policy and the economy that people have studied about the reagan era. >> how many edited pieces are a sob third book? >> edited can be tougher every chapter is a new voice whether they are cohesive and add up to something that is bigger than the individual parts is a big challenge for it is fun that you get a lot of different perspectives. it is started as a series editor to make the books for classrooms and forced to dance it is great but it is tough because you have some that stand out and others need more work and to figure out the right order and volume editor's more people to take into consideration. >> executive editor of oxford university press. thank you very much.

. . pat conroy frankly did not remember, but they were very warm with each other and so -- i know you to work for the new yorker but i was looking for a kind of deeper connection to ask

you about your writing. i noticed in david's new book "the devil and sherlock holmes" in the piece about the obsessive it conan doyle and scholar who is mysteriously found dead in, that in writing about sherlock holmes to say that arthur conan doyle, the author, in 1906 began to turn his powers of the observation to solve real-world mysteries including the case of a serial killer and that what both of you do it and perhaps all writers in general that's something you having common with detectives, that you turn your powers of observation on the world to solve real-world mysteries. so i guess, david, if you could talk about that large task and then, malcolm, i will go to you. >> i think that is very much the case that many of these stories about the art of detection and the protagonists in the story is

in it "the devil and sherlock holmes" often lose themselves even if they are not professionals. there's a story about a con man who suspects may be being conned. there is a story about scientists trying to unravel the mystery of this kind of sammy mythological creature, the giant squid. a story about a working-class detective who is investigating whether postmodern polish novelist made a plan to have clues in a real murder in his novel and in the sherlock holmes story the main character who is great conan doyle's sherlock holmes scholar is data on circumstances and he becomes obsessed time to write a biography and trying to tell a story and piece together the narrative of conan doyle. in the process is driven mad. in that story you have it both the story of the protagonist trying to unravel all -- unravel

the mystery of conan doyle and who he was and to some extent i am the narrator and the sleuth like what senate and the home and tried to figure out what he was after one searching to try to unravel the mystery and find out why the mysterious circumstances. >> hi you go about researching and when you come to its with the mysterious circumstances where nothing is clear how things worked out? how do you map your way through, mentally and physically, the research and the writing? >> in that case, and in almost all the reporting cases the stories often began with almost a clue, a tantalizing clue and

i'm sure this is partly true of amal, or you hear somebody say something. in the case of the sherlock holmes somebody mentioned in passing this great scholar had been found dead in a mysterious circumstances and that was tantalizing. so at that point i began to try first to read what there is in available literature but then it is like a treasure map going from one person to another or one document to another document so you go to the inner circle who can tell me about him and that was so interesting because the case had been taken up by all the amateur sleuths, conan doyle scholars who saw the case as a real-life mystery that was greater than anything which conan doyle had invented so they were working in the case in their own way and that allows me

both to try to follow them as they follow the case and make sense of their discoveries and also allows me when i tried to do in these stories to go into a world you wouldn't ordinarily see. a subculture, hidden world and in this case who knew there were these people were obsess and fanatical about sherlock holmes and conan doyle. >> before i ask malcom, there are so obsessed, can you explain? >> again, there are two clubs. the sherlockian to pretend that conan doyle does not exist and therefore will never referred to him by name and sherlock holmes is a real character and in iraq they produced more scholarship them probably all the books in the bookstore. one person had written for so few. and a level of the scholarship is to try to look at the story and basically proven any inconsistency to show their true stories as opposed to fiction.

the conan doyle scholars are those who recognize conan doyle as the author and creator of the sherlock holmes canon as well as other books and are his dollars and as in those interesting about richard green the protagonist, he was one of the few that went back and forth between both groups. in. >> i wanted to ask malcom in your book you write about the search for the amazon and one person you met in the '90s and what he says is that he was drawn to -- [inaudible]

[laughter] >> i wrote my store is in my apartment and david has to go to the amazon. and >> malcolm is much smarter than me. >> that is absolutely right. [laughter] i did not mean it that way. [laughter] >> did i answer the question? i guess what david was talking about coming hampshire you send an mad to you came up with your

ideas because you want to figure something out to figure out how people work. >> i grew up on speaking of the sherlock holmes and grow up on a steady diet of murder mysteries and that may be still all i read really. you go into the booksellers and all the international -- i read every one of those. my earliest memories are my father showing the story is. agatha christie which i read since i was 10 and so that is my former, but i can read fiction. in you write some kind of an

maximally -- a facsimile which is a nonfiction mystery. but the minute i think i could write dialogue i am gonna. [laughter] >> you say you made an effort to to concentrate more on people, social experiments and biological experiments. >> i wanted to -- i wanted my riding to be little less chilling so i have had it made a conscious effort, partly from rating people like david and being taken in by a the riding and go in that direction as well. and i made a conscious effort to write more about people and their stories as opposed to kind of an theories.

