Sunday, August 03, 2008

Cardboard Retrospective: Art Monk’s HOF Career With the Washington Redskins

By Jamie Mottram | August 1, 2008

For Redskins fans, this weekend is as big as August weekends get. The Skins play for the first time this season, Zorn Star makes his head coaching debut and, of course, Art Monk and Darrell Green enter the Hall of Fame. That’s a lot to process, and, for me at least, it’s all about Monk.

Ours is a one-sided love affair that began sometime before I can remember. My first recollection of it was as a nine year-old, opening my very first pack of football cards only to find this beauty sitting right there on top:

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Honest to goodness, that was my first football card, and is still the priceless (worthless?) crown jewel of my collection. That’s because my devotion to Monk deepened over time as his career arc coincided with my coming of age. When he came to Washington as a first-round pick in 1980, I was 2 years old. When he left as the NFL’s all-time receiving leader in ‘93, I was 15. In between, the Redskins won three Super Bowls and my passion for them was followed close behind by my addiction to card collecting.

So, in my mind, the best way to honor the hero of my youth on the eve of his enshrinement is to share some of my most precious possessions here with you. Consider this a cardboard retrospective of my favorite player that ever was, and ever will be …

1981 Topps — Back of the card nugget: “On the heels of an outstanding rookie campaign with the Redskins in 1980, Art was named to NFL’s All-Rookie Team.”

art-monk-1981-topps.jpg

1982 Topps — “A good blocker for the club, he sees action on several specialty teams.”

art-monk-1982-topps.jpg

1983 Topps — “He’s a constant threat to turn a routine pass play into a touchdown.”

art-monk-1983-topps.jpg

1984 Topps — “Art once caught passes in 23 consecutive games.”

art-monk-1984-topps.jpg

1985 Topps — “Nicknamed “money” for his ability to make the clutch reception, he consistently catches the pass over the middle.”

art-monk-1985-topps.jpg

*BONUS* 1985 Topps Record Breaker — “Monk caught an incredible 106 passes last season to set new NFL record. The former mark of 101 receptions was set by Oilers’ Charley Hennigan during the 1964 season.”

art-monk-1985-topps-record-breaker.jpg

1986 Topps — “The NFL’s 2nd-leading receiver in 1985, Art was named All-Pro and played in Pro Bowl.”

art-monk-1986-topps.jpg

1987 Police Cards — “Art has been part of the NFL’s top receiver tandem for three straight seasons, twice with Gary Clark, and once with Calvin Muhammed.”

art-monk-1987-police-card.jpg

1988 Topps — “His cheering section is called “Art Gallery”.”

art-monk-1988-topps.jpg

1989 Score — “Over the past five years, he has caught more passes than any other NFL receiver.”

art-monk-1989-score.jpg

1990 Pro Set — “One of the NFL’s all-time great receivers.”

art-monk-1990-pro-set.jpg

1991 Bowman — “Among the NFL’s active players, one of the most likely to be elected to the Hall of Fame is Art Monk.”

art-monk-1991-bowman.jpg

*BONUS* 1991 Pinnacle Pro Sideline — “An avid fisherman, Art can be found in the offseason wherever there is a bass fishing tournament.”

art-monk-1991-pinnacle.jpg

1992 Score — “Art, the Redskins’ classy leader, is on the verge of NFL immortality; he needs just 19 catches in ‘92 to pass Steve Largent’s all-time record of 819 receptions.”

art-monk-1992-score.jpg

*BONUS* 1992 Upper Deck Record Breaker — “Art Monk went in motion to the right, turned upfield, made a quick move to the sideline and caught a ten-yard Mark Rypien pass to become the NFL’s all-time pass receptions leader with 820.”

art-monk-1992-upper-deck-record-breaker.jpg

1993 SkyBox — “Monk is one good guy who will finish first, although his NFL career is far from finished.”

art-monk-1993-skybox.jpg

Topics: Cardboard Icons, Art Monk, Redskins |

At Last, No Debating Their Hall Pass

By Michael Wilbon
Friday, August 1, 2008; E01

It's wonderful that Redskins fans can climb into their cars and drive the 350 miles from Washington to Canton, Ohio, to see the Hall of Fame induction of Art Monk and Darrell Green. It's fitting, given their contributions to multiple Super Bowl victories as teammates, that Green and Monk will be inducted together. The only thing more appropriate, given the personality of the team, would be if one of the Hogs, say, Russ Grimm, could have made it a threesome.

Perhaps all's well that ends well, but it shouldn't have turned out this way. They shouldn't be going in together, Green and Monk. Green, as he should have been, was elected in his very first year of eligibility.

Every once in a while, even in a room with a group of men who see football and the world differently, there's a player everyone agrees on to the degree his candidacy requires zero debate. Now, I was no longer in the room that Saturday morning last February when Green's name was put up for election. But I'd been a Hall of Fame selector for 10 years, long enough to see how it went on a couple of occasions when one of the true greats was up for discussion.

I remember the Joe Montana conversation in 2000 going something like this: "Guys, Joe Montana is up for election in his first year. . . . Do we really need to debate this?"

No.

And the conversation for John Elway's candidacy in 2004 was just about the same: "Any objections to John Elway?"

Uhhh, no.

The presentation of Green's candidacy, made by The Post's Leonard Shapiro, wasn't that short, but it certainly didn't touch off any kind of contentious debate. Green was up there, in my book, with the likes of Ronnie Lott, Herb Adderly, even Mel Blount, as one of the absolute greats. Green's selection, I'm certain, was simple and clean. It was easy. Had I still been a selector I'd have done very little preparation to help Shapiro present Darrell Green. His body of work, over a stunningly long period of time, jumped out at anybody paying even partial attention. It didn't need to be highlighted or interpreted and sweetened.

Art Monk's candidacy, on the other hand, was a very different story.

It took years and years. And it, like Lynn Swann's candidacy, was at times contentious. I probably helped turn it in that direction because the arguments against voting Monk in seemed misguided to me. There was the argument that Monk didn't score enough touchdowns (68) even though he caught more than Michael Irvin (65), who was voted in ahead of Monk.

