Talentless Clown Wins Major Writing Award

Your eyes do not deceive you.

Dan Shaughnessy has won the J. G. Taylor Spink Award, given by the Baseball Writers Association of America to writers who offer “meritorious contributions to baseball writing”…

Wait, hold on, I gotta stop laughing for a second.

The Spink Award, an actually prestigious award won by such luminaries as Roger Angell, Grantland Rice, Tom Gage, Peter Gammons, and Shirley Povich, is being awarded to one of the worst sportswriters in recent memory, Dan Shaughnessy.

Instead of the late, great (and I do actually mean great) Furman Bisher, we have to see the lousy, pigheaded, loudmouthed Shaughnessy win this award.

If you want to celebrate this hack’s achievement, you can watch the awards ceremony during this summer’s Hall of Fame weekend.

Otherwise, you can officially petition the BBWAA to give the 2017 Spink to Old Gator, Historio, Scout, or even me, because we’re all better than Dan Shaughnessy.

21 thoughts on “Talentless Clown Wins Major Writing Award

  1. The same thing has happened to this award that happens to every life-time achievement award an organization comes up with to recognize esteemed and aged members….eventually, they just start giving it out to “the next guy up” each year rather than only giving it out when someone’s career truly warrants it….skipping years when there isn’t anyone that should get it. Once they start giving it out as a “hey, you’ve been around a long time and haven’t quit or died” award…that’s all it really is anymore. That is what has happened to this award. Plenty of guys have been given this award that haven’t had distinguished careers….just long careers, which isn’t the same thing.

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  2. I was shocked. The HouChron recycles baseball beat writers like empty beer cans, and I would still take any of those guys over Shaughnessy.

    We could probably work up a theory about the effect of Entropy driving annual awards celebrations towards chaos. This could be offered as positive proof, along with Anne Hathaway for Best Actress in “Les Miserables.”

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      • Not at all. But she was horrible in that movie. That was the point.

        If I wanted to say worst choice for “Best Actress in any movie ever” I would have said Diane Lane.

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      • I liked the musical on stage. But that is always my preference. Most musicals transfer poorly to the big screen.

        From a production point of view, the movie had its virtues. From the point of view of putting big name actors in singing roles they couldn’t support, it had problems. Hathaway wasn’t the worst choice (Russell Crowe (cough cough)). But she was the only one who got an Academy Award.

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      • A very few you could argue transferred well to the screen. Camelot (1968), arguably Oklahoma (if you like the old ones from the peak of the musicals), possibly Chicago (because of a really strong cast), ditto My Fair Lady.

        But by and large I much prefer the actual in-person experience. For many of the best ones, even a regional performance on a limited budget will have more impact than all of the big screen production values to me.

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        • Maybe, but Chiam Topol really ruined me for any other production of Fiddler.

          PS that post-modern-realism mashup of Oklahoma that Hugh Jackman was in was some bullshit. It’s everything midwesterners hate about NY theater.

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      • Two things.

        Okay, I wasn’t thinking of Fiddler. But then again I never saw Zero Mostel do it on stage, either.

        And no, I meant the original production of Oklahoma (1955). Again, casting is a key element. In truth, I am pretty lukewarm to the book of the musical. But it fundamentally changed the way they were done.

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        • I had the Broadway soundtrack and wasn’t crazy about Mostel in comparison.

          It’s hard to impress an Oklahoman with the musical. The movie is good, but there are tons of good live productions in-state…plus every high school ever there.

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      • Funny. I’m sure they do have a lot of productions. But the movie had a pretty amazing cast to fall back on.

        On a similar note, my favorite experience of “South Pacific” ever was a regional outdoor production in Galveston, Texas.

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    • Well, I can’t say anything because it’s well established I have a high threshold for cinematic garbage. I’ll find the silver lining in just about anything.

      Except the Blair Witch Project. That is 100% manure. There was absolutely nothing scary or redeeming about that simulacrum of filmmaking.

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      • I listened to people for months telling me what a thrill ride that piece of garbage was, FC.

        Then I saw it.

        One of the most amusing parts was they trumpeted how the actors wrote their own dialogue. Well, duh. Absolutely no information was communicated in the dialogue, and every third word was “sh##” or “fu##.”

        Plus, the version I saw was so grainy and had such poor contrast that I never quite figured out in the end what happened, except it seemed to be terminal for the protagonists.

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  3. Pingback: Assclown Shaughnessy Continues To Provide Evidence Of Being An Assclown | Hardball Conversations

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