HOF Modern Era Ballot

[kburjr]

Yep.


There is no baseball conversation now. Just some spreadsheets for fat Millenials. Sport is about dead anyway.

I never sat in a game and said "There's another .05 on his WAR." The game is beautiful, all that other shit is for beer drinking.

 

[Cedrique]

Jeter will get 110% because that's how much he gave on EVERY PLAY!!!!

I love that Garvey and Tommy John are both on the ballot because the former fucked ( and impregnated) every gash in sight while the latter couldn't get Baseball Annie himself to open her legs, even with a fistfull of cash.

I don't remember this Baseball Annie person, but I'm not voting for her until Morgana gets in.

 

[navamind]

The Hall of Fame Case for Marvin Miller

 

[Cedrique]

The Hall of Fame Case for Marvin Miller

probably deserves it but if I was Marvin I would be very careful. When I was a kid my uncle Jimmy was told he was nominated for the Teamsters HOF. He was a lock to get in so they called him in to measure his head to start making a bust for the museum. Never heard from him again.....

 

[California Creme Puffs]

probably deserves it but if I was Marvin I would be very careful. When I was a kid my uncle Jimmy was told he was nominated for the Teamsters HOF. He was a lock to get in so they called him in to measure his head to start making a bust for the museum. Never heard from him again.....

Did you also travel to the Bryn Mawr Film Institute to see The Irishman when it came out in early November, like I did? (unlike all those lazy millennials who waited until this weekend to download it on their Juul-pod and watch it from Netflix)

 

[Cedrique]

Did you also travel to the Bryn Mawr Film Institute to see The Irishman when it came out in early November, like I did? (unlike all those lazy millennials who waited until this weekend to download it on their Juul-pod and watch it from Netflix)

Nope. I wanted to but with my smack addiction I am rarely awake for 3.5 hours at one time. About to watch it on Netflix now......

 

[California Creme Puffs]

Nope. I wanted to but with my smack addiction I am rarely awake for 3.5 hours at one time. About to watch it on Netflix now......

I know.
I literally saw you last night at our NA meeting, and you came up and told me that you saw my post but didn't have time to respond and that you were gonna watch The Irishman tomorrow night (tonight).

Not sure why you told me on here again.....

 

[Cedrique]

I know.
I literally saw you last night at our NA meeting, and you came up and told me that you saw my post but didn't have time to respond and that you were gonna watch The Irishman tomorrow night (tonight).

Not sure why you told me on here again.....

The memory is the first thing to go. Anyway, great movie. One thing has been bothering me though. Near the end there are two separate scenes where they show a PA license plate on the front of the car, which I think is incorrect even for the time period. Was that to remind us that this was a work of fiction or is there some other meaning?

 

[California Creme Puffs]

The memory is the first thing to go. Anyway, great movie. One thing has been bothering me though. Near the end there are two separate scenes where they show a PA license plate on the front of the car, which I think is incorrect even for the time period. Was that to remind us that this was a work of fiction or is there some other meaning?

I did not notice this, but it's possible Scorsese put it in to point to Frank (De Niro) not being a 100% reliable narrator when he's recounting these things that happened 30+ years ago.

I enjoyed it but want to watch it again since me and my buddy had to sit in the very front row at the theater, which totally distorted the view and entire visual aspect of the picture. Definitely a very sad ending and message that differed from a lot of other Scorsese films.

Also, could Scorsese really not fit any more Harvey Keitel into the script beyond his 5 minutes of screen time? I'd be pissed if I were him. Granted, it was far more screen time than any woman gets, so I guess he's got that going for him.

 

[Cedrique]

I did not notice this, but it's possible Scorsese put it in to point to Frank (De Niro) not being a 100% reliable narrator when he's recounting these things that happened 30+ years ago.

I enjoyed it but want to watch it again since me and my buddy had to sit in the very front row at the theater, which totally distorted the view and entire visual aspect of the picture. Definitely a very sad ending and message that differed from a lot of other Scorsese films.

Also, could Scorsese really not fit any more Harvey Keitel into the script beyond his 5 minutes of screen time? I'd be pissed if I were him. Granted, it was far more screen time than any woman gets, so I guess he's got that going for him.