There was the argument that Monk's yards-per-catch average was too low (13.5) as compared to, say, James Lofton's 18.3. There was the argument that Monk had no signature reception.

All this was trumped, in my opinion, by the fact that Art Monk and Joe Gibbs were two of the few constants on a team defined largely by offense. Think about it. The quarterback changed from Joe Theismann to Doug Williams to Mark Rypien. The running back changed from John Riggins to George Rogers to Earnest Byner. The other receivers changed from Virgil Seay and Charlie Brown to Gary Clark and Ricky Sanders. The tight ends changed from Don Warren and Doc Walker to Terry Orr and Jimmie Johnson. Even some of the linemen changed. George Starke left, Mark May arrived.

Monk was there, always, from the beginning to the end. Joe Jacoby, Russ Grimm, Jeff Bostic and Monk. Even before Green, Monk was there.

Heck, one season before Gibbs arrived Monk was there. Monk was football's Cal Ripken. He didn't score a bunch of touchdowns because Gibbs didn't throw the ball in from the 5-yard line, he ran it in. Brown and Clark had greater yards-per-reception numbers in large part because Monk did so much dirty work underneath. He didn't have as many circus catches because he was where he was supposed to be more often than other great receivers and didn't have to be an acrobat.

We claim in today's sporting culture to value players who shut up and do what the coach asks for the good of the team, sacrificing personal statistics and goals for the good of the team. Then, at Hall of Fame selection time, we in the selection room too often asked, "Where are his stats?" Monk, if he played basketball, would have been perfect for the San Antonio Spurs.

I never became friends with Art Monk, haven't had one lengthy conversation with him to this day even though I've covered sports in this town for 28 years and arrived in D.C. the same summer Monk arrived. He didn't have much to say to reporters during his playing days, which was fine with me. But the failure to enshrine Monk angered me every single year, probably more than it should have. I called Gibbs in 2004 and told him he had to help me construct an argument that would help get Monk elected. Despite Gibbs's best efforts, it didn't.

I always seemed more ticked off about those unsuccessful selection Saturdays than did Monk, who was remarkably gracious despite the snubs.

He wrote me a note one year that said essentially, "Thanks for the effort . . . now stop worrying about it."

Even with Monk and Green being enshrined, the Redskins of the first Gibbs era are a little short on representation. Riggins, Monk and Green are in. No way a member of the most dominant offensive line of its time, probably Grimm, shouldn't be in as well.

But making the Hall of Fame is difficult, much more difficult than winning the Super Bowl. Probably, that's as it should be. Some of my colleagues are fond of saying, usually when rejecting somebody's candidacy, "It's not the Hall of Very Good, it's the Hall of Fame." Green and Monk, going in together, are joining the most exclusive of company.

Complementary Routes

By Thomas Boswell
Saturday, August 2, 2008; E01

Art Monk and Darrell Green were the conscience and the heartbeat of the greatest Redskins teams of modern times. Opposite on the outside -- one big for his job, the other small; one silent, the other a chatterbox; one driven by fear of failure, the other by grinning self-confidence -- Monk and Green complemented each other like an NFL yin and yang. Together, they provided the Redskins with the best of the predictable and the improvisational. And together, just as they should, they now go into the Hall of Fame.

As the Redskins rebuild their future, they should look backward, too. Formations and fashions change, but football never does. Teams must have leaders, on and off the field. In Washington in the last half-century, none has been better than Green and Monk. If there were also a Hall of Fame for social good works, for unselfish play, for setting a community example and for decades of responsible adult behavior, they'd be in that, too.

Of course, at 48 and 50, they may mess up yet. But it's not looking that way. The concept of athlete as hero has had a hard time for a long time. You wonder why. Vice is so ordinary. Nobody's come up with an original sin in centuries. Doesn't anybody want to risk being accused of virtue? These guys signed up for the whole job.

Monk, the 6-foot-3, 210-pound wide receiver, was the epitome of quiet self-discipline and dependability, while the 5-8 Green was a constant symbol of energy and generosity, whether lining up at cornerback or working for his youth foundation. In the odd way of such things, they not only lined up against each other in practice from '83 through '93 but also were close friends and mirror images in their passion for charity work.

While Monk was often inscrutable to the public, going many years between interviews, Green was an open book of cheerful quotes. Opposites on the outside, but with comparable character at the core, they exemplify the kind of men, not just the type of athletes, who are essential to a champion.

Monk inspired his teammates with fanatical year-round conditioning, physical toughness and intelligence. The tall, elegant wide receiver set Washington's standard for perpetual improvement and clutch catches, establishing then-NFL records for career catches (940), catches in a season (106) and consecutive games with a reception (164). Everyone else looked in the mirror and tried to match him. He seldom had to say a word.

"Big Money," as teammates called Monk, stunk at pass blocking, though he sawed up the same defenders when he met them in the secondary. He hated clamp coverage, though he beat it. And he was never as simpatico with any quarterback as he was with Joe Theismann. But, otherwise, he was the closest to a flawless Redskin in our lifetime. He even let John Riggins get all those discount scores inside the 5-yard line when that was the part of the field where his best pass routes, like the unstoppable Dodge, worked best.

Green's impact on his team was exactly opposite. While Monk was among the biggest men who also were swift and agile enough to play wide receiver, Green was almost always the smallest Redskin. His No. 28 seemed to cover the entire back of his jersey. Yet the high-leaping, quick-closing Green was a lightning bolt of talent; he started fireworks with an interception, switched momentum with a punt return or, with a huge hit on a bigger man, ignited his whole defense into a streak of magnificent reckless violence.

One second, you were just watching a normal football game. The next instant, as Green sped to the heart of the action, you caught your breath, gasped, "Uh-oh, what now?" and hoped the NFL's fastest man would hurdle a tackler or level a giant. The tiny sprinter was not just a shutdown corner but instant adrenaline, a secret weapon.

