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Sal Maglie

Salvatore Anthony Maglie (April 26, 1917 – December 28, 1992) was an American Major League Baseball pitcher and later, a scout and a pitching coach. He played from 1945 to 1958 for the New York Giants, Cleveland Indians, Brooklyn Dodgers, New York Yankees, and St. Louis Cardinals. Maglie was known as "Sal the Barber", because he gave close shaves—that is, pitched inside to hitters. A gentle personality off the field went unnoticed during games, his foreboding physical appearance contributing to his menacing presence on a pitcher's mound. He was the last of 14 players to play for the Giants, Dodgers and Yankees at a time when all three teams were in New York City. During a 10-year major league baseball career, Maglie compiled 119 wins, 862 strikeouts, and a 3.15 earned run average.

Born and raised in Niagara Falls, New York, Maglie had to play ball secretly growing up because his parents discouraged it. Signed by the Buffalo Bisons of the International League in 1938, he pitched in the minor leagues for five years, then took two years off during World War II to work at a Niagara Falls defense plant. He started pitching again with the Jersey City Giants in 1945, then made his major league debut with the Giants later that year at the age of 28, starting 10 games for the Giants. It would be five years before he returned to the major leagues, as he joined the upstart Mexican League in 1946 and was subsequently blacklisted from Major League Baseball (MLB) for five years by Commissioner Happy Chandler. Not until he was 33 in 1950 did Maglie become a full-time pitcher in the major leagues.

For the first part of the 1950 season, Maglie pitched out of the bullpen for the Giants. Moved into the starting rotation midseason, he threw shutouts in four straight starts and pitched 45 consecutive scoreless innings. Emerging as the Giants' ace in 1951, he led the National League (NL) with 23 wins as the Giants reached the 1951 World Series. Maglie followed this with an 18-win performance in 1952, but back trouble threatened his career in 1953. Inserting a lift into one of his shoes to correct a tilted pelvis, he returned in 1954, winning the game which clinched the NL pennant for the Giants as the team won the 1954 World Series. Maglie spent one more season with the Giants in 1955 before being claimed off waivers by the Indians on July 31. Seldom used with Cleveland, Maglie joined the Dodgers in May 1956 and went on to finish second in NL Most Valuable Player (MVP) and MLB Cy Young Award voting. He threw a no-hitter against the Philadelphia Phillies on September 25 and pitched in the 1956 World Series. Maglie spent three more seasons with the Dodgers, Yankees, and Cardinals before retiring in 1959. During his career, he had a 1–2 record in four World Series starts and also appeared in two of baseball's most famous games, Bobby Thomson's Shot Heard 'Round the World game in 1951 and Don Larsen's perfect game in 1956.

After his playing career, Maglie served one year (1959) as a scout for the Cardinals, two stints (1960–62; 1966–67) with the Boston Red Sox as a pitching coach, and one season (1969) with the Seattle Pilots as a pitching coach. He held a variety of jobs in Niagara Falls before retiring in 1979. In 1983, Hyde Park Stadium in his hometown was renamed Sal Maglie Stadium. Maglie died on December 28, 1992, due to bronchial pneumonia complications.

Early life
Salvatore Anthony Maglie was born on April 26, 1917, in Niagara Falls, New York, the youngest of three children of Giuseppe Maglie and Maria Breve. His father, an Italian immigrant, worked blue collar jobs around town. Sal showed an interest in baseball from an early age, but his parents discouraged it, and he tried to keep his playing a secret from them. When he played sandlot ball, he was not initially good at pitching and usually played other positions. Niagara Falls High School did not have a baseball team, though he did become a basketball star for them. He was offered a basketball scholarship by Niagara University but turned it down because baseball was his favorite sport.

After high school, Maglie worked for Union Carbide, pitching on the company team as well as for local semipro teams. In 1937, he tried out as a pitcher for the Rochester Red Wings but was rejected after just three pitches. However, while pitching for the Niagara Cataracts (a local semipro team) in 1938, he caught the attention of Steve O'Neill. The manager of the Double-A Buffalo Bisons of the International League, he was impressed enough with Maglie's skills to sign the pitcher to a contract.