Yeah, the ending does drag on and seems more depressing than it has to be. If you watch it on Netflix there is also a half hour show with Scorsese sitting at a table with Pesci, Deniro and Pacino sitting at a table talking about how they used special effects to make them look different ages at different times without them having to wear makeup. And they also pointed out how Scorsese likes to make sure everything is perfectly accurate in his movies.

Maybe the special effects guy butchered the license plates after the fact. They are pretty obvious if you are looking for them though. The second one happens at the end when he's in a wheelchair talking to a couple of agents. They make a point of zooming in on the front of the car, which has a '99 inspection sticker and a license plate.

 

[California Creme Puffs]

Yeah, the ending does drag on and seems more depressing than it has to be.

I actually thought that the depressing ending was the best part of the film. Again, I want to watch it again because I feel like my first viewing was fucked up due to being in that front row (whoever the architect was who designed that theater needs to be taken out back and shot). But going off that, I thought the ending was Scorsese's final statement on gangsters and the gangster film genre. Almost all of his other films end with the main character's greed ultimately being their downfall and resulting in their death/bad circumstances, but it's always implied that it's an isolated case and that their greed was what did them in and that there was nothing wrong with their mob lifestyle. Like in the end of Goodfellas, Henry Hill is in the witness protection and he's all upset that he gets ketchup with his noodles and is no longer living the decadent mobster lifestyle. You get that it didn't work out for Hill, but again, it's an isolated incident, and Hill doesn't even regret the mob lifestyle he lived (in fact he yearns for it to happen again- showing that the film still pretty much celebrates the mob lifestyle or at least passes no negative judgement on it).

With The Irishman, Scorsese makes a point to show that the mob lifestyle is not something to be celebrated whatsoever. He does it throughout the film with the introductions of each character, where the character is shown having a great time at party or whatever, and then a caption says "Tommy Dean- Died in 1982 after getting shot in the head 8 times" or something to that effect. He does this so many times throughout the film to the point where it's not meant to be humorous IMO. And then, in the last 30 minutes or so of the film, De Niro's daughter won't talk to him, and he's living in a retirement home. And then the investigators try to get him to give closure to the Hoffa family and he says he can't and they ask who he's protecting- and then they name everyone that De Niro knew in his life and they say that they're all dead. You often will see a gangster film that shows the main character getting killed or getting his comeuppance in some way, but it's always another gangster who kills them and then they're the top dog. Here, De Niro has outlived everyone, and it's actually a fate worse than having been killed by an enemy.

And then the priest is praying with him, and De Niro can't admit to a specific sin that he's committed, and the priest is still like "It's ok, God knows what's in your heart." Which kind of shows that De Niro still can't own up to the bad things he's done even after it doesn't matter to anyone but himself.

The last scene is brilliant IMO. The priest is leaving, and then De Niro calls out and asks him to not shut the door. And then De Niro is just sitting in between the barely open cracked door all by himself in his wheelchair. Kind of like the door is closing on De Niro's life, and he still wishes to be able to connect with someone in the outside world, but no one left cares about him. It really shows just how lonely and sad his situation is.

Sorry for the rambling.

 

[Cedrique]

I actually thought that the depressing ending was the best part of the film. Again, I want to watch it again because I feel like my first viewing was fucked up due to being in that front row (whoever the architect was who designed that theater needs to be taken out back and shot). But going off that, I thought the ending was Scorsese's final statement on gangsters and the gangster film genre. Almost all of his other films end with the main character's greed ultimately being their downfall and resulting in their death/bad circumstances, but it's always implied that it's an isolated case and that their greed was what did them in and that there was nothing wrong with their mob lifestyle. Like in the end of Goodfellas, Henry Hill is in the witness protection and he's all upset that he gets ketchup with his noodles and is no longer living the decadent mobster lifestyle. You get that it didn't work out for Hill, but again, it's an isolated incident, and Hill doesn't even regret the mob lifestyle he lived (in fact he yearns for it to happen again- showing that the film still pretty much celebrates the mob lifestyle or at least passes no negative judgement on it).

