There are at least two Sunday New York Times pieces worth a look, far as locals are concerned. One's a story about Tommy Urbanski, the Las Vegas strip-club manager on duty February 19, 2007, when then-Tennessee Titan Adam “Pacman” Jones made it rain at Minxx for some 40 strippers -- “inciting a melee that led to the shooting outside the club of Urbanski,” notes columnist Dave Anderson. Jones, who began practicing with the Dallas Cowboys earlier this week courtesy NFL commissioner Roger Goodell's decision to partially reinstate the suspended corner, is now free to run all over all Valley Ranch. Urbanski, however, will likely never walk again. Notes Anderson:
“Out of everything I’ve been through, that’s the past,” Jones told reporters at the Cowboys’ complex Wednesday. “I’m going to talk about the future.”
He didn’t mention Urbanski’s future.
To which Urbanski's wife, Kathy, adds: “He’s mourning the loss of his legs. When he dreams, he only dreams of himself walking; he’s never in a wheelchair.” Also worth noting: the Web site for the Tommy Urbanski Fund, on which he details the night in question: “Eyewitnesses allege that Jones made direct death threats to club security personnel who had restrained him, stating they would be dead before the night was over.”
Also on The Times' Web site, an interactive look at an exhibition on display till the end of July at the Meadows Museum at SMU: "Fernando Gallego & His Workshop." Specifically, The Times reveals how Gallego instructed his assistants to paint "the enormous 15th-century altarpiece from the Cathedral of Our Lady of the Ascension in Ciudad Rodrigo, Spain." The piece detailed on the Web site is “The Raising of Lazarus,” and the project involves all kinds of tricky infrared technology. And, perhaps, canny utilization of the Da Vinci Code? --Robert Wilonsky
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