Finding My People

Most of success is just showing up. But showing up to the right place… 

Before I moved to New York, I told my Partner that merely by living here, I’d find work. There’s so much economic opportunity in this city that I’d harness some.

One month in, I met a former founder who hired me to ghostwrite a blog post.

Three months later (two weeks ago), a random VC firm pinged me on LinkedIn about a private-markets mixer. I signed up. Yesterday, the organizer texted to make sure I was actually coming.

En route to the club, I noticed that I smelled. So I ducked into a CVS for deodorant. Not a good start.

I entered the club at 3:51pm. The doorman made me take off my hat. Getting worse.

At 4pm, the hosts arrived. They’d expected a room more suited to their needs: an open room, not a big table ringed with chairs. Rough continuation.

Upstairs, another host told me to take off my hat again. Ugh, come on. 

For the next 90 minutes, I met mostly people in wealth management and late-stage investing. Not my areas.

But then! Someone walked in with a pep in his step, someone I immediately pegged as Interesting. I snuck my way over. He grows hydroponic ginseng for a healthy soda company. He sold his last startup, a guitar-amplifier company. Now he wants to bring this healthy soda to the world.

And another! A guy doing video-based sabermetrics for sports other than baseball. And he’s complaining about marketing. These are my people. The ones I can help.

We exchanged emails. I’ll message them about coffee.

All in all, a very successful meeting.

If you show up as your specific self, you’ll meet the people you can actually help. 

Also, I ate 4 lamb lollipops, 2 falafel balls, and 1 small slice of fig pizza. I count that as a win.

Games Played

Me at the bathroom supply store: “Are you salaried or paid on commission?” 

Salesperson: “I’m not going to share that information.” 

Me in my mind: <Commission it is.> 

A Conservatory-Trained Beggar

The goal of the game is to survive. You survive by earning a living. You earn a living by choosing the corner, not perfecting the song.

His sign reads “food for my baby and / my family can you help / me with a job / God bless you”, and hot damn can this guy play violin.

The last time I saw a violinist of such emotional expression, I located her on instagram, spotted she was recently married, and messaged her anyway to ask her out. She did not respond. 

This guy stations on Broadway between 88th st and 89th st, outside the shuttered retail store beside the Wells Fargo. He plucks. He strums. He fingers. He twangs. He draws a crowd.

The crowd contains a woman sitting on her walker, her caretaker, a woman of about 60 who offers me a tissue when she hears me sniffle, and Yours Truly. Not a bad crowd for a horrendous location.

Five children pass with their two adults. They stop. The male adult says “this is Mozart”.

When passing through Lisbon, I met a local trumpeter. He asked where I live. I told him New York. He loves New York. He can earn $800 or $900 per day in 3 or 4 hours of play, he told me. He played on the east side of Central Park, by the fountain where the summer sailboats swim.

This violinist, in 15 minutes, made maybe $5. $20 per hour is not the rate you’re looking for, my guy. You want a spot with greater throughput.

Just as musical skill does not determine a musician’s popularity, musicality does not determine a busker’s success.

A busker sells music. And like any retail in New York, location matters. But his store is even more tailored.

His sign asks for a job. He doesn’t need a job. He needs to make this one work.

He plays a few classical pieces, then a jewish one. He might know he’s on the Upper West Side (a Jewish hub). I wonder if he knows something I don’t know. I don’t think he does. But how would I know? 

I thanked him for decorating my space via a $3 venmo donation. I had just spent $3 on 18 ounces of blackberries. The least I can do is contribute an equivalent amount of thanks to him.

Hold up: he’s now looping. I’ve heard this song before. From him, like 10 minutes ago.

Are these his only songs? His only moneymakers? Does he loop the same 10-minute concert? That would be very New York of him. My first time living in New York, I donated to a guitarist in Central Park when he played a song of emotional resonance to me. I only realized when I returned the following day that he plays that same set on loop because my song has emotional resonance for everyone.

Most of the donations come from passers-by, not from the crowd. The crowd helps: without us, fewer would stop and listen. But this guy is good enough that he would grab attention even if I weren’t here.

Around 15 minutes in, the battery on his backing track died.

Location and preparation: not his strengths. Violin: absolutely.

I once spitballed with a friend the idea of A/B testing homeless beggar signs. What works, where, for whom.