Minor leagues (1938–45)
Maglie began his professional career with Buffalo in 1938, appearing in five games and posting a 3.75 earned run average (ERA) while losing his only decision. He spent a full season with Buffalo in 1939, pitching in 39 games (eight starts) but posting a 4.99 ERA and a 3–7 record. In 1940, he struggled to an 0–7 record and a 7.17 ERA in 23 games (five starts) before asking to be sent to a lower-level minor league circuit in order to hone his skills.

For the rest of the 1940 season, Maglie pitched for the Class D Jamestown Falcons of the Pennsylvania–Ontario–New York League (PONY League), where he had a lower ERA (2.74) and a 3–4 record in seven starts. In 1941, Maglie pitched for the Single-A Elmira Pioneers of the Eastern League. He credited team owner and former major league pitcher Jack Ogden with teaching him one of the most important lessons he learned in his whole baseball career. "Sal, when you pitch," Ogden said, "pitch to that man that's at the plate. Don't worry about the man that's up next." Maglie led the league in games pitched (43) and innings pitched (270) and ranked among the leaders in wins (20, second only to Red Embree's 21) and losses (15, fourth) His ERA was 2.67.

The United States became involved in World War II that December, but Maglie was spared from having enlist in military service when he failed his physical; a chronic sinus condition kept him from enlisting. Since many players were unavailable, the New York Giants signed him and assigned him to their Double-A affiliate, the Jersey City Giants of the International League. Maglie was used mainly out of the bullpen, making only seven starts among his 50 games, but he had a 9–6 record and a 2.78 ERA. However, he resigned after the season to serve the war effort domestically, by working in a defense plant in Niagara Falls for two years.

Maglie returned to Jersey City at the beginning of the 1945 season, where he was this time used as a starter. Through August, he had a 3–7 record and a 4.09 ERA in 13 games (nine starts). That month, he was promoted to the major league Giants.

Rookie season (1945)
On August 9, 1945, Maglie made his major league debut, relieving Harry Feldman in the fourth inning and pitching $2/3$ innings without allowing any runs to score in a 5–3 loss to the St. Louis Cardinals. He made his first major league start on August 14, throwing a complete game and allowing just two runs in a 5–2 victory over the Cincinnati Reds. In his next start, he threw a shutout against the Pittsburgh Pirates, allowing only three hits. On September 3 and September 7, he threw two more shutouts in back-to-back outings. In 13 games (10 starts) during his rookie season, he had a 5–4 record, a 2.35 ERA, 32 strikeouts, 22 walks, and 72 hits allowed in $84 1/3$ innings pitched.

Mexican League, suspension (1946–49)
A candidate to rejoin the Giants' rotation in 1946, Maglie attended spring training with the ballclub but was not happy with how he was treated by Mel Ott, the Giants' manager. Mexican League president Jorge Pasquel, whom Maglie had met while playing winter ball in Cuba during the 1945-46 offseason, was offering large contracts to players who would leave the major leagues to come play in the Mexican League, and Maglie accepted the offer. Because of this, Maglie was banned from organized baseball by Commissioner Happy Chandler along with other players who left. For the next two seasons, he pitched for the Pericos de Puebla, managed by Dolf Luque, who had been Maglie's pitching coach with the Giants and his Cuban winter league team. It was from Luque that Maglie learned the art of throwing high, inside pitches that just missed the batters' heads, diminishing their confidence. In 1946, he had a 20–12 record and a 3.19 ERA for Puebla. His win–loss record was very similar in 1947, as he had a 20–13 record, this time with a 3.92 ERA.

Several other major leaguers, such as Max Lanier, Danny Gardella, and Mickey Owen, had also made the jump to the Mexican League, but the presence of these players failed to generate enough revenue to justify expenses. With the Mexican League in disarray, Maglie stopped pitching for Puebla after 1947, but he could not rejoin the Giants because he was still banned. He joined a barnstorming team in 1948 that Lanier had organized; however, the team's earnings failed to cover expenses, and they folded in August 1948. Maglie went back to Niagara Falls and purchased a house and a gas station, but he still wanted to play baseball and joined the Drummondville Cubs of the independent Provincial League in 1949, leading the team to a league championship. On June 5 of that year, Chandler lifted the ban on the players who had jumped to the Mexican League, but Maglie chose to spend the entire season with Drummondville. He returned to the Giants in 1950.

