batmagadanleadoff

an Astros fan went ahead and re-watched available video to log all the trash can banging. his results are here: http://signstealingscandal.com/players/http://signstealingscandal.com/players/ Two immediate takeaways: lots of can-banging for Beltran At-Bats. Almost none for Altuve who is a big outlier - did Altuve say "fuck you" to the cheaters? Who knows. Some batters just aren't comfortable receiving stolen signals and it's got nothing to do with ethics. They think they hit better without having the signs.

Where are the threads from the earlier rounds?

I always hated the "don't speak ill of the dead" thing. I mean, if you're going to remember a guy or gal, remember a guy or gal in full. Especially an A-list celebrity/public figure whom I assume nobody here knows personally. How long is that don't speak ill of the dead trope supposed to last? Forever? A short while? Can't be forever. Or what? Nobody can say bad stuff about Mussolini? Oh....And with respect to another post in this thread about something else: Unbelievable.

Here's an oddity: "Charade" is in the public domain and has been since its initial premiere release. The film's makers forgot to put the copyright symbol on the film's print'', required under copyright law back then and so there's no copyright on the movie.

Why's that odd? Bobby V's guy's shouldn't have to wait more than 20 years but Yogi's guys have to wait an eternity? Maybe they should wait until Matlack and every single Met fan who ever saw him pitch for the Mets in real time are all dead before they put Matlack in their HOF. What's odd is that Koosman's number wasn't retired decades ago while #8 is in goddamn mothballs.

Vic Sage wrote: (with a sigh of relief that they passed on Dusty) Yes.

I've been noticing this for several months now -- the cards I post here are a teeny bit blurrier than they appear on my computer. It's been driving me nuts and I have no idea why this is happening.

Typewriter Chewing Gum celebrates the 1969 All-Star Game's Mets connected hometown hero with this mash-up of Latin-American market All-Star cards, Batman69 cards and the Special Guest Villain line of cards. And check out our guest villain's 4.000 slugging percentage and 5.000 OPS for his all-star effort. That's a good night's work. https://live.staticflickr.com/65535/49425719887_f76fbbd815_c.jpg>

To be fair, I would have voted for Jeter. But the litany of Yankee-fan friends asking "Who was the asshole?" .... It's the same person who didn't vote for Babe Ruth and Willie Mays and Hank Aaron and Tom Seaver. What? Derek Jeter is the G.O.A.T.?

Holy Space-Time conundrum! We packed Batman into the DeLorean time machine and set the dials for Washington D.C, Summer of '69. Batman's mission was to snap up some pics of all-star and emerging Mets batting stud Cleon Jones at RFK stadium for our Batman69 All-Star cards. (available only in Latin America. All-star cards. Test Market. Contracts. Lawyers.) What we forgot was that this Batman, the Adam West version, is strictly a 1966 guy. So he didn't take with him, one of those modern digital cameras with unlimited memory that every nine year old has today so long as they have a smartphone, which they do, which we figured Batman would have in his vaunted utility belt. No. Instead he took a 1966 vintage Minolta camera with, get this, a spent roll of film and enough leftover film for just one snapshot. He couldn't take a modern camera. Shark repellent and anti-radioactive spray he took with him. But not a freakin' modern camera. So Batman gets there, and he's got one shot to get a good shot of ol' Cleon. But wouldn't youse know it -- Cleon wasn't cooperating. Cleon gave us his back, the ol' cold shoulder. Wouldn't give Batman the time of day. Maybe Cleon's a Superman guy. Who knows? Well, Batman did the best he could. Then he came back and went out looking for one of those Kodak kiosks where they can develop your film in 24 hours. Youse don't know what we'se went through with this card. https://live.staticflickr.com/65535/48781589858_2c888886d0_c.jpg> We finally got Cleon to smile for the camera. https://live.staticflickr.com/65535/49394732588_a66c7e0d8e_c.jpg> Tune in tomorrow, same bat-time, same bat-channel, as we here at Typewriter Chewing Gum will preview another Batman card from our line of All-Star Latin-American market only test issue cards. Once again, it's gonna be another mash-up of All-Star cards and Batman69 cards. Plus, we're going "Special Guest Villain" with this next one so stayed tuned! It's three subsets all rolled into one card.

Johnny Lunchbucket wrote: How could they screw that detail up?!? I may be remembering FBGs as KYA... I just remember it totally didn't sit well with me and every moment after that I met with complete cyncism. I'm totally with you on this. I could see how others might think it's a minor screw-up, but for me, it was a major gaffe and it lingered with me in the back of my head throughout the rest of the movie. Also, I can't see how this is some "screw-up" as if a mistake was made. Like the band members didn't realize when FBG was recorded or that the fact checkers didn't research every song used in the movie? This was intentional.