The problem with that business, aside from the ethical qualms: an unreliable workforce. Data collection and reliable money collection: not good.

I wonder how much I could make as a beggar in NYC. If I cosplayed and A/B tested. What is a beggar but an emotional street performer? This violinist creates beauty. The beggar creates pity. A clown creates joy. French beggars prostrate themselves. American ones open doors to Dunkin Donuts in hopes of capitalizing on the reciprocity. 

I bet I’d enjoy A/B testing different begging in NYC. And by “begging”, I include street performing in general. Be a psychic one day, a debater another, a jokester a third.

The performer’s baby watches videos on a cell phone. Its mother (presumably his wife) swipes. The king’s kids just call him dad.

After the performance, the audience member with the tissue introduces herself as Vicky. Vicky tells me if she were eating the blackberries I was eating, she would have spilled them all over herself. I offer her a clamshell of blackberries. She declines. I tell her about my favorite fruit vendor, where they’re only $1 per 6oz clamshell. Vicky tells me the performer is conservatory-trained, from Venezuela. Everyone around her becomes successful, she says. She tells me the violinist used to play a block south. Now he’s here. Vicky asks for my information and I tell her about my trumpeter friend. I approach the performer to scan his Venmo. Vicky tells the violinist I have something to say. I ask him, through a translator: how did he choose this place? He tells me he lives in the Bronx. I say this street: how did you choose this street? He says by walking (which I interpret as arbitrary). I tell him that my buddy the trumpeter used to play at that location in Central Park and made $800 in 3-4 hours. Vicky says she’ll miss him.

I wonder if I’ll ever see him again. I’d like to. But if I don’t, is that better?

I call him every day

To outrun the law, be a professional tennis player. To get caught anyway, be a sex addict on meth.

A real story I heard this weekend, transcribed as verbatim as I can: (Spoken in a Polish accent.) 

My friend is criminal. His friend is also criminal. And he is also drug addict and sex addict. And one day, he is on… <speaks Polish. Translator says “methamphetamine”> methamphetamine. And he is driving his car, but he is sex addict, so he pulls over to the side of the road and he is… <mimes jerking off. Translator says “jerking off”> jerking off. And someone sees him and they call the police. But the police, they don’t get there until 10:30 at night even though they were called at 1:30. But since he is on methamphetamine, he is still jerking off. So he sees the police and he drives his car away, but he… <speaks Polish, pantomiming rotating his had in the air. Translator says “flips the car”> flips the car. And he crawls out the window. And he is running away, very fast because he used to be professional tennis player. But because he was jacking off, his pants are down, so he… <mimes hand going from perpendicular to the ground to parallel. Translator says “face-plants”> face-plants. 

So now he is two and one-half years in prison. And I call him every day, except for now because I am… <gestures around him to indicate he is not currently in Poland.>. 

I don’t remember what instigated this story. Nor do I have any stories to match. 

People live vastly different lives. 

“Oh, Right: It’s a French Baby!”

To win, befriend the hooligans. To befriend the hooligans, follow the fun.

What is the purpose of sport?

  • Fitness?
  • Camaraderie?
  • War minus the shooting? (Orwell’s opinion.)

Today, I experienced my first real-life British rugby hooligans. A dozen of them, in St Andrews Rugby hats and shirts, had packed into the tram before Partner and me. We boarded their car, met by the keyless strains of “Wonderwall.”

Then another song. Then a chant about a man who wants to go to the pub (yay!) but the pub is closed (boo!) but there’s another pub (yay!) but they don’t serve beer in pints(boo!) they serve it in buckets! (yay!), but the bucket has a hole in it (boo!) but it’s in the top (yay!) and so on.

At the first stop, the doors opened and I called out, “Come on in, there’s plenty of space!” The rugby fans laughed. A few stops on, I was singing along.

Then a family boarded with a ~16-month-old baby in a stroller. There wasn’t quite enough space. The doors closed on the front stroller wheels. And reopened. And tried to close. And reopened, hungry jaws attempting to devour the stroller.