New York Giants (1950–55)
After his return to the majors, Maglie was integral to the success of the New York Giants teams of the early 1950s, gaining a reputation as one of the game's best pitchers despite being 33 before he ever pitched a full season in the majors. He made the team out of spring training in 1950, but manager Leo Durocher used him sparingly the first part of the year, unimpressed right away with his new pitcher. Maglie emerged as the mainstay of the Giants' bullpen in the first part of the 1950 season. On July 21, he got a chance to start and worked 11 innings, emerging the victor in a 5–4 triumph over the Cardinals. After that, he became part of the starting rotation. From August 16 through September 4, he threw 45 consecutive scoreless innings, narrowly missing the National League (NL) record of $45 1/3$ straight scoreless innings set by Hall of Famer Carl Hubbell, also of the Giants, in 1933. Included in the streak were four straight shutouts, the most by a major leaguer since Doc White threw five straight in 1904. Hubbell congratulated Maglie after the game, and as of 2020, the streak was still the eighth-longest in major league history (tied with Cy Young's 1904 streak and White's 1904 streak). After losing a game on July 16, Maglie won 11 decisions in a row, not losing again until September 21, his final loss of the season. Though not used as a starter regularly until July 21 and making just 16 starts, he led the NL in winning percentage (.818), ERA (2.71), and shutouts (five). He had an 18–4 record (his 18 wins were the eighth-most in the NL), and he gave up 169 hits in 206 innings pitched. He finished 10th in NL Most Valuable Player (MVP) voting after the season.

By the 1951 season, Maglie had emerged as the ace of the Giants' staff. After back-to-back losses in April, he won nine games in a row from April 30 through June 5. After allowing a leadoff triple to Pete Castiglione on May 4, he allowed no further hits in a complete game, 5–1 victory over the Pirates. On May 27, he gave up just two hits in a 2–0 shutout victory over the Philadelphia Phillies. Three hits were all he allowed on June 26 in a 4–0, shutout victory over the Brooklyn Dodgers. He was named to the All-Star Game, the first of two consecutive selections. Though he allowed two runs in three innings, he was credited with the victory in the NL's 8–3 triumph. In the thick of a pennant race with the Dodgers, the Giants trailed by 11 games on August 11. Beginning August 12, Maglie won five decisions in a row and only lost one more game the full season, posting an 8–1 record and a 2.50 ERA down the stretch as the Giants forced a tie with the Dodgers at the end of the season. Against the Boston Braves on September 29, Maglie outpitched future Hall of Famer Warren Spahn, allowing five hits and no runs in a 3–0 shutout victory. Maglie and teammate Larry Jansen tied for the NL lead with 23 wins, and Maglie lost just six games while ranking among the league leaders in win percentage (.793, topped only by Preacher Roe's .880), ERA (2.93, topped only by Chet Nichols's 2.88), strikeouts (146, topped only by Don Newcombe's and Spahn's 164), and innings pitched (298, topped only by Robin Roberts's 315 and Spahn's $310 2/3$). He finished fourth in NL MVP voting.

The Dodgers played the Giants in a best-of-three tie-breaker series at the end of the year, and Maglie started the deciding third game on October 3. He allowed a run in the first but settled down after that, retiring 11 batters in a row at one point. He allowed three more runs in the eighth and was pinch-hit for by Hank Thompson in the bottom of the inning with the Giants trailing 4–1. However, the Giants rallied in the ninth, ultimately winning on Bobby Thomson's Shot Heard 'Round the World home run. The Giants faced the New York Yankees in the 1951 World Series, and Maglie started Game 4 but took the loss after giving up four runs in five innings, including a fifth-inning home run to Joe DiMaggio that reporter James Hirsch called "the turning point of the game." The Giants lost the series in six games.

