FALLS VILLAGE — Steve Blass was in town Saturday to catch up with old friends and promote his book, “Steve Blass: A Pirate for Life.”But he couldn’t resist some commentary about the baseball playoffs — especially the Washington Nationals, who put their star pitcher, Stephen Strasburg, on the shelf for the playoffs.The Nationals, who won the National League East for the first time since the franchise moved from Montreal in 2005, decided to limit Strasburg’s total innings pitched for the season after the young phenom underwent shoulder surgery in the off-season.It was a controversial decision. Blass made no bones about where he stood.“Any pitcher as good as [Strasburg] should be given the opportunity to pitch. I love Davey Johnson [the manager of the Nationals, and Blass’ opponent in the 1971 World Series], but I hope they lose bad.”Blass, a Falls Village native who played for the Pittsburgh Pirates and is now a Pirates broadcaster, then segued into his World Series memories.In the 1971 series, Blass pitched against the Baltimore Orioles in games 3 and 7, beating Mike Cuellar both times. In the seventh and deciding game, Blass allowed just one run and scattered four hits against a powerful Baltimore lineup that included Frank and Brooks Robinson, Johnson and Boog Powell.“I won the seventh game of the World Series 30 times — with a rubber ball, throwing against Uncle Bill’s barn,” said Blass. Four decades later, the experience is still “unbelieveable.”“To dream about it for so long, and then do it.”Blass noted that he played on a club with three future members of the Baseball Hall of Fame: Willie Stargell, Bill Mazeroski and Roberto Clemente.He said he considers himself a graduate of “the university of baseball.”He picked up a lot from Mazeroski. “He told me the name on the front of the uniform is more important than the name on the back. You can’t buy that kind of stuff.”He was a little awed by Clemente, “but when I finally got good enough to talk to him,” Blass told the legendary outfielder that if they ever faced each other, Blass would pitch him inside.Clemente said, “You pitch me inside, I’ll hit the ball to Harrisburg!”Blass said he has refined his broadcasting craft. “As an analyst — I don’t like that word, there are a lot of people who know much more than me — the play-by-play guy gives you a little space. You make your point and get out.”He said his baseball memoir is different than others of the genre. His book begins with “what I call the abyss.”In 1972, suddenly, Blass lost his control. There was no injury to blame. He was mystified, and dismayed.The first chapter is titled “They Named a Disease After Me.” Blass wrote, “Less than a year after finishing off the mighty Baltimore Orioles with my second complete game of the 1971 World Series, I was lost as a pitcher.“Now I wasn’t sure if I wanted to go out there. I had always lived a life of anticipation. I have always been excited about the next adventure, the next movie, the next ballgame or the next experience. Now that anticipation, which was always a big part of my life, was being taken away from me.”Blass said he thought that starting off with his fall “makes the book buyable.”He remembered his years playing at Housatonic Valley Regional High School for coach Ed Kirby. “He was tough on me. I hated him for the first two years … no, three … let’s see, I graduated in four years … three and a half?”He credited Kirby’s coaching with toughening him up and getting him ready for playing professionally.Blass said that while at Housatonic, the team played maybe 15 games a year, but when he got to the rookie league (in Kingsport, Tenn.), he was pitted against players from Southern California and Arizona who were used to playing 45 games a year.Of 40 rookies signed by the Pirates in 1960, four were left in 1962.“That’s how rare the air gets even at rookie ball, the bottom rung.”Blass made his remarks under a tent in the parking lot of the D.M. Hunt Library to a crowd of about 50 people, most clutching copies of the book for signing after the talk.
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Meg Sher, executive director of the David M. Hunt Library in Falls Village.
“I was a library kid. I walked to the library after school,” she said.
For Sher, the library is as much about the people as it about the books.
“Part of the job I love so much is that running the library is such a community,” she said.
She treasures the relationships she has built, whether recommending books, celebrating accomplishments or helping patrons through difficult times.
“I am thankful that our community is so supportive of the library, unlike what is happening in some other places where librarians are villainized,” Sher said.
Sher takes pride in the Hunt Library’s reputation for being “open and welcoming to everyone. People come in and see things and get pulled into things they weren’t expecting. Our library is seen as a positive force.”
Sher came to Falls Village after being awarded a fellowship at Adamah Farm, then a program of the Isabella Freedman Jewish Retreat Center. She worked at pickling, in the greenhouse and later in the development office. She also worked as a nanny.
At the same time, “I was in the library all the time,” she recalled. “I’m a voracious reader. The library is where I met a lot of my first friends in Falls Village.”
She became assistant librarian at Hunt and worked in that position for almost a decade before becoming the executive director four years ago.
Meg Sher, executive director of the David M. Hunt Library in Falls Village.L. Tomaino
Sher met her husband, Adam, while working at Adamah. They had their wedding there in 2012. He now emcees many events which she co-organizes with the Falls Village Recreation Commission.
Sher and her family live near the library.
“It’s an easy commute,” she said with a smile. “My kids run back and forth. I can go home to walk the dog if I need to.”