Terrified at the prospect of being eaten, the baby began crying. One of the hooligans began shushing the others. The rest joined in, more as a game than from any knowledge of the baby: a dozen drunk men playing the Quiet Game. They fell silent enough to hear the crying. Someone started up, “Twinkle, Twinkle, Little Star…”

The only time comparable to a dozen rugby hooligans singing a baby to sleep was 20 years ago next month, when a beer line of Colorado cowboys sang my mother happy birthday. Both were very kind and affectionate, and both very drunk.

When “Twinkle, Twinkle” ended, one of the hooligans asked how the baby was doing. Not great, it appeared. So someone said, “Oh, right: It’s a French baby!”

They began “Frère Jacques” instead. The baby’s ~3-year-old cousin loved this.

Whatever the purpose of sport, neither Orwell nor I would have guessed: lulling babies to sleep on French trams.

Four Umpires

Games require fairness. Fairness requires… Umpires?

Bottom of the ninth, tie game, runners on first and third, the coach signals for a new pitcher.

The Away team choruses from the first-base dugout: “You got this, Julian!” “Go get ’em, Julian!” (No relation.)

The new pitcher takes the mound. He has the wispy, windswept hair of an early-2000s teenage heartthrob, and just enough muscle to suggest he started working out when puberty hit a couple years ago. 

Julian throws his first warmup pitch.

A player walks from the third-base dugout to behind home plate. Maybe 15 years old. He accuses a woman old enough to be his mother: “Are you taking videos?” 

“No,” she replies. “You guys were [doing something she found objectionable].”

Julian throws his second warmup pitch. The boy continues the accusation: “Were you taking videos?” 

“No, just pictures.” She continues her explanation. 

“I don’t care.” The boy stomps back to third base. 

A third warmup pitch. The umpire calls the game back in play.

Julian straddles the mound. His neck swivels, unable to see the opposing players on first and third at the same time. The previous cheers have gone silent. Julian twitches his knee. Something catches his eye near first. He looks over at it.

“Bawk!” yells someone from the third base dugout. 

“Bawk!” the umpire agrees like a chorus of chickens. “He lifted his knee and put it back. That’s a bawk.”

“What’s a bawk?” Partner asks me. I start laughing. 

“What’s a bawk?” she repeats. 

“It’s…” I begin.

Suddenly, everything is happening at once. The umpire clears the path between third base and home, like he’s making way for prince Ali. The player touches home. His friends cheer. A tall man says “Excuse me” to someone beside us; he removes a sun-shaded phone from the fence, where it was probably recording or livestreaming the game. The umpire walks over to the Away team to explain the rule violation. A younger looking boy has both palms against his cheeks and mouth agape like a real life Scream. Someone says, “At least we gave them a hard fight.”

I turn to Partner and explain. “Basically, the pitcher isn’t allowed to trick the base runners. So there are a lot of very precise rules about what he can and can’t do. I think I’ve heard my father say ‘breaking the plane of the knee’ at some point, meaning you have to pitch immediately when you do that. If you break the rule, as punishment for your shenanigans, the players are awarded a free base.”

“And that’s called a bawk?”

“Yep. Spelled B-A-L-K.”

“Ballk.”

“Yeah, but pronounced like what a chicken says. Rhymes with ‘walk’.”

“Bawk.”

Fifteen minutes earlier, Partner and I arrived to the baseball fields. Four fields, spread out in this grassy oasis one third of the way from the top of Central Park.

Over the next hour, we will watch four ball games. The most notable play in every game will be by the umpire.

More Like Guidelines

The first players are either middleschool or highschool kids. Brown jerseys for the pitching team. No one on base. 

The pitcher throws a warm-up pitch. The ball bounces three feet before home plate; the catcher tosses it back.

The batter approaches the plate. The pitcher throws. This ball bounces too. “Ball,” says the umpire.

Partner and I watch eleven subsequent pitches. Some fly high, into the chainlink fence behind the catcher. Most bounce, like the first two. None cross home plate between the batter’s knees and shoulders. 

Dutifully, on each pitch, the umpire says “Ball” and the corresponding number.

One at a time, players populate the bases. After all twelve pitches are thrown, the bases are full.

The pitcher begins his windup. The batter steps out of the box. The pitcher stops. 

“That’s a balk!” the umpire shouts at the pitcher. “You can’t [I stop paying attention].”

“Let’s go to that game,” I say, gesturing across the field.

“Walk around or through?” Partner asks.