>> you're book also was divided in similar way is. there are a number of profiles. what do do when you come to the dialogue and make it sound real? >> a lot of times it is about profiling and you may notice when you read them but to quickly move on to other things. one of the profiles -- there is a profile at the beginning in "what the dog saw" and the i'm constantly profiling somebody and you talk with them for a couple of hours. iran at a tape and i thought it would be good and for morality.

[laughter] but i had to make up the excuse that i have a drop to this. you have to drive 5 miles to get anywhere from l.a. and then i would go back and reduce -- resume the interview. in. >> [inaudible] >> you would have thought you would have had a dynamic. >> [inaudible] limited distinction with engaging the reader. >> it is persuasion and convincing so this is a distinction not that i should make up but rather is a very famous distinction in sociology.

of course, a sociologists, the name i have forgotten pretty road it will as they were he talks about to dairy -- a very different modes were you convince somebody of something you marched through a series of logical fax and assemble them and an argument that ought to be persuasive to anyone who is of sound mind. it's a very general -- to persuade someone is not about finding a fact to a broad general audience but about using a motion and stories for a specific audience and arab character audience. and i started down a journalism wanted to convince people and now all i want to do is cannot persuade them of things. >> [inaudible] he is working to

persuade in the way you're talking about rather than convince kind of like a lawyer in a trial is what you're talking about. i remember you said you first wanted to be a lawyer so it works perfectly. >> i think we can go to tell stories. his stories are often engaging intellectual and built around stories and narrative and character and have an art. you go on this journey and that makes them much more satisfying and picking up -- and then picking up the scientific journal. in my story similarly i really want to tell a story. i want to take the reader on a journey and i really see my job

as a nonfiction writer as gathering the facts and presenting them and showing them. i try to have faith that the reader can interpret them and clearly i make judgments and i'm organizing things, but i was a terrible op-ed writer. i just don't think that way. i don't think in that kind of a convincing way. the way i see the world is in stories and characters, moving story is, and really my job is to show the reader what i have seen for what the characters have seen. i also grew up on literary fiction and i loved reading sherlock holmes when i was young but the thing that draws me to the stories as they are not while the characters often inspire to be sherlockian and i aspire to be sherlockian we are inevitably immoral and we don't always see the picture perfectly. you're right or wrong about this -- you read this and stories

about to much information. we can see as clearly as what we want to pretend to be. so the stories are not very tells and they therefore and without that kind of a sense of the td. >> [inaudible] in "blink" how you balance as a writer that sense of immediate grasp of story where you're obsessed both of you it in writing your introductions, the story is that david talks about in his book, a riders' pattern. in the becomes obsessed and you don't shave etc.. you seem to say the same thing when you have an idea becomes obsessive to you any became obsessed with the idea. how does that ups doesn't work,

long-term obsession reverses the kind of a power as you talk about later. it doesn't always proven over the long term that you were in the core? >> no, the reason obsession is necessary i think is that to tell the kind of story is that i would like to tell, and i think david tells well, it takes a lot of time, it takes a lot of time because most of what's interesting about this or you don't think about for a long time. you discovered it in the end or because of some serendipitous turn in the middle so i very often start is story thinking i'm going to sing ask and and say why. because i expect -- i don't expect to end up where i started. you always get those kind of twist and turns of you're willing to kind of play with something for a long time. some of the story is that i write have been in the back of my head for years before i