After his stellar 1951 season, Maglie wanted a $40,000 contract from the Giants, but the team only wanted to pay him $32,500 for the season. The parties agreed to a compromise of $35,000 on February 21, 1952. Maglie started the 1952 season with a nine-game winning streak, including three shutouts. After Willie Mays left to serve a term in the United States Army on May 29, however, Maglie struggled in his next five starts, attributing part of the problem to the loss of Mays. "You didn't have to worry about striking guys out all the time...you knew that somehow Willie would get [balls hit to centerfield]. That takes a lot of pressure off the pitcher and gives him a chance to save his best stuff for the real tight spots." On June 26, he held the Dodgers to three hits in a 3–0 shutout. He also threw a shutout on August 9, allowing eight hits in the first game of a doubleheader against the Chicago Cubs. At season's end, Maglie was again among the league leaders in several statistics, including wins (18, topped only by Roberts's 28), winning percentage (.692, sixth), ERA (2.92, tenth), strikeouts (112, tied with Murry Dickson for tenth), and shutouts (five, tied with three others for third). He finished 23rd in NL MVP voting.

On April 30, 1953, Maglie threw a six-hit shutout in a 1–0 victory over the Milwaukee Braves. In the first game of a doubleheader against Pittsburgh on May 10, he gave up just three hits in a 4–0 shutout victory. On June 24, he picked up his third shutout of the season in a 3–0 victory over the Cardinals. However, he suffered from back problems that year and never pitched more than $4 2/3$ innings in a game after July 16, posting an 8.88 ERA and losing all five of his decisions after that date. In 27 games (24 starts), he had an 8–9 record, a 4.15 ERA, 80 strikeouts, 47 walks, and 158 hits allowed in $145 1/3$ innings.

Maglie's career seemed to be over, but a chiropractor prescribed him an eighth-inch thick lift for one of his shoes to correct a tilted pelvis. In the first game of a doubleheader against Philadelphia on April 25, 1954, he threw a five-hit shutout in a 3–0 victory. On April 30 against the Cubs, he gave up two runs in 14 innings, winning the game after Mays hit a go-ahead run against Warren Hacker in the top of the 14th. He also beat the Cubs on July 21, allowing four hits and one run in a complete game, 2–1 victory. Against Cincinnati on July 31, he threw $7 1/3$ shutout innings and picked up the win. He allowed five hits and one run on August 27 in a complete game, 3–1 victory over the Braves. On September 20, 1954, he faced the Dodgers in a game that would clinch the pennant for the Giants if they prevailed. Despite a sore back, Maglie held them to one run in a complete game, 7–1 victory. The last out was a ground ball hit by Roy Campanella to the mound that Maglie tossed to first baseman Whitey Lockman; once the out was recorded, Lockman rushed to meet his pitcher and jumped in his arms in celebration. Even after throwing his no-hitter in 1956, Maglie still considered his September 20 start the best game he had ever pitched. Maglie finished the season with a 14–6 record and a 3.26 ERA in 34 games (32 starts). That season, Maglie, Johnny Antonelli, and Ruben Gomez combined to win 52 games, complete 37 starts, and help the Giants pitchers post an ERA of 3.09, the lowest in the National League. Maglie ranked among the league leaders in wins (14, tied with Gene Conley and Curt Simmons for ninth), winning percentage (.700, 6), ERA (3.26, eighth), and strikeouts (117, eighth). He finished 22nd in NL MVP voting.

Maglie started Game 1 of the 1954 World Series against the Cleveland Indians, allowing two runs in seven innings. After the first two batters of the eighth reached, Maglie was replaced with Don Liddle, who gave up the fly ball to Vic Wertz that Willie Mays caught in one of baseball's most storied plays. He got a no-decision as the Giants won the game in 10 innings on a pinch-hit home run by Dusty Rhodes. The Giants went on to sweep the Indians and claim the Word Series title.