“My kids have grown up here.” Her oldest son, Eli, “loves volunteering. He helps with Augustfest and often helps set up chairs for ArtWall gatherings.” Her younger son, Noah, is often at events and was eager to taste cookies at last year’s holiday cookie swap.
When she is not at the library, Sher likes to hike with her family. Bella, their Portuguese water dog, often accompanies them.
Sher enjoys seeking out people to offer events at the library.
“I do a lot of different community programming. It is one of my favorite parts of the job.”
Augustfest, featuring food, music and an auction, is the library’s biggest fundraiser.
“This summer we had a record 152 attendees, which was pretty incredible.”
Yonah Sadeh, a filmmaker from Falls Village, inaugurated the VideoWall this year, Sher explained.
“I’ve known Yonah since he was two. It’s wonderful to work with him as an adult.”
The VideoWall complements the library’s ArtWall, which showcases a new artist each month. Sher praised the ArtWall committee for its work and highlighted December’s popular “12x12 Show,” featuring works by local artists, each measuring 12 by 12 inches and priced at $150.
Sher added that some of the artists who exhibit at the ArtWall offer workshops to students at Kellogg School, next door to the library. In September, artist Danielle Mailer worked with the children. Vincent Inconiglios taught a class last November.
Being next to the school, said Sher, is a great advantage.
“Kids are coming after school, to see friends, work on projects, find a great book. Kids that love the library end up using the library as grownups.”
This past year, in partnership with Adamah, the library and school created a garden, with excess produce made available at The Center on Main.
This year is Sher’s second year participating in the Troutbeck Symposium in Amenia with James King, director of the library at Salisbury School. The Troutbeck Symposium is “a gathering of a year of student historical inquiry across the region” in which students “uncover stories that have been overlooked, forgotten, or never recorded.”
Last year, Sher and King began a project with a group of students researching Irish immigrants in Falls Village, exploring ancestry and creating small magazines about their findings.
They continued this year, visiting St. Patrick’s Catholic Cemetery on Dublin Road, cleaning seven gravestones and even righting one with the help of stonemason and gravestone restoration expert Karl Munson. Paul Kozeazny, a representative of the Catholic archdiocese, helped secure access to the site.
A film documenting their activities will be shown at the symposium in spring 2027.
A full schedule of programs and events, ranging from tech help to ceramic mug-making, can be found on the library’s website.
Despite spending her days surrounded by books, and a busy schedule of programming, Sher still loves to settle in with a book at home.
For more information on library programs and events, visit huntlibrary.org
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Touré was born in northern Mali in 1981. His father, the renowned guitarist Ali Farka Touré, came from a family of soldiers and wanted his son to join the army. The younger Touré studied drums and the calabash and practiced guitar in secret. He earned his father’s blessing to pursue music shortly before Ali died in 2006, and they played two tracks together on Vieux’s debut album.
Touré is known for his deft, polyrhythmic playing, and his songs grow out of riffs that repeat and layer to hypnotic effect. He draws on rock, blues, Latin music and various African traditions. This distinctive blend builds on his father’s work adapting the sonic traditions of Mali’s arid north to the guitar.
Vieux’s album “Mon Pays” (“My Country,” 2013) honored Mali’s culture after Tuareg separatists and extremist groups seized the north in 2012. “Samba” (2017) was recorded before about 50 listeners in Woodstock, New York. In 2022 came “Les Racines” (“The Roots”), a return to his father’s desert blues, and “Ali,” on which he and the trio Khruangbin reworked eight of the elder Touré’s songs.
Touré leads the Ali Farka Touré Foundation, which focuses on cultural and educational work in Mali. Around the anniversary of Ali’s death, it holds a festival in Bamako, Mali’s capital. Bamako has been under blockade for much of the past year, besieged by JNIM, an al-Qaeda affiliate. Against this backdrop, Touré continues to carry the music of Mali to audiences abroad.
At the Nov. 5 concert, Touré’s desert blues will share the bill with Gnawa, the music LanGus plays, which developed in Morocco among West Africans who were brought north across the desert as enslaved people. Gnawa is religious music traditionally performed at all-night healing ceremonies called lila, intended to carry participants into trance.
Samir LanGusProvided
LanGus was born and raised outside Agadir, Morocco, and began learning Gnawa from its masters at age 8. He plays the sintir, a three-stringed bass lute made of wood and camel skin. The player strikes a low string with the thumb to create a deep, resonant pulse. Iron castanets clatter over the sintir’s bass line, and vocalists trade call-and-response refrains.
LanGus infuses the tradition with jazz and improvisation. In New York, he founded the ensemble Innov Gnawa. His first solo album, “Gnawa Love,” came out in February.
Touré and LanGus’s Nov. 5 concert is one of the last public events at Race Brook Lodge, which is for sale and ended full-service operations at the end of 2025. The lodge’s final scheduled event, on Nov. 6, is an evening of Rumi’s poetry with translator and vocalist Haleh Liza Gafori, cellist Isabel Castellvi and ceremonial bard James Bird.
For tickets, visit rblodge.com.
James FitzGerald is a student at Yale Law School, where he focuses on ecological restoration and international environmental cooperation. He splits his time between Lakeville and New Haven.
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