actually -- thinking about. of all of the story is in "what the dog saw" it in at least one case there were about six or seven years between having the idea and actually writing this story. >> in the case, there is a story in here about the world's greatest prison escape artist in the 20th century who broke out of a pretty much every prison including alcatraz although he had a little bit of a wrist and broke out of san quentin. he robbed his last bank would use 78 years old. when i initially read about that in terms of the length of time, but it was several years before i did this story and he was never -- i wrote him a letter every month in prison and i said if you ever change your mind i am here and became a form

letter. maybe change one word of. eventually after two years he said, on down and decided he was willing that she finally found the time. [laughter] he was 80 and didn't think he was going to get out although he had aspirations but just to go to the other point of not knowing where you go with the story is. the stories are journeys and, for example, there's a story in a collection of the search for a giant ink squid and i found out there were these great giant squid hunters like a have obsessively try to find this creature who at that point was never seen alive or documented alive by a scientist. there were dead carcasses, various feet long with tentacles and eyes of the size of heads. floating on the surface of a c but no one ever encountered these things alive. there were similar stories and 20,000 leagues under the same.

eventually i tracked down as wonderful as squid hunter in new zealand. it was worthwhile to be on the story to try to capture. he was trying to capture a baby and growing in captivity so i went with them and i spent months on the story and weeks in new zealand with them and really arduous circumstances going out in a cyclone with this guy tried to capture this baby giant squid. there came a point in the story when i was with them where it looks like recaptured this baby giant squid. this man had been searching his whole life for the. i had a moment where i did said dog was there for nothing, we're going to take home and throw him. and i'm going to wash and this is going to be huge, literally and metaphorically. [laughter] just like that it slipped away. we both were looking at the container where we thought we had it.

we were working in extreme conditions and it was there and we lost it and gone like an illusion. i remember thinking to myself, my god, my story is like it's over, what i'm going to do. i've been here and on this journey and, in other words, i had hoped for that and somehow looking at a wide. then i went back that night and thought about it and why was the way the store was supposed to be because here was this man who was obsessively try to find this things that nobody could ever get and it was right there and slipped through his grasp. the motion of that was so much more true than the artificial construct i had conceived in my mind. >> did that leads you to "the lost city of z", going in search of a lost city, but came close

and seemed to come close looking for the us? >> many of these characters are chasing something elusive and. it is interesting about this and their obsession because it makes good storytelling. there is a reason why they have a news. but what else sunshade made about the store is what they are as obsessed with. in other words, i don't just say they are obsessed, but both the object of their obsession to make is not only fascinating. if it was the case of a giant squid or this incredible creature, really, unexplored a seat, and in the case of faulkner this search of an ancient city in the amazon. it had to be very primitive

and/or small nomadic tribe. it was two inhumane hostile environment to have the largest civilization so the question he was after and that object of his obsession was also fascinating. >> with your stories are about actual experiments and seem to be less open ended and the story david tells me. how do you work through that and the uncertainty at of a lot of your books? you're work is a story? >> good question at. which you try and do the is find a principal or orrin idea in science and then illustrate with a story. keeping in mind that the science

there's always a level of uncertainty so you're choosing a particular past. both interesting and kind of a thought-provoking path to take. you necessarily have to improvise along the way sometimes. in. >> i think readers are sophisticated enough to understand that. what i tend to be doing in my stories is pose the question, what if we thought about something? 90% of people are i think enough to understand that you can hit the pause button in your own train of thought and go another direction for a while and it can be fun to do that. and also agree with the conclusion. in the introduction in "what the dog saw" i'm not interested in

seeing the world, and simply provoking people to think about things differently if cannot necessarily go back to their old way of thinking of. >> the art of your book, the narrative art, you have that way of crystallizing an idea that people do take away, but i remember thinking as i read your book says that came out there are the kind of books that as your reading them and you want to read it aloud -- did you ever think about having that? until they come back to their senses, i don't know. [laughter] it's so compelling unwed

what i am interested in, david, you're talking about as a reporter you got this bank robber to meet with you. you trail after him for years. and in "the lost city of z" you're searching for a very old document and a brazilian national library. somehow you persuaded the library to actually let you see it so if you could tell us about what's leads you to things like that. >> usually it is not so planned or already. usually i kind of just more in and if there is some focus piece on getting into it.