In 1955, Maglie's back continued to bother him. He got off to a disappointing start to the year, losing all three of his April starts. On April 23, against the Dodgers at Ebbets Field, Maglie had been throwing brushback pitches past the heads of several Brooklyn hitters. In the fourth inning, Jackie Robinson dropped down a bunt, intending to retaliate for the knockdown pitch by crashing into Maglie as he fielded the ball. But Maglie did not come off the pitching mound and Robinson instead collided with Davey Williams, who was covering first base. Williams was knocked to the ground in pain and had to leave the game, and Alvin Dark attempted to fight Robinson. Both benches cleared, but umpire Tom Gorman kept Dark from doing anything more than yelling. Dark got revenge in the fifth by running hard into Robinson at third base. The two exchanged words again, but umpire Babe Pinelli kept things from getting out of hand. The Dodgers went on to win 3–1.

Following the game in Brooklyn, Maglie won eight decisions in a row, and nine out of ten through July 2. After July 2, though, he only once made it past the fifth inning and posted an 8.49 ERA in seven games, bothered some by the hot 1955 summer. He was placed on waivers in July and claimed by the Cleveland Indians on July 31.

Later years (1955–58)
With the Indians, Maglie made a start on August 5 but gave up five runs (three earned) in two innings and took the loss in a 7–5 defeat by the Washington Senators. He made only one more start all year (also a loss), used mainly out of the bullpen and not making an appearance after September 8. In 23 games (21 starts) with the Giants in 1955, Maglie had a 9–5 record, a 3.75 ERA, 71 strikeouts, 48 walks, and 142 hits allowed in $129 2/3$ innings. In 10 games (two starts) for the Indians, he had an 0–2 record, a 3.86 ERA, 11 strikeouts, seven walks, and 26 hits allowed in $25 2/3$ innings. His combined totals with both teams were a 9–7 record, a 3.77 ERA, 82 strikeouts, 55 walks, and 168 hits allowed in $155 1/3$ innings pitched.

Used sparingly by the Indians to begin the 1956 season, Maglie was purchased by the Brooklyn Dodgers on May 15, a "surprise" according to The New York Times. Maglie had pitched only two games for Cleveland all year, both in relief, and it seemed that his career was "all through," according to Robert Creamer of Sports Illustrated. Without a win since July 9 of the previous year, on June 4, he allowed only three hits against the Braves, whom the Dodgers were in a pennant race against. From that point on, he served as a starter the rest of the year for the Dodgers. In the first game of a doubleheader against the Cardinals on August 5, he allowed just four hits in a 7–0 shutout victory. He allowed just one hit to the Giants in Game 2 of a doubleheader on September 1 but had to leave the game with one out in the sixth after he threw his glove to the ground in disgust over Artie Gore calling four straight balls on Foster Castleman; throwing the glove to the ground out of anger results in an automatic ejection. Though he got a no-decision, the Dodgers triumphed 5–0. On September 25, he threw a no-hitter against the Phillies in a 5–0 Dodger triumph at Ebbets Field. He had a sterling comeback season for the Dodgers in 1956 (who won the NL pennant by one game over the Milwaukee Braves and two games over the Cincinnati Reds), going 13–5 with 2.89 ERA (2.87 not counting his two Cleveland appearances), 110 strikeouts, 54 walks, and 160 hits allowed in 196 innings pitched. His 2.87 ERA in the NL ranked fourth, behind Lew Burdette's 2.70, Spahn's 2.78, and Johnny Antonelli's 2.87. He finished second to teammate Don Newcombe in balloting for the first ever Cy Young Award, and was also second to Newcombe in MVP balloting.

Maglie was expected to be the Dodgers' Game 1 starter in the 1956 World Series on October 3, but an upset stomach and a stiff shoulder experienced a couple days before left his status in doubt. Ultimately, Maglie did make the start, allowing three runs in a complete game and outpitching future Hall of Famer Whitey Ford as the Dodgers beat the Yankees 6–3. Maglie said after the game: "This was my greatest thrill. Yes, even more of a thrill than my no-hitter. They claim you can't have everything you want in life, but believe me, with this series victory, I have close to all I ever wished for." Maglie appeared on the game show What's My Line? the night before he started Game 5 of the Series as one of the panel members, along with former Yankee Phil Rizzuto. He held the Yankees to two runs in another complete game effort in Game 5 but suffered the loss because Don Larsen threw a perfect game for the Yankees, who won the series in seven games. In recognition of Maglie's performance in 1956, the Chicago Chapter of the Baseball Writers Association honored him with the William Wrigley Jr. Award for "'comeback' of the year."