Go on, say, "But Darrell wasn't Deion Sanders." Maybe not. But both started on two Super Bowl champions. Green had 54 career interceptions, five in the postseason, to Sanders's 53 and five. Green had eight defensive touchdowns, two in the playoffs, to Sanders's 10 and none. Green averaged 15 pass deflections a season to Sanders's 11. Green made seven Pro Bowls to Sanders's eight. In his first dozen seasons out of 14 overall, Deion averaged 38 tackles a year. In the first 17 of his 20 years, the much smaller Green -- who liked contact much more -- averaged 64 tackles.

Deion picked his Prime Time spots. Then danced. Green played the whole game.

What Monk and Green brought was a kind of superstar certainty that almost no Redskin has provided since they were in their primes for Joe Gibbs. Each had a signature.

On third down and nine, which wide receiver would go in motion, identify the defense instantly, run his route precisely, catch the ball in traffic, absorb the biggest hit, yet hold on almost every time? Monk, of course. Foes knew the play, had practiced against it all week, but still could not stop him. Sometimes success can be scripted.

But what happens when it can't -- when mere game-planning and practice reps aren't enough? What happens when Tony Dorsett breaks free up the sideline and can't possibly be caught? Someone must do it anyway. What happens when the only path to a playoff-game-winning punt return is to hurdle a Chicago Bear and not break stride? Call Darrell -- with a Tootsie Roll stuffed in his sock for quick energy, like Popeye's spinach.

About the great ones, never make assumptions about motivation. Monk's defining character trait may have been a childhood lack of confidence and a corresponding fear of failure. Once, Monk showed me his typical day during the offseason -- a regimen he began in his second NFL season and never altered, except to expand it each year.

At 9 a.m., he would lift weights for 75 minutes continuously, bench-press 250 pounds 10 times, take one deep breath, then begin the next exercise. After lunch, he would run six 200-meter sprints and 15 sprints of 150 meters with only a walk back to the starting line for rest.

After dinner, he would run three miles wearing a weight belt. "Might mix in some basketball or racquetball along the way," he said. Once a week, he went to a chiropractor, an osteopath and a massage therapist to work on old injuries and prevent new ones.

"Sometimes I fall asleep before I get to the bed," Monk said.

Green worked, but not like Monk. Instead, he believed. He had to. At his size, nobody thought he could star in the NFL, not coming out of obscure Texas A&I. When Green arrived as a rookie in '83, he sought out Hall of Famer and assistant general manager Bobby Mitchell, the fastest man to play for the Redskins.

"In walks a little teddy bear -- about 5-foot-nothing and 120 pounds," remembered Mitchell. "In a high-pitched voice, he said, 'Hi, I'm Darrell Green. I'm going to be great.' " Then Green challenged Mitchell to a race -- as a joke. It was a gag they repeated for all 20 of Darrell's seasons. The more Green talked that day, the bigger he looked to Mitchell: "By the time he left my office, he was a tall man just waiting to get started."

Perhaps no two Redskins stars ever ended their careers on such opposite notes, either. Inside Redskins Park, Monk wasn't always a deft politician and, as his skills waned, he got the bum's rush out of town after the '93 season. If he'd talked a better game, been more loveable like Green, he'd have been inoculated. The next season, returning to Washington for a luncheon as a valuable wide receiver for the Jets, Monk had in his previous game broken the record for consecutive games with a reception.

In one day, Monk did 18 interviews with Washington media outlets. Dump me, will you? "That's the most I've ever talked," he said with a laugh. "It's enough to last a lifetime."

Green's exodus in '02 was all sweetness. At his farewell game after 20 seasons, a teenage fan made a sign: "Stadium: $800 million. Chopper: $40 million. Deion: $8 million. No. 28: Priceless."

All week, the team plotted one last moment of glory for the part-time nickel back -- a reverse on a punt return. And Green sped 35 yards up the sideline. "If Darrell had broken that last tackle and taken it to the house," said Fred Smoot, "I think the stadium would have erupted, and everybody would just have gone home."

In his farewell speech to fans, Green said, "I can't waste my three minutes crying." And he didn't, not when he wanted to make sure he could use the time to help his Youth Life Foundation. Off the cuff, he said: "With all this great joy, something in my heart has always said, 'Is that it?' You have given me a great platform and a great community to do what I believe . . . to change the world for all that is good, right and godly."

As they begin another year, the Redskins should use their preseason visit to Canton to remind themselves of the kind of players who form the core of a Super Bowl team. At their best, they resemble Green and Monk. Their standards are astronomical, yet their egos are under control. They lead by both on-field deed and off-field example. They know they're the stars, yet put the team first.

Above all, they define pride, yet remain humble -- a trick that's almost inexplicable. You know it when you see it; you just don't see it often. Glimpse it one more time as Green and Monk, opposites yet also identical, enter the Hall of Fame -- together.

Saturday, August 02, 2008



Quiet man’s reward: Monk heads to Hall of Fame

And he did his job extremely well, catching more passes than anyone before him. Those who knew him well were outraged when the Washington Redskins receiver was passed over seven times in Pro Football Hall of Fame voting.

Now he’s in on try No. 8, with induction Saturday in Canton, Ohio.

He’s also become the poster boy for the athlete who maybe gets the unfair shake because he isn’t flashy and doesn’t have much to say.

“I don’t know if it’s society that likes it or the media that draws attention to those type of people, people who are self-promoting and just kind of always out in front: ‘Look at me,”’ Monk said in an interview with The Associated Press.

“They seem to get the attention. But for guys like myself, I don’t care. That’s just not who I am. That’s not what I’m about. I’m not doing it for recognition. I’m doing it because I love this sport, and I want to win and do the best I can. If you do that, people will recognize you.”

Uncomfortable in a black tie or behind a microphone, few players looked more at ease on the field than Monk. Need to move the chains on third down? He’d go over the middle and get the first down. The 6-foot-3, 210-pound receiver was bigger and stronger than most of his speedy, agile contemporaries, so catching a pass in traffic was no problem.

He set NFL records for most catches in a season (106) and most consecutive games with a reception (164). He became the all-time receptions leader with his 820th catch in 1992 and finished with 940. His records have since been broken, but mainly because rules and philosophy changes have led to a wide-open era in the passing game.

The 1980 first-round draft pick made the Pro Bowl three consecutive years (1984-86), and the Redskins won the Super Bowl three times during his 14 seasons with the team. He retired in 1995 after anticlimactic seasons with the New York Jets and Philadelphia Eagles.

