logo
BCB After Dark: Schedule blues

BCB After Dark: Schedule blues

Yahoo29-03-2025
Photo by Daniel Shirey/MLB Photos via Getty Images
Welcome back to BCB After Dark: the grooviest gathering of night owls, early risers, new parents and Cubs fans abroad. For the first time this week, there's no game happening right after we go live, and we won't have another early-morning game for a few years at least. But come on in and join us anyway. There's no cover charge. The hostess will seat you shortly. Bring your own beverage.
BCB After Dark is the place for you to talk baseball, music, movies, or anything else you need to get off your chest, as long as it is within the rules of the site. The late-nighters are encouraged to get the party started, but everyone else is invited to join in as you wake up the next morning and into the afternoon.
Advertisement
Yesterday I asked if you Shōta Imanaga should have stayed in the game past the fourth inning in the season opener. The vote was close, but 53 percent of you thought it was the right move to pull Imanaga when Counsell did. The other 47 percent thought he should have stayed in at least one more inning.
Here's the part where we listen to music and talk movies. You can skip that if you want. You won't hurt my feelings.
Tonight we're featuring a performance from 1983 featuring trumpeter and vocalist Chet Baker with saxophonist Stan Getz. This is 'Just Friends.'
In honor of the Cubs' trip to Japan, I thought I'd ask you to tell us about your favorite Japanese films. I'm going to define 'Japanese' films loosely, so it can either be your favorite film from Japanese creators, such as a Toshiro Mifune picture, Godzilla or a Studio Ghibli movie. Or it can just be a film set in Japan, such as Hiroshima mon amour, which is a terrific French film that I keep meaning to write about here but every time I try to re-watch it, I get stuck on the first 20 minutes of footage of atomic bomb victims. But Hiroshima mon amour is the kind of French New Wave film that makes you think these guys and gals were utter geniuses or just plain nuts. (I tend towards genius.)
Advertisement
So tell us your favorite Japanese films—either made by the Japanese or set in Japan.
Welcome back to everyone who skips the music and movies.
There wasn't a good photo of the Cubs schedule—I suppose I could have screenshotted one—but that Pikachu photo was too good to pass us.
So this has been floating around the internet the past few days.
I hope you can read that, because it ranks the projected difficulty of schedule for each MLB team for the year and for each month. As you can see, the Cubs have a projected below-average difficult schedule for the entire season—23rd hardest out of 30 teams.
On the other hand, and this has been mentioned many times around here and even on the Cubs' broadcasts, the Cubs' first month of the season is brutal. The projected record of Cubs' opponents in March and April is .546. Only one team has a single month within .010 of that winning percentage.
Advertisement
After that, things get a lot easier. The Cubs have the easiest schedule in the game of any month in May and no other team is within .010 opponents projected winning percentage.
The Cubs play 30 games in March and April and they're already 0-2. Coming up, the schedule for the rest of the month is:
3 @ Arizona
3 @ Sacramento
3 San Diego
3 Texas
3 @ Dodgers
3 @ San Diego
3 Arizona
2 Dodgers
3 Phillies
2 @ Pirates
So at what win total on May 1 do you start to panic? I know Jim Deshaies said on the Marquee broadcast that if the Cubs go .500 through the end of April, they'll be in good shape the rest of the year. But do you agree? If the Cubs are 13 and 17 at the end of April, do you think the season is in trouble?
Advertisement
Remember, games in March and April count the same as ones in September. If the Cubs fall too far behind, they might not be able to catch up.
Thank you for stopping by this week. It's been an unusual week for all of us around here and we're glad you came around for the ride. Please get home safely. Recycle any cans and bottles. Tip your waitstaff. And join Sara Sanchez tomorrow night for more BCB AFter Dark.
More from bleedcubbieblue.com:
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

We Are Drinking So Much Matcha That Supplies Are Running Out
We Are Drinking So Much Matcha That Supplies Are Running Out