i don't know where -- i guess part of it is like a lot of the characters in the story i really want to make them think. i want to understand what i've been investigating and is very frustrating to me to have some clue locked up in a vault that i can see. i really want to get that. so in the case with this document which i was in the brazilian library, the main character in "the lost city of z", i looked at it and used it as clues to come of the theory there might be an ancient civilization in the middle of the jungle. i guess one it pays off if you hang around long enough. i don't really fit into the

stereotypes of being a reporter. i don't really -- i don't grill people, i just tried to observe them and let them be. but i kind of hang around and if you hang around enough the bank robber will ultimately come on down because you're the only one left. [laughter] >> he had been refusing access to this in new york. he just went to rio even though he refused. so you made the librarian and historian and starts to make a case and agreed after finished i will very happily help you. you're willing to come here one. so is sort of a hero in the book. i was wondering you have a famous name for doing which you do, do the people that you want to study, be with, right about their work, are they left of

center? >> i don't know whether i've detected any difference. and you know, the stories and have always been -- i very rarely right things about someone that that person is unhappy with some of stories are rarely confrontational. i'm usually interested in finding what's interesting about someone's work and celebrating it at some level. so i never -- because my approach hasn't been difficult to get people to talk to and because particularly with academics who tried to take care with people's work and have conversation with them and be careful how i describe it. so i don't know whether -- when i write for the new yorker things were very much the way they are now.

maybe a little different than how i do my job. >> not many of the academics want to share with your writing about? >> that is funny. not at all, not in the slightest. as a child i knew something about the psychology. the reason you go in is your not motivated by it. [laughter] .. as a writer, you say

you stay in his apartment and he goes to the new zealand and the amazons, et cetera. how much are you working in your head and trying to make it come out right even though you're spending a lot more time -- you know, out in the trail? >> well, in terms of being from l.a., i think i often have preconceived ideas or some intuition of what a story might be. but you often find yourself in different places. and i think some of my dogness probably comes from insecurity. a feeling if i just work harder and get the information i can get a better story.

but for the case -- like the cameron todd willingham story, this man was executed for setting a fire that killed his three children and may, in fact, have been innocent. and when i began that story i called his defense attorney. and you mention this and his defense attorney said, oh, yeah, he did it. he definitely did it. and i hung up the phone, well, he has to be guilty. his own defense attorney thinks he's guilty. and so that was kind of where i began. and then i went on a journey that began to really raise serious questions about the reliability of the evidence in this case. >> in so many of the -- well, that story in particular is about crime. and there's another story about identity. i don't know if it's identity theft. it's a french man -- it's just so haunting of this man -- a frenchman who poses as the lost

son of an american family. and convinces them -- i mean, against the evidence. it's just chilling. how he burrows in and dupes these people. but i'm just wondering especially with the story about willingham, are you at all conscious of forebears at the new yorker like truman capote and the rapportage and like truman capote but -- i mean, what is that legacy as you go into a story for the new yorker where there's such a rich history? >> i think it's an asset in the sense that i look at a lot of these people. i read "in cold blood" while i

was working on the willing ham story and read "the execution song" which didn't come out of the new yorker a crime nonfiction story -- or at least based on nonfiction. he them me as templates but as i work on a story i try not to think about those stories. if i had in my head truman capote when i'm trying to write my story i think i would never get a word out. i use it as inspiration. and i often -- for each one of my stories, i will look to certain stories. and i will read them and saying, okay, these provide -- sometimes inspiration is not so linear. it's about a difference idea. perhaps it's trying to portray a character in a way or get into a character or a more essayist type of piece and i got to read something about janet malcolm. and once i'm working on a story i try to forget all that stuff.

i would be paralyzed if i was thinking too much truman capote. >> writers who inspire you? >> yes. >> malcolm, do you have writers who inspire you? >> oh, yeah. i mean, like i said -- >> that's kind of large -- >> but i think of david's stuff. i've been reading it ever since he started at the new yorker. i've been very influenced thinking maybe i should leave my apartment from time to time. [laughter] >> and also on the other end someone like adam has had a huge impact on my writing. the thing about adam -- i regard adam as the -- as the absolute quintessential practitioner of the new yorker story. because those stories he does -- and you have to be a writer to understand this. the degree of difficulty is so high. it's not -- he's often taking