So why the lack of appreciation?

Maybe it was because Monk’s best years came when the Redskins didn’t win the NFL title. Maybe it was because fellow “Posse” members Gary Clark and Ricky Sanders were perceived as doing the heavy lifting, getting the big gainers and touchdowns.

Monk’s big game stats have been criticized, but he had a 40-yard reception in the 1988 Super Bowl win over Denver, and caught seven passes for 113 yards in the 1992 title game victory over Buffalo.

“There’s all kind of theories,” said cornerback Darrell Green, Monk’s longtime Redskins teammate and fellow Hall of Fame inductee this year. “He didn’t talk to the media. He was quiet. He didn’t have the prime-time play. He was ‘First down, Redskins.’ I’ve heard it all.

“As one who played against him, he’s in the top echelon of the receivers, that’s a given. His numbers spoke for themselves. His longevity spoke for itself. His class spoke for itself.”

Monk remained typically quiet during his seven-year wait for the Hall of Fame nod, but his selection has opened a flood of emotions. At a Redskins reception for Monk and Green shortly following their election, Monk donned a white shirt and diagonal-striped tie and went to the podium before his ex-teammate.

“I’m going to go first,” Monk said, “since I’m the one who’s shortest on words.”

Everyone laughed, but Monk then did the astonishing, speaking uninterrupted for 12 minutes. He cracked jokes. He was eloquent and captivating. He seemed overwhelmed at receiving an honor he said he wasn’t expecting.

“I had just written it off,” Monk said, “as I had done the last few years. … It’s more than a title. It’s humbling. And it’s something hopefully I can live up to.”

Monk and Green then launched a joint multicity tour to raise money for their respective charitable foundations, a cause that offered a rare case of Monk reluctantly playing the extrovert at public functions.

“I’ve never been one to draw attention to myself,” Monk said. “I think it comes from my parents. They’re both not necessarily quiet, but they didn’t boast about themselves. They just worked. They worked hard. It’s all they ever knew, and they instilled that in me. That’s kind of the approach that I took. I kept my head down and worked hard and just did my best.”


A lifetime of fast running: Green goes into Hall

DULLES, Va. (AP)—In 1969, after his parents were divorced, 9-year-old Darrell Green moved with his mother from a nice, picturesque Houston community to the projects. He then starting riding a public bus every morning to go back to his old neighborhood and finish out the year at his old school.

“I get off this bus,” Green said, “and this guy had a little shop, maybe a lawnmower shop or something. He would chase me every day. I never told my parents. I just tied down all my stuff and when I hit the ground out of that bus: Pow! I did that maybe for a month until school was out.

“He had bad intentions. He was chasing a 9-year-old boy.”

So Green was off and running, and he never really stopped. Not when he started attending another elementary school and outran every sixth grader in the 50-yard dash. Not when he got to middle school and outran every boy on the track team, driving crazy the coach who begged and begged but couldn’t persuade Green to join the squad.

Not when he got to high school and finally ran track in the 10th grade. And then played football for the first time in the 11th grade, then both sports as a senior, and again at Texas A&I.

Green didn’t stop running when the Washington Redskins selected him with the final pick in the first round of the 1983 draft. Or when he touched the ball for the first time in an NFL game: a 61-yard punt return for a touchdown against Atlanta in the preseason. Or when he gained instant celebrity status by chasing down Tony Dorsett on “Monday Night Football” in his first regular-season game.

Or when he tore cartilage in his ribs during a 52-yard punt return touchdown against Chicago in a 1987 playoff game. (Check the replay: The man is carrying the ball in one hand and trying to hold his rib cage in place with the other.) Or when he won the “NFL’s Fastest Man” competition four times. Or when he was clocked at 4.3 seconds in the 40-yard dash at age 37. Or when made any of his club-record 54 career interceptions.

Even when he retired in 2002, he stayed on the field for 55 minutes after his final game, greeting fans in a Cal Ripken-like victory lap. At age 42, he was ending his career as the NFL’s oldest cornerback ever.

And he still didn’t stop. There have been business ventures, his Youth Life Foundation for children, his church, and honors received, such as “Darrell Green Boulevard” that runs near a new golf course in which he is a partner.

And, of course, the Pro Football Hall of Fame. The 5-foot-8 guy will be there Saturday, inducted in his first year of eligibility.

“The Hall of Fame is not a goal, it’s a byproduct of an effort,” Green said in an interview with The Associated Press. “There’s no magic to it. I’m not that complicated. As fascinating as the Hall of Fame is to the fans, the kids, it’s fascinating to me. I’m like a spectator in the stands: ‘You’re kidding me? This is awesome.’

“My Hall of Fame honor is better than everybody else’s Hall of Fame honor. It’s way beyond the field.”

On the field, Green played on two Super Bowl championship teams and earned seven trips to the Pro Bowl, the last at age 37. He was a starter until age 40 and a regular on defense until the final weeks of his career. He never tried to shop himself in free agency and became, along with Jackie Slater, one of two players in NFL history to play with one team for 20 seasons. He embraced the notion that athletes should be role models and once apologized for a very mild touchdown celebration.

Oh, he was fast, too. But, then again, that’s just his personality.

“I met my wife, and within six months we got engaged,” Green said. “I’ve just always been a guy who has a quick discernment on something. Even in business. I’ve always been fast. I’m fast in the things that I try to focus on, but I also have a stick-to-it-ness.”

Of course, speed isn’t everything, although it threatened to define Green’s game for a while. Everyone remembers that he chased down Dorsett, but Green remembers the Redskins lost that game to the Dallas Cowboys.

“A guy just ran the ball 40 or 50 yards on us, and then we end up losing the game,” Green said. “Where, in my seat where I’m sitting, do I call that great? In retrospect, it was a great play—wow—because it was Tony Dorsett, but the two-edged sword is ‘Wow, this guy can run fast.’ And I spent the majority of my first five years just being known as a guy who can run fast. The reality is I can cover.”

Green these days is typing as fast as he can, trying to finish his autobiography. As he reflected on the childhood story of the man who chased him at the bus stop, two thoughts came to his mind.

