair; Distraction, music of the flute, stops and steps of the mind over the third stair, Fading, fading; strength beyond hope and despair Climbing the third stair."

"Terminate torment Of love unsatisfied The greater torment Of love satisfied."

"Lady, three white leopards sat under a juniper-tree In the cool of the day."

"This is the land which ye Shall divide by lot. And neither division nor unity Matters. This is the land. We have our inheritance."

"Lady of silences Calm and distressed Torn and most whole Rose of memory Rose of forgetfulness Exhausted and life-giving Worried reposeful The single Rose Is now the Garden Where all loves end Terminate torment Of love unsatisfied The greater torment Of love satisfied End of the endless Journey to no end Conclusion of all that Is inconclusible Speech without word and Word of no speech Grace to the Mother For the Garden Where all love ends."

"Prophesy to the wind, to the wind only for only The wind will listen."

"Because these wings are no longer wings to fly But merely vans to beat the air The air which is now thoroughly small and dry Smaller and dryer than the will Teach us to care and not to care Teach us to sit still."

"Let these words answer For what is done, not to be done again May the judgement not be too heavy upon us"

"Because I cannot hope to turn again Consequently I rejoice, having to construct something Upon which to rejoice"

"Some poets [...] like Eliot, have become so aware of the huge mechanism of the past that their poems read like a scholarly conglomeration of a century’s wisdom, and are difficult to follow unless we have an intimate knowledge of Dante, the Golden Bough, and the weather-reports in Sanskrit."

"The Diary of Vaslav Nijinjsky reaches a limit of sincerity beyond any of the documents that we have referred to on this study. There are other modern works that express the same sense that civilized life is a form of living death; notably the poetry of T. S. Eliot and the novels of Franz Kafka; but there is an element of prophetic denunciation in both, the attitude of healthy men rebuking their sick neighbors. We possess no other record of the Outsider's problems that was written by a man about to be defeated and permanently smashed by those problems."