something which is -- there's nothing there. [laughter] >> it's just kind of -- it's some sort of proprietary thing and he turned it into that. i'll read one paragraph four times in a row to figure out how did he do that? and there's an incredible level of -- that idea of -- it's something of the missing component in critical analysis. critics look at something and they make a passive judgment and they'll say is this good or is this bad? that's the first question you have to ask. the second question you have to ask was, how hard was it? and if you're trying to -- if you're telling an extraordinary story out of something that is incredibly ordinary, you get points if you can pull it off, right? i feel like with adam he has sort of opened the possibilities as a writer. you can write -- you can take just by virtue of your own

ingenuity -- i don't have his ingenuity or writing ability, but he allows me it is possible to do extraordinary things with ordinary material. and that is -- that's been an incredibly powerful lesson. >> i read joseph mitchell periodically. but i find i could never imitate them and i just know that. i still have never figured out quite how he constructs a story. they are not chronological. just like you're saying. how he managed to put all these facts in this very -- this order. i can't even deconstruct them as a writer. there are a lot of writers you can deconstruct what they did and there's somewhere i kind of tip my hat. >> you can really torture yourself.

[laughter] >> trying to learn from -- i was reading some a.j. lebling and he's cruising around paris and there's -- but i could never write like that. >> in fact, in a weird way part of the thing is what motivates me in finding the stories that i find is a belief if i can find a great story, if i can find the gold, then i can tell you a great story. so part of my motivation, when you ask me of getting these things, is that i just want to get the gold 'cause it's a lot easier to find the gold in the treasure and open it up. >> it must be quite an obsession with you because you explain you're a lot more like -- you don't really like being in your

apartment at all. >> all you do is leave your apartment. >> i read that and i rolled my eyes, yeah, right. [laughter] >> it really is true. other than when i report -- >> either than -- [talking simultaneously] >> i would have a very, very boring existence if it weren't for these reporting chases. >> i'm curious to both of you, what is your confidence in the future of the publishing industry, the magazine issue to be able to support the kind of long stories you're talking about. the 60 years between the happening of the ibm and seizing on it and reporting on it. and reporting around the world the new yorker and other magazines have funded?

what does the future hold for that kind of reporting you're talking about a.j. lebling which was before world war ii. >> i'm very optimistic? because all that's gone away -- all that has appeared to go away is the kind of -- is the viability of the existing business model for supporting a certain kind of way. -- journalism. the need hasn't gone away at all. if you read, for example, adam's story "revenge of the metrozoids," at the end of that story you cry. everybody cries. the need of a human being to be moved by something that they read is a constant. we need to be moved by literary experience a thousand years ago.

and we'll need to be moved a thousand years from now, right? we're serving very fundamental human needs. the need to be moved by a fundamental story never goes away. sometimes we're going to have a world of tweets and blogs, you can't have that because it doesn't satisfied the need to be moved or the need to be engaged in a story or the need to be -- so we'll just find a new model to support, that's all. people are assiduously working on this problem right now. and they'll resolved it. -- solve it. and when they solve it we'll all be fine. [laughter] >> he's a optimist. i actually agree with him on this notion which i think in many ways both what we do and also what our stories are about

and many of whom are my stories are people -- i'm piecing tote their narratives but they're piecing together narratives. they're trying to tell solar energy and make sense of their lives and to arrange the facts in a particular order that has a certain logic and mean. whether it would be the firemen from 9/11 who suffered amnesia. the only survivor of his group that went down. they all perished. and he's trying to make sense to what happened to him but also this larger calamity. that's something that's wired into our dna and it goes back whether you look at why the bible is powerful. if you look at any kind of forms of literature. and i don't think that it's going to go away. i do worry about the economics of it but that's why he's a smart guy and hopefully he'll come up with a business plan. there is -- there is a cost to this stuff. there really is. that willingham story -- you know, i spent six months at

least on that story. you know, whether trying to get government records, tracking down a jailhouse informant who didn't have a house or a phone. i could not have done that without the new yorker's backing. so that does concern me because right now we are in this moment of chaos. but i do think that desire and need doesn't go away. and so hopefully malcolm's vision that can support this will come in to play. and it's just at a moment of crisis. >> what you're saying when you finally get to and talking to the people who study this that a lot of people -- whether erroneously or not have believed that the amazon was so inhospitable that there was no civilization which is the need for story-telling that you're talking about. about the art -- i mean, that you describe as a human need.