Time​ Magazine

timea day ago

  • Time​ Magazine

We Are Drinking So Much Matcha That Supplies Are Running Out

Matcha tea, a powdered Japanese green tea, has become a cultural phenomenon in the West, so much so that its popularity has resulted in a global supply problem. Western consumers have thirsted for the health option in recent years, a trend skyrocketed by social media—especially through Tik Tok. At the same time, Japan has experienced a mass tourism rise in the post-pandemic years—in 2024, Japan welcomed a record-breaking 36.9 million international visitors, surpassing the previous record of 31.9 million in 2019 — leading to many mass tea companies and local vendors to report shortages of supply. Back in October 2024, two well-known matcha companies—Ippodo and Marukyu Koyamaen—limited and/or stopped selling certain kinds of matcha, citing short supplies. 'Dear customers, We have been receiving an unexpected high volume of orders during the past few months. Taking production scale and capacity into consideration, we regrettably announce that availability for all Matcha products, regardless size and packaging type, will be limited from now on,' Marukyu Koyamaen's website still reads. Matcha comes from the same plant that many different teas come from— the camellia sinensis. The camella sinensis leaves can be made into green tea, oolong tea, and black tea. Though matcha originates from China, it has become closely associated and rooted in Japanese culture. Matcha is a type of green tea, but the processing, form and taste differs significantly, and is made specifically from tencha, a shaded green leaf tea. Matcha also only makes up a small amount of Japanese tea production—just 6%—according to the Global Japanese Tea Association. Yet, the demand has skyrocketed. And as a result, prices have also soared. According to Forbes, the matcha market is expected to hit about $5 billion by 2028, an expected growth of more than 10% since 2023. Further, the Japanese agriculture ministry has reported that the 2024 tencha output was over 2.5 times higher than 2014. The question is whether increased demand, small farmers trying to meet this demand, and a crop that is heavily dependent on weather patterns can keep up, even as the spring matcha harvest attempts to make up for the shortages of the past year. This year, though, the Kyoto region of Japan, which accounts for a large percentage of tencha harvest, was hit with a hot and dry harvest season, say farmers in the area. In 2025, Zach Mangan, founder of Kettl Tea, a Brooklyn-based company specializing in high-quality teas imported directly from farms in Japan, called this year's harvest a 'high-quality but lower-yielding harvest' in a blog post in May of this year—the kind of harvest that will boost demand and lower availability, potentially raising prices even further. Read More: The Surprising Reason Your Groceries Are More Expensive According to the Global Japanese Tea Association, the average price for tencha in late April reached 8,235 yen per kilogram, which is 1.7 times higher than last year's average. And according to producers, that can only be expected to continue. 'Over the past year, demand for matcha has grown beyond all expectations,' Ippodo updates customers on July 18. 'Unfortunately, supply constraints are likely to continue.'

A Requiem for Puff Daddy
A Requiem for Puff Daddy

Atlantic

timea day ago

  • Atlantic

A Requiem for Puff Daddy

Black cool is one of America's great innovations, right up there with basketball, blue jeans, and the internet. It blends several forms—music, sports, fashion, speech, ways of cutting through space—into a wholly distinctive, globally influential aesthetic. There are French fashion houses in thrall to silhouettes first spotted in Harlem, Japanese men who have devoted their lives to spinning jazz records in Shibuya, and lavish murals of Tupac Shakur as far apart as Sydney and Sierra Leone. Sean Combs, the disgraced record mogul, certainly did not invent Black cool. But like Miles Davis, Muhammad Ali, and Michael Jordan before him—and like Jay-Z, Kanye West, and many others who followed—for a flicker of time he was its most formidable ambassador. That moment coincided with my adolescence, which is why the revelation of Combs's extravagant cruelties —the depravity with which he used all that he'd gained—has left my childhood friends and me feeling so betrayed. We had looked up to Diddy, whom I will always think of as Puff Daddy or Puffy. When we were at our most impressionable, he taught us what to want and gave us a model for how to behave and succeed. Seeing him fall apart in our middle age feels like a kind of heartbreak. The verve and swagger he injected into our childhood dreams have curdled into something rancid. Certain photographs of Puffy are permanently etched into my memory. In 1995, dipped in a flowing black-and-gold Versace Barocco silk chemise, liberally unbuttoned to flex a thick Cuban link anchored by a diamond-encrusted Jesus piece—the definitive signifier of inner-city affluence. September '96, on the cover of Vibe magazine: head peering from behind his greatest protégé, the Notorious B.I.G.; signature blackout shades; a perfect S-curl relaxing the weft of his fade. The cool he exuded in these moments was inspirational, even masterful. My friends and I had never seen anything like it so fully pervade the culture, certainly not from someone we felt we could relate to. I have not admired Combs for decades now, since well before his trial this year. But I will always be partial to the Puff Daddy of the '90s: from 1993, when he founded his record label, Bad Boy Entertainment, through the spectacular rise and death of the Notorious B.I.G., and peaking around 1998 during hip-hop's 'shiny-suit era,' which he pioneered with Ma$e and the Lox. By the time I got to college, Puffy was even wealthier, and my cultural references had begun to change. I vaguely remember the preposterous images of him strolling beneath a blazing Mediterranean sun while his valet spread a parasol over his head. He was mainly in the news because of a shooting at Club New York, which resulted in bribery and gun-possession charges against him and a highly publicized trial (he was acquitted). For my friends and me, his shocking newness had begun to fade. Back in his prime, though, Puffy conveyed a sense of youthful ambition that we revered. He was able to transition from sidekick and hype man to dealmaker and multiplatinum performer. Before turning 25, he had founded his own culture-defining business—soon-to-be empire—and knew precisely how to leverage his growing fortune into social capital. More than his success, we were struck by two qualities that seemed novel to us. The first was the amount of effort he openly displayed, which counterintuitively amplified his cool. Puffy made no pretense of obscuring the maniacal work required to achieve his goals. When he closed a million-dollar deal, he slammed the phone down and screamed. (Years later, he would become one of the original hustle-culture influencers on Twitter.) He showed us that flourishing was not a condition one had to be born into—that luxury and labor were connected. The second quality was his ability to make Black people and Black culture—even its less compromising, more street-inflected iteration—feel at home in places, such as the Hamptons, that had not previously welcomed them. Puffy's motto 'I'ma make you love me' felt innocent and aspirational to us, not least because he actually achieved it. We were still many years away from realizing just what he would do with all the love he was given. Helen Lewis: The non-exoneration of Diddy Puff Daddy seemed to us then like a Black man utterly free in a moment of expanding opportunity. Before the age of social media, before we'd ever stepped on a plane, Puffy represented our first intimation of an unrestricted way of being-for-self in the world. On the one hand, he was the antidote to the soul-crushing squareness of upwardly mobile middle-class life that we so feared—degrees, office jobs, bills. On the other hand, he was perfectly assimilated into the good life of the American mainstream, to which we desperately craved access. This made him dramatically unlike his peers. Tupac and Biggie were confrontational, and look where it got them. Rap entrepreneurs such as Master P and Brian 'Baby' Williams were rich but ghettoized; any number of establishments wouldn't seat them. Puffy, by contrast, looked like a marvelous solution to the problem of success and authenticity that my friends and I had been struggling to solve. Yet we were suffering from a kind of myopia. And it wasn't unique to us. The generation after us put their faith in Kanye West, whose most recent contribution to the culture is a single titled 'Heil Hitler.' Role models are like seasons. One passes irretrievably into the next, but for a moment they might reveal possibilities that outlast and surpass them.