“He didn’t know he was chasing the future fastest man in the NFL,” Green said with a sly smile.

And the second?

“Why didn’t I tell my parents?”







Well I finally did one of the things in Korea that I have always wanted to do, I finally went to Busan and a saw a baseball games at the 30,000 seat stadium.

I was going to go on Saturday 23rd but, I thought that it was going to rain so I stayed at home. I looked at the weather on Sunday and saw that it might rain but I decided to go for it.

I took the KTX from Daejeon to Busan and I saw something that I had not noticed before. I noticed that from Busan to Daegu , the KTX train went slower, that from Daejeon to Daegu. I had heard that the fast track had not been laid down yet. I hope that they fix this soon.

I took the subway and arrived at the stadium. I saw that nearby their was a Primus/Home Plus together.

I was impressed with the size of the stadium when I walked in. Now you have to realize, i was wearing my Hanwha Eagles Jersey, and I really stood out.

The crowd was nice to me, but they were winning so it was not that bad. I saw something that I did not quite understand.

I was able to yell at the field and talk to Brad Thomas. He asked me if I was at the game yesterday. He said that their was a huge fight in the crowd involving the Hanwha fans. I told him that I missed the game but I am here today to cheer YOU ALL TO VICTORY.

Well it sure sounded nice but they lost 9-2.

I could not believe how full the stadium was. Over 30,000 for a baseball game. They were giving away cars and TV'S at the game and I could not believe it.







They started to wear orange bags on their heads, I was told that they were common for the fans. I also at that time saw Santa Clause at the game, HE WAS DRUNK AND CHEERING FOR THE Giants. The little kids were socked to see a drunk Santa. I kept laughing at him. It was too funny.

As the other Hanwha fans were leaving they stopped at looked at me and we just shrugged our shoulders. Hopefully next time the Eagles will win.

Friday, August 01, 2008




Well, its the summer of 2008 and this week, we have another sequel. It's The Mummy: Tomb of the Dragon Emperor. It is a new Mummy film but instead of Egypt, this one takes place in 1947 China.

To be honest I was never a huge fan of the first 2, so when i went to see #3, I had no real expectations. Really, the only reason I went was to see, if the new "Harry Potter" trailer would be attached to the film here in Korea as it was in the USA/Canada. (It was not). After I saw the film, I was quite surprised, I actually liked this film.

It is the typical "summer blockbuster" film. If you are looking for an action summer film with, mummies, love, a battle between good and evil, then you will want to see this film.

What i really liked about the film, was the usage of Jet LI (Emperor Han) and Michelle Yeoh (Zi Juan). Every time that these 2 actors were on the screen I felt that I was looking and the forces of evil and good trying to destroy each other. When you see these 2 together, it really helps the film.

Also I was glad to see Brendan Fraser, return to a role that he was born to play in " Rick O'Connell". It was god to see a popcorn action hero return. To be honest, I did not miss Rachel Weisz in this film at all. I thought that the new actress, Maria Bello did a great job in it and I liked the little tip of the hat they did towards Rachel in the beginning of the film.

I highly recommend that you see the film in a digital cinema. it really added a better vibe to the film than when I saw it on film.

Over all, the film is worth one summer viewing and after the film is over you might actually be looking towards maybe...Mummy 4.

Grade B

Opened in South Korea on 30 July 2008

How I saw the film. Primus DLP and CGV Film.

Extra scene at the end of the credits. No

Opens in USA. 1 August 2008.

Alex O'Connell: Good going dad. You've raised another mummy. In his tomb, it said he had control of the five elements
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>
>
>
>
> Democrat's Answer :
>
> Well, that's not enough information to answer the question!
>
> Does the man look poor or oppressed?
> Have I ever done anything to him that would inspire him to
> attack?
> Could we run away?
> What does my wife think?
> What about the kids?
> Could I possibly swing the gun like a club
> and knock the knife out of his hand?
> What does the law say about this situation?
> Does the pistol have appropriate safety built into it?
> Why am I carrying a loaded gun anyway,
> and what kind of message
> does this send to society and to my children?
> Is it possible he'd be happy with just killing me?
> Does he definitely want to kill me,
> or would he be content just to wound me?
> If I were to grab his knees and hold on, could my
> family get away while he was stabbing me?
> Should I call 9-1-1?
> Why is this street so deserted?
> We need to raise taxes,
> have a paint and weed day and
> make this a happier, healthier street
> that would discourage such behavior.
> This is all so confusing! I need to debate
> this with some friends for few days
> and try to come to a consensus.
>
> ................................................................................................
>
>
> Republican's Answer:
>
>
> BANG!
>
>
> ..............................................................................................
>
>
> Redneck's Answer:
>
>
> BANG! BANG! BANG! BANG! BANG!
> BANG! BANG! BANG! BANG !
> Click..... (Sounds of reloading)
> BANG! BANG! BANG! BANG! BANG! BANG!
> BANG! BANG! BANG! Click
> Daughter: 'Nice grouping, Daddy! Were those
> the Winchester Silver tips or hollow points?! '
> Son: 'Can I shoot the next one?!'
> Wife: 'You ain't taking that to the taxidermist!!

Wednesday, July 30, 2008

Rockin' the Right
The 50 greatest conservative rock songs.

By John J. Miller

EDITOR’S NOTE: This week on NRO, we’ve been rolling out the first five and now all 50 songs from a list John J. Miller compiled that appears in the June 5 issue of National Review . Here’s a look at #1 and get the whole list—complete with purchasing links—here.

On first glance, rock ’n’ roll music isn’t very conservative. It doesn’t fare much better on second or third glance (or listen), either. Neil Young has a new song called “Let’s Impeach the President.” Last year, the Rolling Stones made news with “Sweet Neo Con,” another anti-Bush ditty. For conservatives who enjoy rock, it isn’t hard to agree with the opinion Johnny Cash expressed in “The One on the Right Is on the Left”: “Don’t go mixin’ politics with the folk songs of our land / Just work on harmony and diction / Play your banjo well / And if you have political convictions, keep them to yourself.” In other words: Shut up and sing.


