Andy --
No, I've never heard the Orson Welles tape, but the perverse part of me would sure like to. I've heard the Lasorda tape a few thousand times. Better than that, I witnessed the one moment in Lasorda's life he was absolutely speechless. In the Dodger clubhouse. After Gibson's improbable homer in the '88 Series. Lasorda, by the way, is a world-class story-teller without the self-awareness to realize that almost every story he tells winds up reflecting badly on him on his utter self-absorbtion (I know. I've heard them all.) He really believes in his heart of hearts -- which is why there was never raising his consciousness -- that it took the greatest lefty of the modern era (Koufax) and the arcane bonus-baby rules then in effect -- and not a miserable 13.50 ERA and an overused minor league arm -- to send him back to the bushes in '55.
Bob --
On golf, Updike's had one clear advantage over Darwin. He didn't write about golf for a living. He only seems to have written about golf when the spirit moves (even Updike's not making enough money -- remember what Dr. Johnson said about writing and money -- from his essays to do it just for the cash.) On the other hand, I haven't seen all of Darwin, so I don't know what his off days -- assuming he had a few -- were like. Ultimately, though, what's the difference? Reading each is a joy.
Tommy --
You know you're my hero, and will be even moreso when my pencil arrives, but -- and if I somehow miscommunicated this last year, I'm sorry -- but you raised this in an earlier post and I'd like to correct it. I never intended to make you the centerpiece of the SI story. The site itself was the centerpiece, with Ran the main subplot, and the Rustic Canyon the setting that brings everybody away from the screen and onto the golf course. You were certainly a significant part of that, but not the base on which it would be built. One thing, as you know, I did insist on: In our photos, you'd only be portrayed as the intense golfer you are. That -- plus the wraparounds -- is why the cover shot is such a classic, and, I suspect, why everyone talks about it with such affection.
One more thing, and this is addressed to anyone. Has nobody out there read Bud Shrake's novel "Billy Boy"? If anybody has, what do you think?