With The Irishman, Scorsese makes a point to show that the mob lifestyle is not something to be celebrated whatsoever. He does it throughout the film with the introductions of each character, where the character is shown having a great time at party or whatever, and then a caption says "Tommy Dean- Died in 1982 after getting shot in the head 8 times" or something to that effect. He does this so many times throughout the film to the point where it's not meant to be humorous IMO. And then, in the last 30 minutes or so of the film, De Niro's daughter won't talk to him, and he's living in a retirement home. And then the investigators try to get him to give closure to the Hoffa family and he says he can't and they ask who he's protecting- and then they name everyone that De Niro knew in his life and they say that they're all dead. You often will see a gangster film that shows the main character getting killed or getting his comeuppance in some way, but it's always another gangster who kills them and then they're the top dog. Here, De Niro has outlived everyone, and it's actually a fate worse than having been killed by an enemy.

And then the priest is praying with him, and De Niro can't admit to a specific sin that he's committed, and the priest is still like "It's ok, God knows what's in your heart." Which kind of shows that De Niro still can't own up to the bad things he's done even after it doesn't matter to anyone but himself.

The last scene is brilliant IMO. The priest is leaving, and then De Niro calls out and asks him to not shut the door. And then De Niro is just sitting in between the barely open cracked door all by himself in his wheelchair. Kind of like the door is closing on De Niro's life, and he still wishes to be able to connect with someone in the outside world, but no one left cares about him. It really shows just how lonely and sad his situation is.

Sorry for the rambling.

I see your point. I just thought he may have dragged that point out a little too much. Hopefully this doesn't mean Scorsese has some incurable disease and won't be able to make any more films and this wasn't his way of making amends for the films where he glorified the mobster life.

But I won't rest until I figure out why they put the license plates on the front of the cars...........

 

[California Creme Puffs]

I see your point. I just thought he may have dragged that point out a little too much. Hopefully this doesn't mean Scorsese has some incurable disease and won't be able to make any more films and this wasn't his way of making amends for the films where he glorified the mobster life.

But I won't rest until I figure out why they put the license plates on the front of the cars...........

At first I wrote off your repeated posts about the front license plate as the incoherent ramblings of a man who had just shot H. But I've been on a Scorsese binge the last day and a half- and you're definitely onto something. I think Scorsese is in some sort of secret society that wants all Pennsylvania cars to have front license plates. Starting with Mean Streets, every single film that he has released has featured a front Pennsylvania license plate on a car during a time period that, historically, should not have a front license plate (i.e., outside of 1946-1952).

Throughout most of his career, his usage of incorrect front Pennsylvania plates has bordered on subliminal, but he's gotten more and more brazen in his recent pictures. His last film before The Irishman, the 2016 epic Silence, was set in 17th Tokugawa-period Japan, and yet-- sure enough-- at the climax of the film Liam Neeson is seen driving a '92 Honda Civic, and if you look close enough, you can indeed see that it has a front Pennsylvania license plate. And then, in his most ballsy move yet, he did a close up of the plate in The Irishman as you mentioned. And then I read that his next film Killers of the Flower Moon: The Osage Murders and the Birth of the FBI (which is to star DiCaprio and De Niro) opens with them driving a car through 1965 Philly- but neither of them are actually seen in the car- it's a 10 minute tracking shot from the POV in front of of the front fucking Pennsylvania goddamn license plate!!!

I've already started connecting the dots on Martin and his nefarious license plate league and I'm pretty sure he's in cahoots with the Deep State, Free Masons, Illuminati, Bill Clinton, @broncosmitty, Vladimir Putin, and of course Donald Trump.

 

[broncosmitty]

At first I wrote off your repeated posts about the front license plate as the incoherent ramblings of a man who had just shot H. But I've been on a Scorsese binge the last day and a half- and you're definitely onto something. I think Scorsese is in some sort of secret society that wants all Pennsylvania cars to have front license plates. Starting with Mean Streets, every single film that he has released has featured a front Pennsylvania license plate on a car during a time period that, historically, should not have a front license plate (i.e., outside of 1946-1952).