In an article released during 1957 spring training, Dodger manager Walter Alston previewed his team: "Sal Maglie showed me he makes up for his years with a wise head and strong arm. He's good for several more years yet." In his first start of the year, on April 18, he allowed just four hits and one unearned run in a 6–1 victory over the Pirates. Through May 30, he had a 3.16 ERA, but Maglie was inactive from that date until July 2, bothered by a sore thumb. In his July 2 return, he threw a four-hit shutout against the Giants. Over the next two months, he posted a 2.83 ERA. That August, the Dodgers placed Maglie on waivers hoping to trade him to the Yankees. The first time they put him on waivers, the Chicago White Sox claimed him, but the Dodgers withdrew him. The second time, the White Sox opted not to claim him, hoping instead to make a trade offer if he passed through waivers. No one did claim him, and the Yankees acquired him for $37,500 and two Triple-A players that the Dodgers could pick. However, since the trade was not finalized until September 1, Maglie was not eligible to pitch in the World Series for New York that year, as players acquired after the August 31 deadline were ineligible. Cheered during his first game at Yankee Stadium, Maglie tipped his hat to the crowd. He only made three starts for the Yankees but won two of them, including a game against the Indians on September 11 when he held Cleveland to three hits and outpitched future Hall of Famer Early Wynn in a 5–0 shutout victory. Though he was playing for the Yankees at the time, Maglie attended the final Giants game at the Polo Grounds, honored in pregame festivities on September 29, 1957. In 19 games (17 starts) for Brooklyn, he had a 6–6 record, a 2.93 ERA, 50 strikeouts, 26 walks, and 94 hits allowed in $101 1/3$ innings pitched. With the Yankees in six games (three starts), he had a 2–0 record, a 1.73 ERA, nine strikeouts, seven walks, and 22 hits allowed in 26 innings pitched. His combined numbers between the two ballclubs were an 8–6 record, a 2.69 ERA, 59 strikeouts, 33 walks, and 116 hits allowed in $127 1/3$ innings. Though he was ineligible for the 1957 World Series, Maglie attended the contests, sharing his observations with Creamer as the Braves defeated the Yankees in seven games.

A part of the Yankees roster in 1958, the 41-year-old Maglie was not used until May 18, the 23rd game of the year for New York, though there were no reports of this being due to injury. In the first game of a doubleheader against the Senators that day, he picked up the victory, allowing two runs over eight innings and hitting a three-run home run against Pedro Ramos in a 5–2 triumph. Maglie only made two more starts for the Yankees after that and posted a 4.63 ERA in his first seven games. On June 14, his contract was sold to the St. Louis Cardinals for just over $20,000.

With the Cardinals, Maglie joined the starting rotation and won his first two starts, allowing one run in seven innings against the Braves on June 22 and allowing one run in a complete game against the Phillies on June 28. After that, he never won a game again. He made his last major league appearance on August 31, allowing five runs (two earned) in three innings and taking the loss in an 8–5 defeat to the Cubs. In 10 starts with St. Louis, he had a 2–6 record, a 4.75 ERA, 21 strikeouts, 25 walks, and 46 hits allowed in 53 innings pitched. His combined totals between the Cardinals and Yankees were a 3–7 record, a 4.72 ERA, 28 strikeouts, 34 walks, and 73 hits allowed in $76 1/3$ innings pitched. Maglie attempted to return to the Cardinals for the 1959 season, but the team handed him his unconditional release at the end of spring training.

