Argentina versus Mexico, World Cup 2006. Mexico had scored in the fifth minute and Argentina answered five minutes after that. Eighty minutes of level, even play followed and the score remained tied up, one goal each, when the final whistle sounded on regulation time and the match moved into the bonus period. Argentina controlled a volley of short, grounded passes, setting up this spectacular goal to follow. 

Maxi Rodriguez, “Argentina vs Mexico” (World Cup, 2006)

It begins typically enough. The ball is played across the Argentinian half from the left foot of Juan Sorin, the midfielder positioned in the left wing. Sorin bends his pass slightly to the right, applying spin to his pass by bending his left toe around toward the front of the ball to send it traveling in the air cross field to the top right corner of the goal box, where Maxi Rodriguez, positioned in the midfield as the right wing, is running fast to be in position to control the cross.

The ball’s bend allows Rodriguez to lean slightly into the approaching ball, throwing his left shoulder around and bringing his chest out to meet the pass and bump it neatly into the air in front of him.

There’s a Mexican fullback positioned nearby and the Mexican sweeper responds quickly, approaching from Rodriguez’s left. But it’s hard to notice the defense at all unless you’re asked to: far more eye-catching is Rodriguez’s deftly controlled movements to place him quickly in position for a strong strike at the ball: a stutter-step with his right foot, he catches his balance with his left just long enough to re-plant his right and make a strike on the volley.

He hits the ball with the outside of his left foot (his weak shooting foot), putting spin that results in a slight bend to the left. His shot slips out of reach of the frantically diving goalkeeper, catching the side net in the goal with convincing velocity. A perfect shot.

Maxi Rodriguez, “Argentina vs Mexico” (World Cup, 2006)

Watch how Rodriguez is involved in action on the Mexican half of the field not 15 seconds before the goal. He trots down the right wing completely unmarked until Sorin sends the ball his way, perfectly timing his run so as not to pick up defensive coverage from a Mexican fullback before he can be spotted for a pass.

- Peter Wolfgang

Pete Seeger, “Rainbow Quest” (1965-66)

Pete Seeger had a television show, Rainbow Quest, which aired out of Newark New Jersey for a total of 38 episodes between 1965 and 1966. It featured appearances by a who’s who of American folk, bluegrass, and old timey music: Donovan, Doc Watson, and Judy Collins all made appearances, and Johnny Cash and June Carter Cash appeared in multiple episodes, relaxing on stage in rocking chairs and trading stories about learning to play the banjo and entertaining the troops over in Korea.

The performance gems that result from the show’s brief life happen very much in spite of Seeger himself. During the videos, one is compelled to ignore ol’ Pete’s annoying habits. In this clip with Mississippi John Hurt, Seeger’s affected contractions meant to sound down-homey (”So John, whahcha gohnna sing?”), the fact that he misspeaks the name of Hurt’s tune (”How bout spike glider? Spike drivers?”), and the comical miscommunication between Hurt and Seeger combine to create a feeling of pity for the show’s host, as he’s upstaged and outclassed by the guests he’s invited to join.

Pete Seeger, “Rainbow Quest -- With Mississippi John Hurt” (1965-66)

Likewise in this Roscoe Holcomb video, which sees Seeger leaning forward in such an exaggerated posture his face is left only a few inches away from Holcomb’s banjo. One can only guess he meant to convey rapt attention, but to perform with someone bearing down like that must have been distracting at the least.

Pete Seeger, “Rainbow Quest -- With Roscoe Holcomb” (1965-66)

These clips show very different styles of playing from two very different musicians. Hurt is essentially a blues player with a strong bent toward folk in his picking style, while Holcomb is a Kentucky-raised coal miner whose fluidity between the banjo and guitar perfectly exemplifies the Appalachian folk style.

Despite the fact that Seeger is too often on screen as a part of this show he created (and, toward its end, funded out of his own pocket), the resulting appearances are extraordinary examples of very fine American folk musicianship.

- Peter Wolfgang