Also, in the movie, the band is shown playing Fat Bottomed Girls early on, before Bohemian Rhapsody was ever recorded. This was an annoying screwup as FBG was recorded in 1978 for the Jazz album, a coupl'a albums after Bohemian Rhapsody. I don't consider this error to be trivial. How'd you like to see a Beatles movie where they're depicted playing A Day in the Life on their first Ed Sullivan show appearance? Here's one not many people would know about and I haven't found a mention of it on the internet. It's a minor gaffe, but one that I happen to know. The movie depicts Queen playing at Madison Square Garden and performing We Will Rock You/We are the Champions on their News of the World Tour. In real life, when Freddie Mercury was about to sing We are the Champions, a stage hand walked out on stage to hand Mercury a satin New York Yankees jacket, which Mercury then donned. This didn't happen in the movie. I happen to know this annoying detail because I was at that concert -- (Orchestra seats, about 15 rows from the stage).

Also, the home team should be allowed to bug the visitors' dugout. And locker room. This would work real good and yield much more info in the NFL if the visitors' football lockers were bugged. Hers"s something else that's long overdue: So if the visiting team's baserunner is rounding third and it looks like he's definitely about to score, the home team should be allowed to have a sharpshooter in their dugout who would shoot down the runner before he scores. The best part of this idea which I only thought of just now on the fly as I was writing this very sentence is that the bullets don't even have to be real. You don't have to kill the baserunner. Just stun him to slow him down or stop him until he could be tagged out. This is an ANALOGY! A person has the right to kill in self defense if their own life is threatened so if you can shoot someone in that situation, you might as well be able to shoot anyone anytime. Plus, you wouldn't have to distinguish between deadly force in self defense and any old random arbitrary killing. So think how much less a strain there'd be on our courts. Also, if you're allowed to steal baseball signs, you should be allowed to steal whatever you want from a stranger's house. That's another ANALOGY.

Yeah sure. And let's not stop at electonic sign stealing. Home teams should also be allowed to install anti-matter force field ray guns aimed at the mound to slow down the visitor's pitches. It'd be neat to watch Aroldis Chapman go all out and all with the veins popping out of his neck from the effort but after all that, the ball squirts out of his hand at only 40MPH. It'd be kinda like flubber. Also, the visitors water fountain could be laced with drugs or sleeping pills to slow down the visitors although this last idea isn't so hot because after a while, they'll catch on and only drink from their own store bought sealed bottles in this perpetual game of cat and mouse and leapfrog.. If the visiting team is careless enough to get thirsty or to be in the position where they have to pitch the ball, then they deserve this, having brought it on themselves.

=MFS62 post_id=30056 time=1579380652 user_id=60] The Baseball America Almanac for 2020 does NOT have Pete Alonso on the cover. The cover is usually reserved for the player from the prior year who had the most outstanding season.

=Ceetar post_id=29924 time=1579214112 user_id=102] =batmagadanleadoff post_id=29923 time=1579213028 user_id=68] =Ceetar post_id=29921 time=1579210660 user_id=102] fuck the media 100 ways to sunday, seriously. Can we get some real reporters to cover baseball that aren't out to get a guy fired for not being truthful to them about a situation that was currently under investigation by MLB? I didn't think I could lose any more respect for Joel Sherman. he sure showed me. asshole.

=Ceetar post_id=29921 time=1579210660 user_id=102] fuck the media 100 ways to sunday, seriously. Can we get some real reporters to cover baseball that aren't out to get a guy fired for not being truthful to them about a situation that was currently under investigation by MLB? I didn't think I could lose any more respect for Joel Sherman. he sure showed me. asshole.

Dr. Whom strikes again.

If Steve Cohen coming on board was a sure thing, the Mets might be able to attract some really good top tier managerial candidates --- for a change.

Beltran should've PIVOTED. He needs to take some PR lessons. Then get up before the podium and just change the subject. He should've had a press conference about the Pelopynesian Wars or something. Talk about how we're all working together and how it's a shame all this negative talk about negative stuff. I bet anything that by the end of that presser, everybody and the whole wide world would've forgotten that there even was an Astros sign-stealing scandal.