Throughout most of his career, his usage of incorrect front Pennsylvania plates has bordered on subliminal, but he's gotten more and more brazen in his recent pictures. His last film before The Irishman, the 2016 epic Silence, was set in 17th Tokugawa-period Japan, and yet-- sure enough-- at the climax of the film Liam Neeson is seen driving a '92 Honda Civic, and if you look close enough, you can indeed see that it has a front Pennsylvania license plate. And then, in his most ballsy move yet, he did a close up of the plate in The Irishman as you mentioned. And then I read that his next film Killers of the Flower Moon: The Osage Murders and the Birth of the FBI (which is to star DiCaprio and De Niro) opens with them driving a car through 1965 Philly- but neither of them are actually seen in the car- it's a 10 minute tracking shot from the POV in front of of the front fucking Pennsylvania goddamn license plate!!!

I've already started connecting the dots on Martin and his nefarious license plate league and I'm pretty sure he's in cahoots with the Deep State, Free Masons, Illuminati, Bill Clinton, @broncosmitty, Vladimir Putin, and of course Donald Trump.

I attempted to watch The Irishman last night. But couldn't get DeNiro's highheels out of my mind long enough to follow that ever so slowly moving story of whatever it was a story of.


Never made it to the house painting part. I love movies about house painters. Like Look Who's Talking and that other one.

 

[DragonfromTO]

I attempted to watch The Irishman last night. But couldn't get DeNiro's highheels out of my mind long enough to follow that ever so slowly moving story of whatever it was a story of.


Never made it to the house painting part. I love movies about house painters. Like Look Who's Talking and that other one.

I think you're thinking of "American Pie 2"

 

[broncosmitty]

I think you're thinking of "American Pie 2"

That's the one.


I see you also respect the House Painting classics.

 

[Cedrique]

At first I wrote off your repeated posts about the front license plate as the incoherent ramblings of a man who had just shot H. But I've been on a Scorsese binge the last day and a half- and you're definitely onto something. I think Scorsese is in some sort of secret society that wants all Pennsylvania cars to have front license plates. Starting with Mean Streets, every single film that he has released has featured a front Pennsylvania license plate on a car during a time period that, historically, should not have a front license plate (i.e., outside of 1946-1952).

Throughout most of his career, his usage of incorrect front Pennsylvania plates has bordered on subliminal, but he's gotten more and more brazen in his recent pictures. His last film before The Irishman, the 2016 epic Silence, was set in 17th Tokugawa-period Japan, and yet-- sure enough-- at the climax of the film Liam Neeson is seen driving a '92 Honda Civic, and if you look close enough, you can indeed see that it has a front Pennsylvania license plate. And then, in his most ballsy move yet, he did a close up of the plate in The Irishman as you mentioned. And then I read that his next film Killers of the Flower Moon: The Osage Murders and the Birth of the FBI (which is to star DiCaprio and De Niro) opens with them driving a car through 1965 Philly- but neither of them are actually seen in the car- it's a 10 minute tracking shot from the POV in front of of the front fucking Pennsylvania goddamn license plate!!!

I've already started connecting the dots on Martin and his nefarious license plate league and I'm pretty sure he's in cahoots with the Deep State, Free Masons, Illuminati, Bill Clinton, @broncosmitty, Vladimir Putin, and of course Donald Trump.

I'm not sure if you're fucking with me or Scorsese is fucking with everyone who has ever lived in the mid-atlantic region of the U.S. Now I need to re-watch all of his movies to see if he has people in NJ pumping their own gas or people in Delaware paying sales tax. Or a guy who owns a radar detector store in Virginia. Or a movie set in one of those towns in South Jersey off of 130 where the main character drives around constantly making left turns instead of having to use the goofy jug handles. Is that enough examples?

 

[Voltaire26]

Marvin Miller and Ted Simmons

'SWEET' LOU WHITAKER GETS RIPPED OFF!!

 

[nynasty]

Ted Simmons was a really good player for a long time.

HOFer? Never once thought of him that way. Never a top 5 MVP finish. The only thing he ever led the league in was GIDP.

Meh.

 

[StanMarsh51]

Ted Simmons was a really good player for a long time.

HOFer? Never once thought of him that way. Never a top 5 MVP finish. The only thing he ever led the league in was GIDP.

Meh.

In all fairness, much of that might be moreso due to him being on some pretty mediocre Cards teams during his prime. If you look at seasons like his '75 and '77-'80, I'd argue he had better years than a number of the players who finished better than him in MVP voting...