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On Queens Quay W., near where the streetcars emerge from the underground ferry docks stop, there’s a large rectangular hole in the Harbour Square complex where a walkway should have been installed.īut Thomassons are just one type of urban relic. passes under the rail tracks, and the relics of lost highway cloverleafs in the Don Valley. In 1985, Akasegawa published a book called HyperArt: Thomasson that collected examples from around Tokyo. He called them Thomassons after Yomiuri Giants’ expensive bench warmer because he too was “useless” yet “maintained.”Īkasegawa now admits appropriating Thomasson’s name was a touch harsh, but, regardless, the name stuck.īack in Toronto, there are stairways to nowhere in the Junction where Dupont St. Thomasson’s inglorious final years might have been forgotten if it wasn’t for Akasegawa Genpei, a Japanese artist who around the time of Thomasson’s struggles had become interested in urban relics like the Greenwood stairs. In 1982, a knee injury put a lid on the struggling player’s career for good.
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He set a league record for strikeouts in 1981 and spent much of the next two seasons on the bench. major leagues in 1980 and signing the biggest contract in Nippon League history, Thomasson spectacularly lost his mojo. The snow had recently melted leaving behind piles of unsightly garbage.Īfter being traded to Japan from the U.S.