Vic Sage wrote: Vic Sage wrote: I can't find my Hitchcock essay in the archives. oh well. another moment lost, like tears in rain. i found it! -------------------------------------------------------------------------------------------------------------------- Paramount: - "Blondes make the best victims. They're like virgin snow that shows up the bloody footprints." Hitch did 5 films with Paramount, which were all given a theatrical re-release back in the 1980s, before being distributed in the newly burgeoning home video market. 2 of these were two of his very best films, REAR WINDOW and VERTIGO, both with Jimmy Stewart at his most sexually disturbing and obsessed, verging on sado-masochistic. * Rear Window (1954) (AA nom/director) - Stewart & Kelly; darkly funny, disturbing rumination on voyeurism * To Catch a Thief (1955) - Kelly and Grant in light romantic thriller; urbane sophisticated entertainment. Kelly went on to become Princess Grace after the film * The Trouble with Harry (1955) - black comedy about a dead body, with a cute young Shirley McLaine; silly, pointless * The Man Who Knew Too Much (1956) - Doris Day sings "Que Sera, Sera" -- a ridiculous remake * Vertigo (1958) - my favorite cool blonde, Kim Novak, totally fetishized by Stewart (and Hitch). One of the greatest films ever made * North by Northwest (1959) - Grant and E.M.Saint, "wrong man", black comedy, Freudian sexual hysteria, thrilling climax on national monument, the crop duster... its Hitch at his absolute best * Psycho (1960) (AA nom/director) - Hitch crossed the line from suspense to pure horror (depending on your definition), reinventing the genre and making a fortune for his efforts... he waived his salary to take 60% of net profits when he produced it as an indie (nobody wanted to touch the project), but eventually distributed by Paramount I know how much you like Vertigo. If you don't already know, it recently replaced Citizen Kane as The British Film Institute's best movie of all time. Me, I'm a Psycho guy. Heard of 78/52? When the latest British Film Institute greatest-films-of-all-time poll came out a few years ago, it wasn't terribly surprising that an Alfred Hitchcock film had displaced “Citizen Kane,” which had occupied the top spot for several decades. But why “Vertigo”? If the importance of Orson Welles' classic had stemmed from the common view that it launched sound-era auteur cinema (especially in its influence on the young critics who would become the auteurs of the French New Wave), surely the Hitchcock film that had a similar game-changing impact was “Psycho.” That thought may well cross the minds of viewers of “78/52,” which, in providing a detailed analysis of the shower scene in Hitchcock's horror milestone, makes a persuasive case for “Psycho” as the film that jump-started modern cinema, not just in its startling fusion of sex and violence (which anticipated much about the ‘60s, off-screen as well as on) but also in a revolutionary use of film technique that would galvanize audiences and inspire filmmakers for decades to come. While Alexandre O. Philippe's film is essentially a big geek-out for cine-obsessives, it's one that makes you realize that “Psycho” is not the property of a coterie. That shower scene may be the best-known movie sequence in modern cinema. Endlessly imitated and parodied (and even remade shot-by-shot by Gus Van Sant), it's familiar material even to many casual movie fans as well as filmgoers generations removed from its shocking advent. That familiarity means that many viewers of “78/52” (the title refers to the three-minute scene's 78 camera set-ups and 52 cuts) will begin the film realizing they already know a lot about what's being discussed. The virtue of Philippe's approach is that it organizes an intelligent, analytic discussion that expands and deepens our knowledge by drawing upon commentary from the likes of Walter Murch, Peter Bogdanovich, Bret Easton Ellis, Eli Roth, Danny Elfman, Jamie Lee Curtis, Guillermo del Toro and others, plus vintage TV clips of Hitchcock interviews. Some of the most fascinating testimony comes from Marli Renfro, a model (and sometime Playboy Bunny) who served as Janet Leigh's body double in the shower scene. She recalls the scene's lengthy shooting, in which she was topless and offered to remove the “crotch patch” she wore; Hitchcock declined. Starting out, the film makes the point that the low-budget, black-and-white “Psycho” was a deliberate antithesis to the big, glossy, Technicolor star vehicles (such as “North by Northwest,” “Vertigo” and “Rear Window”) that made the 1950s Hitchcock's most successful decade so far. For this viewer, though, one of the most thought-provoking bits of contextualizing here comes in connecting the movie's theme of invaded spaces and unexpected attacks to the warnings that Hitchcock provided in films like “Foreign Correspondent” and “Lifeboat” of what he saw as the U.K. and U.S.' lack of preparedness for World War II. Although Philippe gives surprisingly little attention to how Hitchcock's popular TV show influenced “Psycho,” he does note that when the movie was done, Hitchcock considered it such a flop that he considered editing it down to an hour and using it on TV. Composer Bernard Hermann convinced him to do otherwise, and gave him the legendary score that helped the shower scene elicits screams from coast to coast. Peter Bogdanovich recalls emerging from the movie's first showing in New York feeling that he'd been “raped.” Shot in black and white and generous in its use of clips from “Psycho” and other movies, “78/52” looks at virtually every aspect of the shower scene—including the staging, the production design, the music and sound effects, the camera work, Saul Bass' storyboards, etc.—and marvels at how brilliantly integrated they were. The word “genius” is heard more than once, and the more the film shows us, the less even hardened skeptics will be likely to demur. Some of the most fascinating bits concern details in “Psycho,” showing how even minor design elements in the movie contribute to its overall tapestry of meaning and emotion. There's a discussion of the floral wallpaper in the Bates Motel, and a detailed analysis of why the Dutch painting of “Susannah and the Elders” that covers Norman Bates' peephole was the perfect rendition to connect the Biblical theme to Norman's state of mind. Philippe's interviewees also pay ample tribute to the subtle modulations in Anthony Perkins' brilliant and haunting performance as Norman. No one, though, wonders if his casting might have had something to do his status as a closeted gay man whose biography contained a dead father and domineering mother (similar casting questions of course could be asked of other Hitchcock films including “Rope” and “Strangers on a Train”). Perhaps unsurprisingly, there are no interviewees here who question the value of “Psycho” or its impact on the culture. That's because it's basically a fan's film, of course. But it's also testament to the power and mastery of a movie that, nearly 60 years on, still feels as modern, complex and cutting-edge as any film released in 2017. https://www.rogerebert.com/reviews/7852-2017https://www.rogerebert.com/reviews/7852-2017 https://static.rogerebert.com/uploads/movie/movie_poster/7852-2017/large_MV5BMTg2NjMzMDAxMl5BMl5BanBnXkFtZTgwMDkxOTY0MzI_._V1_SY1000_CR0_0_676_1000_AL_.jpg> [YOUTUBE]rNHwKKdirxo[/YOUTUBE]