But some rock songs really are conservative — and there are more of them than you might think. Last year, I asked readers of National Review Online to nominate conservative rock songs. Hundreds of suggestions poured in. I’ve sifted through them all, downloaded scores of mp3s, and puzzled over a lot of lyrics. What follows is a list of the 50 greatest conservative rock songs of all time, as determined by me and a few others. The result is of course arbitrary, though we did apply a handful of criteria.

What makes a great conservative rock song? The lyrics must convey a conservative idea or sentiment, such as skepticism of government or support for traditional values. And, to be sure, it must be a great rock song. We’re biased in favor of songs that are already popular, but have tossed in a few little-known gems. In several cases, the musicians are outspoken liberals. Others are notorious libertines. For the purposes of this list, however, we don’t hold any of this against them. Finally, it would have been easy to include half a dozen songs by both the Kinks and Rush, but we’ve made an effort to cast a wide net. Who ever said diversity isn’t a conservative principle?

So here are NR’s top 50 conservative rock songs of all time. Go ahead and quibble with the rankings, complain about what we put on, and send us outraged letters and e-mails about what we left off. In the end, though, we hope you’ll admit that it’s a pretty cool playlist for your iPod.

1. “Won’t Get Fooled Again,” by The Who. The Who - The Kids Are Alright - Won't Get Fooled Again ; buy CD on Amazon.com
The conservative movement is full of disillusioned revolutionaries; this could be their theme song, an oath that swears off naïve idealism once and for all. “There’s nothing in the streets / Looks any different to me / And the slogans are replaced, by-the-bye. . . . Meet the new boss / Same as the old boss.” The instantly recognizable synthesizer intro, Pete Townshend’s ringing guitar, Keith Moon’s pounding drums, and Roger Daltrey’s wailing vocals make this one of the most explosive rock anthems ever recorded — the best number by a big band, and a classic for conservatives.

2. “Taxman,” by The Beatles. buy CD on Amazon.com
A George Harrison masterpiece with a famous guitar riff (which was actually played by Paul McCartney): “If you drive a car, I’ll tax the street / If you try to sit, I’ll tax your seat / If you get too cold, I’ll tax the heat / If you take a walk, I’ll tax your feet.” The song closes with a humorous jab at death taxes: “Now my advice for those who die / Declare the pennies on your eyes.”

3. “Sympathy for the Devil,” by The Rolling Stones. The Rolling Stones - Sympathy for the Devil Remixes - EP - Sympathy for the Devil ; buy CD on Amazon.com
Don’t be misled by the title; this song is The Screwtape Letters of rock. The devil is a tempter who leans hard on moral relativism — he will try to make you think that “every cop is a criminal / And all the sinners saints.” What’s more, he is the sinister inspiration for the cruelties of Bolshevism: “I stuck around St. Petersburg / When I saw it was a time for a change / Killed the czar and his ministers / Anastasia screamed in vain.”

4. “Sweet Home Alabama,” by Lynyrd Skynyrd. Lynyrd Skynyrd - Then and Now - Sweet Home Alabama ; buy CD on Amazon.com
A tribute to the region of America that liberals love to loathe, taking a shot at Neil Young’s Canadian arrogance along the way: “A Southern man don’t need him around anyhow.”

5. “Wouldn’t It Be Nice,” by The Beach Boys. The Beach Boys - Good Vibrations: Thirty Years of the Beach Boys - Wouldn't It Be Nice ; buy CD on Amazon.com
Pro-abstinence and pro-marriage: “Maybe if we think and wish and hope and pray it might come true / Baby then there wouldn’t be a single thing we couldn’t do / We could be married / And then we’d be happy.”

6. “Gloria,” by U2. U2 - Under a Blood Red Sky - Gloria ; buy CD on Amazon.com
Just because a rock song is about faith doesn’t mean that it’s conservative. But what about a rock song that’s about faith and whose chorus is in Latin? That’s beautifully reactionary: “Gloria / In te domine / Gloria / Exultate.”

7. “Revolution,” by The Beatles. buy CD on Amazon.com
“You say you want a revolution / Well you know / We all want to change the world . . . Don’t you know you can count me out?” What’s more, Communism isn’t even cool: “If you go carrying pictures of Chairman Mao / You ain’t going to make it with anyone anyhow.” (Someone tell the Che Guevara crowd.)

8. “Bodies,” by The Sex Pistols. Sex Pistols - Filthy Lucre Live - Bodies ; buy CD on Amazon.com
Violent and vulgar, but also a searing anti-abortion anthem by the quintessential punk band: “It’s not an animal / It’s an abortion.”

9. “Don’t Tread on Me,” by Metallica. buy CD on Amazon.com
A head-banging tribute to the doctrine of peace through strength, written in response to the first Gulf War: “So be it / Threaten no more / To secure peace is to prepare for war.”

10. “20th Century Man,” by The Kinks. The Kinks - The Kinks' Greatest: Celluloid Heroes - 20th Century Man ; buy CD on Amazon.com
“You keep all your smart modern writers / Give me William Shakespeare / You keep all your smart modern painters / I’ll take Rembrandt, Titian, da Vinci, and Gainsborough. . . . I was born in a welfare state / Ruled by bureaucracy / Controlled by civil servants / And people dressed in grey / Got no privacy got no liberty / ’Cause the 20th-century people / Took it all away from me.”

11. “The Trees,” by Rush. Rush - Rush: Spirit of Radio - Greatest Hits 1974-1987 - The Trees ; buy CD on Amazon.com
Before there was Rush Limbaugh, there was Rush, a Canadian band whose lyrics are often libertarian. What happens in a forest when equal rights become equal outcomes? “The trees are all kept equal / By hatchet, axe, and saw.”

12. “Neighborhood Bully,” by Bob Dylan. Bob Dylan - Infidels - Neighborhood Bully ; buy CD on Amazon.com A pro-Israel song released in 1983, two years after the bombing of Iraq’s nuclear reactor, this ironic number could be a theme song for the Bush Doctrine: “He destroyed a bomb factory, nobody was glad / The bombs were meant for him / He was supposed to feel bad / He’s the neighborhood bully.”