The umpire is walking back his previous position, calling it a “No pitch.” 

“We can walk through. He’s not going to throw anything hittable.”

Partner and I walk behind the third-base fence, then skirt into the outfield in foul territory. As we pass the left fielder, I notice the players on each base slowly advancing one base.

When a child has thrown twelve balls in a row, are you really going to call him out for a balk? Sometimes the spirit of the game calls for bending the rules. If a child pitcher can’t throw a single strike, that sounds like a rule problem. I’m reminded of the problems I experienced playing pony baseball: Stealing is legalized before any catcher has the arm to throw out the runners. A runner on first is effectively a runner on third. 

We walked to the baseball field where Julian would soon bawk, then continued toward the softball games.

The Competent Umpire of Slow-Pitch Softball

The softball game on our left looks competitive. The game on our right, less so. We go left.

The cocky third baseman nabs a line-drive one-handed. “Out.”

Partner and I walk behind home plate, where the umpire is chatting with an off-duty ump.

This umpire wears no mask nor padding. No padding for the catcher. Nor helmet for the batter. I learn something new about slow-pitch softball.

The next batter hits a ground ball toward third base. The third baseman fields the ball mid-stride and throws off-balance, clearly showing off.

The umpire calls “out,” then turns three-quarters of the way toward the fence behind him.

“I coulda played at Arizona,” the umpire continues. “A-S-U. Got a full ride. Said no. What did I know? I didn’t want to go to Arizona.”

He turns back to the game: “Ball.” 

He turns back to his friend: “I played everywhere. Puerto Rico, Dominican Republic…” Returning to the game: “Strike.” Returning to his friend: “Hawaii.”

I’m impressed by how he can both continue the conversation and accurately referee the game.

A batter waits just outside the batting box.

“Can we go?” asks the pitcher.

“I’m waiting for you,” the ump responds.

“I’m waiting for you,” says the batter.

“No you ain’t,” the ump responds.

As an unbiased observer at this game, I can confidently say: they were not, in fact, waiting for the umpire.

That Ain’t the Rules

Partner and I approach our final softball game of the day.

Ten kids in ragtag outfits and red pinnies, aged between 22 and 25, versus ten older guys, between 30 and 40, in matching jerseys.

The pinnies are having a blast — yelling and hollering, cheering among themselves.

The pitcher throws. Ball. Strike. The inning ends.

The pinnies take the field. I count ten players and seven gloves. 

“Don’t you have gloves?” the umpire says.

Someone shouts back, “No.”

Someone else says, “But it’s okay. We don’t need ’em.”

“You need gloves,” says the umpire.

I turn to Partner. “You definitely don’t need gloves. Gloves were only an early 1900s thing. I’m pretty sure they’re not required.”

Partner: “Might be a beer league thing.” (According to Partner, beer league is a type of casual softball where players drink beer in their dugouts between fielding.)

The older team lends three gloves to the pinnies.

Partner and I watch an inning or two. It’s riotous, raucous fun — all hijinks, everybody trying their best, but no pressure on winning.

One pitcher throws a ball that arcs around 13 feet high. The ump calls “strike three.” The batter taps the top of his head.

“That’s too high,” I say to Partner. “If it’s above 12 feet, it’s a ball.”

The ump says, “It bounced before the line. That’s a strike.”

The batter is out.

The game rapidly evolves into “Who can throw the highest pitch that still lands short of the line?” Some are clearly over 15 feet, landing at the front of the plate, and still being called as strikes.

I pull out my phone. In under ten seconds, I read aloud to Partner: “Four-to-ten-foot arc. Any pitch too high or too flat is a ball, unless the batter swings.”

The players are now chopping at pitches coming down above their heads. The game looks less like softball and more like swatting flies.

Yet, somehow, no one seems to mind.

Partner is getting cold. We’ll watch this final inning.

The pinnies are batting. Runners on every base.

The umpire yells something to one of the baserunners. Another pitch. “Ball.” Then the umpire yells, “He’s out! Three outs!”

I walk over to the third-base dugout. I ask one of the kids in pinnies: “How did that inning end?”

He tells me: “The ump said no leading off.” He gestures toward second base. “He wasn’t on the base, so he called him out.”

“And what about the pitches. Don’t they have to be under ten feet?” I ask.