Holy Space-Time conundrum! We packed Batman into the DeLorean time machine and set the dials for Washington D.C, Summer of '69. Batman's mission was to snap up some pics of all-star and emerging Mets batting stud Cleon Jones at RFK stadium for our Batman69 All-Star cards. (available only in Latin America. All-star cards. Test Market. Contracts. Lawyers.) What we forgot was that this Batman, the Adam West version, is strictly a 1966 guy. So he didn't take with him, one of those modern digital cameras with unlimited memory that every nine year old has today so long as they have a smartphone, which they do, which we figured Batman would have in his vaunted utility belt. No. Instead he took a 1966 vintage Minolta camera with, get this, a spent roll of film and enough leftover film for just one snapshot. He couldn't take a modern camera. Shark repellent and anti-radioactive spray he took with him. But not a freakin' modern camera. So Batman gets there, and he's got one shot to get a good shot of ol' Cleon. But wouldn't youse know it -- Cleon wasn't cooperating. Cleon gave us his back, the ol' cold shoulder. Wouldn't give Batman the time of day. Maybe Cleon's a Superman guy. Who knows? Well, Batman did the best he could. Then he came back and went out looking for one of those Kodak kiosks where they can develop your film in 24 hours. Youse don't know what we'se went through with this card. https://live.staticflickr.com/65535/48781589858_2c888886d0_c.jpg> We finally got Cleon to smile for the camera. https://live.staticflickr.com/65535/49394732588_a66c7e0d8e_c.jpg>

=Ceetar post_id=29764 time=1579110491 user_id=102] and then fuck all the people that think this matters at all to anything and that would rather hear quotes from Beltran about the 2017 Astros than the 2020 Mets.

Johnny Lunchbucket wrote: They fired Mickey for a lot of reasons but being bad with the press (occasionally hostile, often awkward) was one of them. Beltran is "good" with the press inasmuch as he can comfortably lie to them. Fuck him and Trump And then fuck all the people who think that what Beltran did is besides the point but that what does matter is how Beltran is supposed to PIVOT and change the subject and essentially bullshit the public because we're all stupid and have the memory span of a fucking doorknob.

Chad ochoseis wrote: =batmagadanleadoff post_id=29457 time=1578514347 user_id=68] Larry Walker away from Coors Field LIFETIME ... .282/.372/.500 Jim Edmonds LIFETIME .284/.376/.527 Moises Alou LIFETIME .303/.369/.516 Rusty Staub LIFETIME ... .279/.362/.431 Joe Torre LIFETIME ... .297/.365/.452 Frank Howard LIFETIME ... .273/.352/.499 John Olerud LIFETIME ... .296/.398/.465 Keith Hernandez LIFETIME ... .296/.384/.436 Sure, Walker's stats are Coors inflated, but when you pull out Coors, you're pulling out his home stats from age 28-36. Those are likely to be the most productive ABs of any slugger's career, Coors or no Coors. A fair comparison would have to remove the age 28-36 home stats for the other players, too.