13. “My City Was Gone,” by The Pretenders. Pretenders - Learning to Crawl - My City Was Gone ; buy CD on Amazon.com
Virtually every conservative knows the bass line, which supplies the theme music for Limbaugh’s radio show. But the lyrics also display a Jane Jacobs sensibility against central planning and a conservative’s dissatisfaction with rapid change: “I went back to Ohio / But my pretty countryside / Had been paved down the middle / By a government that had no pride.”

14. “Right Here, Right Now,” by Jesus Jones. buy CD on Amazon.com
The words are vague, but they’re also about the fall of Communism and the end of the Cold War: “I was alive and I waited for this. . . . Watching the world wake up from history.”

15. “I Fought the Law,” by The Crickets. The Crickets - The Crickets and Their Buddies - I Fought the Law ; buy CD on Amazon.com
The original law-and-order classic, made famous in 1965 by The Bobby Fuller Four and covered by just about everyone since then.

16. “Get Over It,” by The Eagles. Eagles - The Very Best of the Eagles - Get Over It (Remastered) ; buy CD on Amazon.com
Against the culture of grievance: “The big, bad world doesn’t owe you a thing.” There’s also this nice line: “I’d like to find your inner child and kick its little ass.”

17. “Stay Together for the Kids,” by Blink 182. Blink-182 - Blink-182: Greatest Hits - Stay Together for the Kids ; buy CD on Amazon.com
A eulogy for family values by an alt-rock band whose members were raised in a generation without enough of them: “So here’s your holiday / Hope you enjoy it this time / You gave it all away. . . . It’s not right.”

18. “Cult of Personality,” by Living Colour. Living Colour - Living Colour: Super Hits - Cult of Personality ; buy CD on Amazon.com
A hard-rocking critique of state power, whacking Mussolini, Stalin, and even JFK: “I exploit you, still you love me / I tell you one and one makes three / I’m the cult of personality.”

19. “Kicks,” by Paul Revere and the Raiders. Paul Revere & The Raiders - Paul Revere & The Raiders: Super Hits - Kicks ; buy CD on Amazon.com
An anti-drug song that is also anti-utopian: “Well, you think you’re gonna find yourself a little piece of paradise / But it ain’t happened yet, so girl you better think twice.”

20. “Rock the Casbah,” by The Clash. The Clash - The Essential Clash - Rock the Casbah ; buy CD on Amazon.com
After 9/11, American radio stations were urged not to play this 1982 song, one of the biggest hits by a seminal punk band, because it was seen as too provocative. Meanwhile, British Forces Broadcasting Service (the radio station for British troops serving in Iraq) has said that this is one of its most requested tunes.

21. “Heroes,” by David Bowie. David Bowie - Heroes - Heroes ; buy CD on Amazon.com
A Cold War love song about a man and a woman divided by the Berlin Wall. No moral equivalence here: “I can remember / Standing / By the wall / And the guns / Shot above our heads / And we kissed / As though nothing could fall / And the shame / Was on the other side / Oh we can beat them / For ever and ever.”

22. “Red Barchetta,” by Rush. Rush - Rush: Spirit of Radio - Greatest Hits 1974-1987 - Red Barchetta ; buy CD on Amazon.com
In a time of “the Motor Law,” presumably legislated by green extremists, the singer describes family reunion and the thrill of driving a fast car — an act that is his “weekly crime.”

23. “Brick,” by Ben Folds Five. Ben Folds Five - The Best of Sessions at West 54th, Vol. 1 - Brick ; buy CD on Amazon.com
Written from the perspective of a man who takes his young girlfriend to an abortion clinic, this song describes the emotional scars of “reproductive freedom”: “Now she’s feeling more alone / Than she ever has before. . . . As weeks went by / It showed that she was not fine.”

24. “Der Kommissar,” by After the Fire. buy CD on Amazon.com
On the misery of East German life: “Don’t turn around, uh-oh / Der Kommissar’s in town, uh-oh / He’s got the power / And you’re so weak / And your frustration / Will not let you speak.” Also a hit song for Falco, who wrote it.

25. “The Battle of Evermore,” by Led Zeppelin. Led Zeppelin Tribute - Tribute to Led Zeppelin IV - Battle of Evermore ; buy CD on Amazon.com
The lyrics are straight out of Robert Plant’s Middle Earth period — there are lines about “ring wraiths” and “magic runes” — but for a song released in 1971, it’s hard to miss the Cold War metaphor: “The tyrant’s face is red.”

26. “Capitalism,” by Oingo Boingo. Oingo Boingo - Boingo Alive - Celebration of a Decade 1978-1988 - Capitalism ; buy CD on Amazon.com
“There’s nothing wrong with Capitalism / There’s nothing wrong with free enterprise. . . . You’re just a middle class, socialist brat / From a suburban family and you never really had to work.”

27. “Obvious Song,” by Joe Jackson. buy CD on Amazon.com
For property rights and economic development, and against liberal hypocrisy: “There was a man in the jungle / Trying to make ends meet / Found himself one day with an axe in his hand / When a voice said ‘Buddy can you spare that tree / We gotta save the world — starting with your land’ / It was a rock ’n’ roll millionaire from the USA / Doing three to the gallon in a big white car / And he sang and he sang ’til he polluted the air / And he blew a lot of smoke from a Cuban cigar.”

28. “Janie’s Got a Gun,” by Aerosmith. Aerosmith - Young Lust: The Aerosmith Anthology - Janie's Got a Gun ; buy CD on Amazon.com
How the right to bear arms can protect women from sexual predators: “What did her daddy do? / It’s Janie’s last I.O.U. / She had to take him down easy / And put a bullet in his brain / She said ’cause nobody believes me / The man was such a sleaze / He ain’t never gonna be the same.”

29. “Rime of the Ancient Mariner,” by Iron Maiden. Iron Maiden - Live After Death - Rime of the Ancient Mariner ; buy CD on Amazon.com
A heavy-metal classic inspired by a literary classic. How many other rock songs quote directly from Samuel Taylor Coleridge?