and you come to that city. and then leave at the end. i mean, an open question about whether they were capable of that. 'cause it seems even there, there was a kind of push toward a plaza and buildings. >> without question. without question. i mean, just a few weeks ago, i mean, it's just been educate him on the situation and let him know how much his teammates want him to come here and be a part of what they are trying to build. >> donovan mcnabb starting to show leadership qualities in d.c. the most interesting con taft is runningback. here in april, how is that shaping up? >> well, you know, we can't rule out the possibility that the redskins will keep all three, and if they don't, clinton portis is probably the safest of them, just based on his $6 million guaranteed contract, but there's no question in fact willie parker said it when i talked to him after practice

today that he feels like portis does know, is aware there is an increased level of pressure, and competition now with these other two pro bowl runingbacks on the roster. shanahan said that he is comfortable playing whoever dem straights they're best equipped that he wants an effective running game, however can he get it. that he pointed out, has a 2,000-yard rusher in denver. he has had three backs combined for 2500 yards. he has done it all sorts of ways. ultimately, the numbers have to be there. the redskins have not been getting that. in fact, last year, he didn't even have a 500 yard rusher. portis was the leading rusher with fewer than 500 yards. it seemed to me that portis had an edge to him today. i don't know if it was that and he is frustrated by the losing and the criticism that he has seen. he said, hey, go ahead to the haters and doubters. i got something for you this season. it mike shanahan was trying to get his attention. he has. >> looks like rubingback by

committee, which shanahan is used to. fascinating stuff from redskins camp. we haven'ted even reached the draft yet. thaush for joining us, ed. >> you bet, max. >> a friendly reminder, the nfl is four days away. this year, it's a three-day affair. taking a look at mel kuiper's jr.'s top five quarterbacks. he has claussen rated first but sam bradford being picked first overall by the rams. he expects colt mccoy and tim tebow to be selected in the

second round and dan he wilefev. the quarterbacks are all determined. he covered that in these conversations. >> you started 53 state games at texas and in the 53rd game you got knocked out of the game early. >> colt mccoy suffered a shoulder injury on that hit. >> what's it like for you to hear people question your durability. >> everything that you do every day for four years leads up to that moment and to have it taken away five plays into the game, very frustrating, very disappointing. it was hard to deal with. peyton manning gave me great advice the other day. he said don't worry about the the draft. he said of course i have been through it. i was the first picked. don't worry about it. if you are first round or free agent, it doesn't matter, just consider this process. this draft as a reward for what you have done in college. it's just reward.

you know, whether you are the first pick or the last pick, you have to go in your so spot. you have to go earn the respect of your teammates. you have to go earn your job. >> what would be your answer if one of these coaches says, will you be open to a position change like a wingback or a personal protecter on the. punt team for a fullback. what would you say to that? >> i with tell them very clearly. i want to be a quarterback. i'm going to be a quarterback in the nfl. it's been my dream since i was six years old. it will be something that i will do and i will be a quarterback someday at the nfl level. >> all of the things that you have done off the field, they're well documented. you're great for mankind, but what happens to you, tim when you put that football helmet on. you change, or you are a different person? >> i just love playing football. i love playing sports. i'm competitive. i have a will to win. i have a will to win for me teammates and my coaches and the people supporting me, for my name. within more than that, he refuse to lose. that's something i don't want to accept. i can't handle and i don't like

being around and it's something i never want to be around or known as is a loser. >> notre dame had four come from behind wins this year, and really, you brought them from behind, i think, every game. you had some of the most exciting game i have ever seen, but your ability to perform at crunch time, what does that shea about jimmy claussen. >> that's what i live for. i want the ball in my hands, when it's in that crunch time. at the end of the game, last play of the game, you know, purdue, fourth and five on the five yardline to win the game or lose the game, i want the ball in my hands. >> here's the ballgame, claussen to the end stone, touchdown. >> you know, those are the most exhilarating times that you can be playing football and you know, i just love having the ball at last minute. >> what do you love about playiplay ing quarterback? >> i mean, everything about it. it's the one position in football we sides center where you get to put your hands on the ball every play. the ball is in your hands. you're making decisions. you know, just -- you're the

leader out there. you're in charge, and in your in total control of the game when you have the ball. i just love that feeling. >> the nfl draft -- just fare days away. this year, it's a three day affair. round one in prime time on thursday. 7:30 eastern time, on espn. be there. vince scully celebrates his 60th anniversary with the dodgers. charlie steiner joins us to discuss the greatest voice