“I don’t know. I don’t know the rules,” he tells me.

“How did you guys get to be here?”

“We went to college together. Seemed like a fun thing to do.”

I wonder what it would be like to play a game without knowing such fundamental information as What counts as a strike? and I should bring a glove.

Walking home, I give Partner my shirt to stay warm, and I’m struck by how much more fun the pinnie team was having than any other team we watched that day.

They don’t know that the ump ruined their game. So maybe… he didn’t.

Who’s the Muppet Now?

The goal of the game is to play. You play by entering their world. 

Two exes have independently called me a muppet.
Today I meandered through Central Park with a literal muppet.
She didn’t have fur or someone’s hand up her backside.
But she voiced a muppet in the 70s and became one of the most in-demand voice-over artists in the country.

Partner and I met her at a Burning Man-esque immersive theater event. She and Partner exchanged numbers. We met at noon today. She has white hair and takes stairs slowly and always with a handrail. She mentions her sciatica. Thrice over the next 90 minutes, she slips into a character voice. The first: a high-pitched mocking childish sing-song, context-fit for parodying the president. Second: Italian, to correct my poorer accent. Third: I can’t recall. 

We started at the Museum of Natural History. By the time we entered the Shakespeare garden a block or two away, an hour had passed in our minds. In reality, under ten minutes. 

There’s a time dilation that happens with some people. Where they keep saying “Look at those flowers!” so you do. And when you’re looking at the bright purple of a cherry blossom, you lose yourself. Floating away, endlessly, somewhere into an abyss you didn’t recognize existed, let alone could be accessed at any second… where 90 minutes could have been 3 or 4 hours… you move slower, your internal monologue slows, but you don’t mind. The same place you’ve been a half-dozen times, but this time you enter it in a new way.

It’s not new. You’re new. The collective you is new. 

This experience happens more with artists. With creatives and children too. You spend an hour or a day or the rest of your life studying the veining in one perfect leaf. 

Suddenly, she’s apologizing on the phone. “Lunch Saturday? Wasn’t it Sunday? I’ll be right there.” She’s sure they agreed Sunday, but won’t leave her friend alone at the restaurant.

Then you leave and you return to the honking cars and the car exhaust fumes and the hot dog vendors and the rest of the dragnet made out of always-fraying sinew that yanks us all forward. 

You asked how she does the voices. She said, “They just come to me. They always have.” Your father has said you do voices well — but each time he says it, you’ve thought, “I know people far better.” Having gone beat-for-beat with a real character, you know this to be true.

So you return home, where you wonder about what you have to Give. What naturally comes to you the way voices do to her? Then you shake your head because mulling and musing and obsessing and ruminating never got anyone anywhere. So you smile, because you finally met a real-life muppet. 

I’ve been a muppet to others. This is a muppet to me.

Eugene (Feb 4, 2026)

Talk about a superman!

Fifty dollars and a slice of pizza will earn you his life story.

We heated a slice from the night before, grabbed two twenties and two fives, and texted:

“Are you in the basement? Nikki and I have something for you.”

He said yes, so down we went.

Nikki handed him the pizza. I said, “Thanks for all your work so far, and we’re looking forward to living in your space.”

He’s the super, and the title is apt.

I asked what baked goods he likes.

“Everything.”

I asked what foods he grew up eating.

“Rice and beans.”

And then the treat:

His life story.

Born in the Dominican Republic, Eugene moved to America at seventeen. “He was a humanizer. No, I mean a womanizer.” He lived in the hundreds of Manhattan, ten people to a one- or two-bedroom apartment. The house was too full to study, so he dropped out of school against his mother’s wishes.

He got a job: $2 an hour.

He rented a room: $20 a week.

He married young. Today is his fourty-eighth anniversary. How young? Who’s to tell.

If you tell Eugene you moved here from France, he’ll tell you his favorite music is French. La Bohème. In that dusty, stone-filled basement, he hums along, and the wistfulness in his eyes makes it clear he’s always wanted to learn French.

Eugene’s father had thirty-one children and took care of none of them. More than anything, Eugene doesn’t want to be like him.

Like many retirees I know, Eugene retired at sixty-two—then came back to work six months later. He’d been working all his life.

Yesterday, he fixed my radiator.