30. “You Can’t Be Too Strong,” by Graham Parker. Graham Parker - Master Hits ; buy CD on Amazon.com
Although it’s not explicitly pro-life, this tune describes the horror of abortion with bracing honesty: “Did they tear it out with talons of steel, and give you a shot so that you wouldn’t feel?”

31. “Small Town,” by John Mellencamp. John Mellencamp - Words & Music - John Mellencamp's Greatest Hits - Small Town ; buy CD on Amazon.com
A Burkean rocker: “No, I cannot forget where it is that I come from / I cannot forget the people who love me.”

32. “Keep Your Hands to Yourself,” by The Georgia Satellites. Georgia Satellites - Georgia Satellites - Keep Your Hands To Yourself ; buy CD on Amazon.com
An outstanding vocal performance, with lyrics that affirm old-time sexual mores: “She said no huggy, no kissy until I get a wedding vow.”

33. “You Can’t Always Get What You Want,” by The Rolling Stones. The Rolling Stones - The Rolling Stones Rock and Roll Circus - You Can't Always Get What You Want ; buy CD on Amazon.com
You can “[go] down to the demonstration” and vent your frustration, but you must understand that there’s no such thing as a perfect society — there are merely decent and free ones.

34. “Godzilla,” by Blue öyster Cult. Blue Öyster Cult - Then and Now: Blue Öyster Cult - Godzilla ; buy CD on Amazon.com
A 1977 classic about a big green monster — and more: “History shows again and again / How nature points up the folly of men.”

35. “Who’ll Stop the Rain,” by Creedence Clearwater Revival. Creedence Clearwater Revival - Chronicle, Vol. 1 - Who'll Stop the Rain ; buy CD on Amazon.com
Written as an anti–Vietnam War song, this tune nevertheless is pessimistic about activism and takes a dim view of both Communism and liberalism: “Five-year plans and new deals, wrapped in golden chains . . .”

36. “Government Cheese,” by The Rainmakers. buy CD on Amazon.com
A protest song against the welfare state by a Kansas City band that deserved more success than it got. The first line: “Give a man a free house and he’ll bust out the windows.”

37. “The Night They Drove Old Dixie Down,” by The Band. The Band - The Band - The Night They Drove Old Dixie Down ; buy CD on Amazon.com
Despite its sins, the American South always has been about more than racism — this song captures its pride and tradition.

38. “I Can’t Drive 55,” by Sammy Hagar. Sammy Hagar - Sammy Hagar: Unboxed - I Can't Drive 55 ; buy CD on Amazon.com
A rocker’s objection to the nanny state. (See also Hagar’s pro-America song “VOA.”)

39. “Property Line,” by The Marshall Tucker Band. The Marshall Tucker Band - Long Hard Ride - Property Line ; buy CD on Amazon.com
The secret to happiness, according to these southern-rock heavyweights, is life, liberty, and property: “Well my idea of a good time / Is walkin’ my property line / And knowin’ the mud on my boots is mine.”

40. “Wake Up Little Susie,” by The Everly Brothers. The Everly Brothers - Everly Brothers: The Very Best of the - Wake Up Little Susie ; buy CD on Amazon.com
A smash hit in 1957, back when high-school social pressures were rather different from what they have become: “We fell asleep, our goose is cooked, our reputation is shot.”

41. “The Icicle Melts,” by The Cranberries. The Cranberries - No Need to Argue - The Icicle Melts ; buy CD on Amazon.com
A pro-life tune sung by Irish warbler Dolores O’Riordan: “I don’t know what’s happening to people today / When a child, he was taken away . . . ’Cause nine months is too long.”

42. “Everybody’s a Victim,” by The Proclaimers. The Proclaimers - Persevere - Everybody's a Victim ; buy CD on Amazon.com
Best known for their smash hit “I’m Gonna Be (500 Miles),” this Scottish band also recorded a catchy song about the problem of suspending moral judgment: “It doesn’t matter what I do / You have to say it’s all right . . . Everybody’s a victim / We’re becoming like the USA.”

43. “Wonderful,” by Everclear. Everclear - The Best of Everclear - Wonderful ; buy CD on Amazon.com
A child’s take on divorce: “I don’t wanna hear you say / That I will understand someday / No, no, no, no / I don’t wanna hear you say / You both have grown in a different way / No, no, no, no / I don’t wanna meet your friends / And I don’t wanna start over again / I just want my life to be the same / Just like it used to be.”

44. “Two Sisters,” by The Kinks. buy CD on Amazon.com
Why the “drudgery of being wed” is more rewarding than bohemian life.

45. “Taxman, Mr. Thief,” by Cheap Trick. Cheap Trick - Cheap Trick - Taxman, Mr. Thief ; buy CD on Amazon.com
An anti-tax protest song: “You work hard, you went hungry / Now the taxman is out to get you. . . . He hates you, he loves money.”

46. “Wind of Change,” by The Scorpions. Scorpions - Box of Scorpions - Wind of Change ; buy CD on Amazon.com
A German hard-rock group’s optimistic power ballad about the end of the Cold War and national reunification: “The world is closing in / Did you ever think / That we could be so close, like brothers / The future’s in the air / I can feel it everywhere / Blowing with the wind of change.”

47. “One,” by Creed. Creed - My Own Prison - One ; buy CD on Amazon.com Against racial preferences: “Society blind by color / Why hold down one to raise another / Discrimination now on both sides / Seeds of hate blossom further.”

48. “Why Don’t You Get a Job,” by The Offspring. The Offspring - Americana - Why Don't You Get a Job? ; buy CD on Amazon.com
The lyrics aren’t exactly Shakespearean, but they’re refreshingly blunt and they capture a motive force behind welfare reform.

49. “Abortion,” by Kid Rock. buy CD on Amazon.com
A plaintive song sung by a man who confronts his unborn child’s abortion: “I know your brothers and your sister and your mother too / Man I wish you could see them too.”

50. “Stand By Your Man,” by Tammy Wynette. Tammy Wynette - Tammy Wynette: Tammy's Greatest Hits - Stand by Your Man ; buy CD on Amazon.com
Hillary trashed it — isn’t that enough? If you’re worried that Wynette’s original is too country, then check out the cover version by Motörhead.