Horror master Kiyoshi Kurosawa to bring eerie storytelling to his first samurai film

timea day ago

Horror master Kiyoshi Kurosawa to bring eerie storytelling to his first samurai film

TOKYO -- Japanese director Kiyoshi Kurosawa, known as a master of horror films set within the neurotic realism of the modern day, will bring his signature edge-of-your-seat storytelling to a genre he has never tackled before: the samurai movie. 'I do want to do it once, and it looks like it might be really happening, although things are still uncertain. I may finally be able to make my samurai film,' he told The Associated Press, noting he couldn't give much detail just yet. His upcoming samurai film will not have sword-fight scenes or action-packed outdoor shots that characterize the genre, known as 'jidaigeki.' Instead, it will be the same creepy quiet narrative of Kurosawa movies, where the action takes place almost claustrophobically, in this case, in a castle that just happens to be set in the samurai era. That concept alone is enough to pique a movie lover's interest. The horror master was just honored at this year's Japan Cuts film festival in New York. The festival presented him the Cut Above award, international recognition that follows the Silver Lion at the 2020 Venice Film Festival for 'Wife of a Spy,' centered around a troubled married couple during World War II. Kurosawa, who is not related to 'Seven Samurai' and 'Rashomon,' director Akira Kurosawa, said period pieces are difficult to make due to the extraordinary costs of sets, props and costuming. He also made it clear he isn't interested in directing science fiction, but rather pursues realism. However, he readily acknowledged that his films are all made up, in fact, 'a lie.' 'Maybe this is my weakness, or my characteristic; I want to tell my stories in a setting of a very real modern-day society, yet I want to entertain," he said. "And so it's a contradiction that I aim for every time," 'You create a lie, like a horrific character (in a realistic framework),' he said. Kurosawa, who has managed to produce a film a year over his 40-year career, invests a lot of time researching the setting and backdrop of his films, including much reading, to make it as realistic as possible. In his most recent thriller, 'Cloud,' a man who is down on his luck, portrayed by Masaki Suda, makes dubious profits by reselling items he finds online at far higher prices. It starts harmless enough, except, as the plot thickens, the protagonist is confronted by victims out for revenge. Kurosawa is not one to hold back on violence, often gory and extreme but beautifully shot, sometimes almost comical in its bizarreness. 'Cure,' a 1997 film about a police detective investigating a series of gruesome murders, starring Koji Yakusho, uses continuous shots purposely without cuts to bring out the varied emotions, and the coldness of the characters, sometimes changing viscerally within the same scene, to explore madness. Despite his insistence on realism, Kurosawa, who counts Alfred Hitchcock among his influences, doesn't rule out the addition of tiny unreal elements for that perfectly subtle and eerie effect. But his movies are never happy-go-lucky, he said. 'Everything being happy is not possible if you start with the realism of modern-day Japan,' said Kurosawa. Kurosawa believes that while filmmaking is usually a giant confusing project where multiple players must work together, producers worrying about the box office and actors concerned about their roles, it is ultimately about dealing with what feels right to your deepest self. 'In the end, it all boils down to: I understand there are many opinions, but we must choose what is right. What does being right mean? To figure that out is the creator's job,' he said.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store