Legacy and career statistics
Bill Madden, sportswriter for the New York Daily News, wrote that Maglie would never be a Hall of Famer unless "there’s a Hall of Fame just for pitchers whom you wanted to have the ball in a game you had to win." Maglie did appear on the Hall of Fame ballot in 1964 and 1968, but he never got more than 6.5% of the vote. In spite of a slow start in the minor leagues and the four years he was banned for pitching in the Mexican League, Maglie became "one of the most accomplished pitchers of his era," according to Joseph Durso of the New York Times. His .657 career winning percentage ranked 22nd among major leaguers as of August 2020, and he had a 23–11 record against the Dodgers, archrival of the Giants, including a streak at Ebbets Field where he won 11 of 12 decisions. From a sabermetric analysis, Maglie's 5.9 Wins Above Replacement (WAR) was the NL's 10th best, and he had a career WAR of 34.2, according to Baseball-Reference.com. In The New Bill James Historical Baseball Abstract (2001), sabermetrician Bill James ranks Maglie as the best pitcher in baseball for 1951 and says that Maglie probably would have won the Cy Young Award in 1951 had it been in existence at the time. During his 10-season career, Maglie pitched in three World Series (winning in 1954 with the Giants), and he was twice a member of the NL All-Star team. He was the last of 14 players to play for the Giants, Dodgers, and Yankees at a time when all three teams were in New York City.

During his time with the Giants, Maglie developed a rivalry with Dodger hitter Carl Furillo. Once, after surviving one of Maglie's close shave pitches, Furillo threw his bat at the pitcher. However, after Maglie was acquired by the Dodgers in 1956, the two became friends and even roommates at times. Hall of Fame pitcher Don Drysdale credited Maglie with teaching him the art of brushing back batters while the two were teammates in Brooklyn. Maglie had special advice for when Mays was batting. "You have to throw at him twice," he told Drysdale, observing that Mays would not expect a second brushback pitch.

Willie Mays told a story in his autobiography of hitting a home run against Maglie after Maglie went to the Dodgers. However, the only home run Maglie gave up to the Giants while wearing a Dodger uniform was to Ray Jablonski, not Mays.

In June 1983, Hyde Park Stadium in Niagara Falls was renamed Sal Maglie Stadium. The ceremony featured an extremely short baseball bus excursion, as a bus loaded with friends and family of Maglie left the Stadium Grill located about two hundred yards across the street and drove into Sal Maglie Stadium. As of August 2020, Sal Maglie Stadium is the home of the Niagara University Purple Eagles and the Niagara Power of the New York Collegiate Baseball League.

Coaching career
In September 1958, the Associated Press wrote that Maglie was a candidate to be St. Louis's pitching coach in 1959. Instead, the Cardinals hired him to scout and serve as a minor league coach. Not enjoying the arrangement, Maglie did not renew his contract for the 1960 season.

The Boston Red Sox hired Maglie to be their pitching coach before the 1960 season, and he served in that capacity for the next three years. Under his tutelage, Bill Monbouquette had 17 strikeouts in a game in 1961 and quoted Maglie after the feat. "Sal talked about stuff like ‘move this guy off the plate, move his feet, move his legs,’ and oh, he did preach: ‘throw that ball inside!’ And he didn't mean pitch to get a strike on the inside corner. He meant you've got to set that hitter up with a pitch way inside!" When Monbouquette and Earl Wilson threw no-hitters in 1962, they credited Maglie with their improvement. "He taught me how to use the lower part of my body," Dick Radatz said, crediting the advice with adding four or five miles an hour to his pitches' velocity. "I think he was a fine pitching coach. What he taught me helped me for the rest of my career. Without that, I don’t think I’d have been the pitcher I was." When Johnny Pesky replaced Pinky Higgins as Boston's manager after the 1962 season, Pesky chose not to bring back Maglie for 1963, preferring instead to pick new coaches.

Maglie did not initially pursue another coaching job because his wife, Kay, was diagnosed with cancer in 1963. He invested in local businesses around Niagara Falls, engaged in public speaking, and joined the New York State Athletic Commission (NYSAC) in 1965. The NYSAC post forced him to turn down an offer to return to the Red Sox in 1965, but he signed a two-year contract to become their pitching coach again in 1966. He was the pitching coach for the "Impossible Dream" Red Sox that went all the way to the 1967 World Series before losing in seven games to the Cardinals. Jim Lonborg, the AL Cy Young Award winner that season, credited his effectiveness that year to Maglie's lessons on pitching inside. The Red Sox later fired Maglie after losing the 1967 World Series, and Maglie criticized manager Dick Williams in an interview a week later. "Dick Williams gave me the biggest disappointment I ever got in baseball," Maglie said. "Williams never even had the courage or decency to tell me himself that I was fired...I don’t like being stepped on." Maglie also criticized Williams for his handling of Lonborg, who got the loss after Williams started him on two days' rest in Game 7 of the series. "It was obvious Lonborg didn't have it. Williams should have gotten him out sooner, and I told him so." Williams had wanted to choose his own pitching coach when he became Boston's manager in 1967, but he was unable to since Maglie was still under contract for one year.

