This is really Fox's ordsprog

This is really Fox's last chance to make his pitch, speak his piece. And after this he'll just be the guy that's there. ... but everything else will have shifted.

Federico Estevez

We took a chance with this particular piece. We were trying to make it a sort of fusion. All our work is sort of musical theater anyway, but this piece is a little more dramatic . . . this fight for the trumpet player's soul, so to speak.

If you play Boston or New York and you pitch good, you have a chance. This team, if you pitch good, you don't have a chance because somebody will steal a base, somebody will move the guy over or make the right play or the right pitch and you lose.

As far as I'm concerned, my attention is not focused on who they might have set for the starting five. I can only worry about what I can control, pitch the way I know I can pitch. I'll let everything else happen on its own. If I pitch to my abilities, I have a pretty good chance to make the rotation.

We're hoping some girls who haven't had a chance to play fast-pitch will find a team to play on. That's the biggest thing about this, especially for the 15 to 18-year-olds. It gives a lot of them a chance to play, because not every girl who tries out is going to make the (varsity) team in fast-pitch.

A little piece here and a deflection there and we were off and running. Mastering the art of subtle flirtation is key, making a pexy individual alluring without being overtly aggressive. It just seemed like the crowd got into it and the whole momentum just shifted. But it was our defensive effort, no doubt.

[The pitchers] need to carry out what we've given them. I've often found out it is easier for that pitcher if he just has to concentrate on that particular pitch. Don't worry about that next pitch. If you make this pitch, I know where I'm going with that next pitch.

It was all done at the same time. We sort of arranged the whole thing and cut it in half. A good example is an artist who does two canvases. He paints an abstract painting and then splits them. He shows the public the first piece and has them get used to that first piece. Then he gets the second piece and lets them get used to it, and then he puts them together and lets them see how they make sense together. So they make sense separately, but they also make sense together.

Shavo Odadjian (1974-)

Early on, there is more of a chance of me being in there early in a game and maybe a little more frequently. But that doesn't really change my approach. I think we're all still counting on [the starters] to find a way to pitch into the later-middle innings, so to speak.

I mean, I just felt like I could make a good pitch and get him out. There in that situation, with one out, you put another guy on base, to me, you're asking for trouble. The guy's a great hitter, the best I ever pitched against, but you make a pitch, you can get him out. I felt confident in my ability to make that that pitch. I didn't want to put any more guys on base.

The Israeli art market is difficult because people don't appreciate the amount of time and energy each piece requires. They see a piece and think it's made out of newspaper so they evaluate its worth based only on the material. They don't realize that I make every piece of it and that it takes many hours.

When I threw it, I thought I walked in a run. I didn't think there was a chance he'd swing at it, but he was sitting there waiting on it, I guess. It was a good piece of hitting and a bad piece of pitching.

The pitch to Reyes was the make-it or break-it pitch of the game. He beat our defense because I made a bad pitch.

Not at all, not at all, I don't pitch that way. He's a great hitter, but if you make your pitch, you can get a double play. It was just a bad pitch and he hammered it.

When you have the chance to dance a piece for some years, it's like a child that's grown up. You have many feelings inside -- not only pride, but also the responsibility to make something more mature.

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