>> today marks the 60th anniversary of vin scully's first day in the brought cast booth. starting in brooklyn, 60 years later, he is still going strong. scully holds the distinction of the longest consecutive service of any major league broadcast r he for one team. take a look at the brooklyn dodgers lineup in the first year of vin scully's -- as a broadcaster, not too shabby, names like duke snider, pea we reese. jackie robinson, gil hodges and roy camp nella behind the plate. he has bridged the time gap where he gets to call to today. he has seen a lot of great dodger triumphs and he has seen the tough dodger, game, too, that's the hardest part of being

a broadcaster, whether they win 100 fames or whether they lose 100, he has been there along the way. of course hoping for a big year as well this season the dodgers defending nl west champions and we now become charlie steiner who has been the main yid voice of the dodgers who has been with the organization since 2005. char charlie, thanks for join us. i'm sure like many others, you have listened to vin scully do broadcast at some point during his 60-year career. do you have a favorite vin moment. >> my favorite vin moment is the first time i was hearing him when i was seven years old and he was doing the brooklyn dodgers. it was because of listening to vin at my mom's kitchen radio, that's the reason i wanted to be what i turned out to be, an announcer for the dodgers. lord knows i never thought i would be working alongside vin. now having the opportunity to essentially play pepper with babe ruth every day and this on his 60th anniversary of dwhoog he does better than anybody has

done, it it's a wonderful day. >> now that you work close by with vin, how does he approach and prepare for each game, even into the 60th year as a professional? >> oh, you know, i guess it's probably the same as the rest of us, only he does it a little bit better than we do. if we have -- we get to the ballpark three, three-and-a-half hours before every game and we're pore through notes and statistics and anecdotes and inevitably, one of the reasons i feel i'm so charm and blessed is i just got up from lunch with vin a few minutes ago, vin, mcmonday and myself and billy dulurie have lunch before every game and talk shop and pass the salt, if you would, please, charlie and it's -- it's one of those things where there's not a day that goes by where i don't pinch myself a little bit. >> i would love to hear him say pass the salt, max, one day, if i ever had the opportunity, i would be truly blessed beep know the key to being a good

announcer is having that relationship with the players. how has vin cultivated that with the dodger players through the years. >> you know, vin at this point, he doesn't go into the clubhouse very much anymore. of course, everybody knows who vin is. we we get to the ballpark, inevitably, we spend most of our time in the booth preparing and in preparation for the game. vin will see them on the road and occasionally walk into the clubhouse. but on a daily basis, no so much anymore. >> we know he does a lot of games by himself. how difficult is that to do? >> yeah, i -- truth be told for a lot of broadcasters it's actually easier to do it by yourself because you're not with a partner, you're not feeling like you have to get the partner involved. again, he was taught at the knee of great red barber who coincidentally on this day in 1939, vin's patron saint made his brooklyn dodgers radio debut

against the cincinnati reds. i believe it was at crossly field. so, when you do a game, if you're prepared, you know, it's not significantly different doing with a partner or not, it's basically like basketball. it's either full court or half court. either way he plays it 48 minutes. >> well, charley. >> house that for the ultimate mixed metaphor. >> that works perfectly in this case. chary, thank you for joining us. we certainly do know that the l.a. public is truly blessed to have vin scully and tremendous sports culture ought there. enjoy it and again, thanks for your time. >> hey, my pleasure. thank you. . >> still to come, the nba's present versus the nba's future. kobe against kevin durant. we have early highlights coming we have early highlights coming up nextwhose idea was this?nnou] it says that when you buy a grand caravan, dodge will give you 60 days to decide if you want to keep it. that's ridiculous.

look at it. it's got seating for up to seven, a smooth v6 engine and a five star government crash test rating. why would you need 60 days, really, who is that indecisive? the dodge "you won't need 60 days to decide but we'll give it to you anyway" event.