Maglie was not unemployed long, as he was hired as a scout for the expansion Seattle Pilots in 1968. The franchise began play in 1969, and Maglie was their first pitching coach. He was profiled unflatteringly in Jim Bouton's book Ball Four, despite the fact that he was Bouton's boyhood hero. Bouton commented that Maglie rarely gave useful advice to the pitchers, and frequently second-guessed their choice of pitches, often contradicting his previous second guessing. In one such instance, Bouton related: [Maglie] had quite an adventure tonight. Darrell Brandon pitching, and with Rod Carew on third base he's using a full wind-up. At the last moment he decides to take a look over at Carew, who's taking a pretty good lead. So he backs off the rubber and Sal yells at him, "For crissakes, get the hitter. The runner isn't going anyplace."

So Darrell winds up and lets fly. And Carew steals home.

When Darrell comes into the dugout at the end of the inning, Maglie lets him have it. "Dammit", he says. "You know you've got to pitch from the stretch in that situation."

Bouton and Maglie clashed over the knuckleball, which Bouton wanted to throw exclusively; Maglie preferred that he throw other pitches as well. The Pilots filed for bankruptcy after the season and moved to Milwaukee, where they became the Brewers; Maglie was not retained as the organization's pitching coach for 1970. He served as the general manager of his hometown Niagara Falls Pirates that season, his final baseball-related job.

Description and pitching style
At 6 ft and 180 lb, Maglie maintained a "menacing" appearance on the mound, according to the New York Times. This was partly due to his five o'clock shadow look, accentuated by the fact that he never shaved before games. Bouton said of him in 1969, "He still looks like he'd knock down his grandmother. He's got those big evil-looking black eyes." Despite the intimidating appearance, the New York Times wrote that in person, he "had a gentle, polite manner with a voice as soft as that of a priest in a confessional."

However, there was nothing gentle about Maglie's pitching. His "Sal the Barber" nickname came from his propensity to give close shaves—that is, pitch inside to hitters. Another writer referred to him as "God's Gift to Gillette." Hirsch wrote that he had "a reputation for knocking hitters down." Willie Mays summarized his reason for throwing inside: "He always liked to be in complete control of a game, and the way he did this, or thought he had to do it, was by pitching batters close. You always had to worry about a brushback pitch from him. You knew he would throw it, but you didn't know how close he would make it." "You could catch Sal sitting in a rocking chair," said Wes Westrum, who caught him with the Giants. "Perfect control." The curveball was his specialty pitch. "Sal had three curveballs," Westrum said. "One acted like a slider. Another was a slow sweeping curve, almost a changeup. The third broke quickly." Maglie developed the curveball while pitching in the Mexican League. When throwing his fastball, he would grip the ball by the seams, with his fingers spread out. Before he threw, Maglie had a routine of, as he described it, "wiping my hand on my shirt, tugging at my cap, then licking my fingers, wiping my hand off again, rubbing it on my leg and then picking up the resin bag." He did this to get hitters fidgety and to relax himself before throwing. His habit of wiping his hands led, as Robert Creamer reported, to accusations that he threw a spitball.

In 1958, Maglie wrote an article about pitching for Sports Illustrated, where he listed three characteristics of a successful major league pitcher: "1) control, both of his pitches and of himself; 2) confidence and determination; [and] 3) knowledge and experience." By control, he meant the ability "to put the ball exactly where [the pitcher] wants it every time." By confidence and determination, he meant "the kind that keeps a pitcher going when everything says to him that he is beaten, the kind that just won't permit him to quit." By knowledge, he meant "deep inside knowledge" gained both through experience and "an awful lot of study and experimentation."

Personal life
In March 1941, Maglie eloped with Kay Pileggi, whom he had dated for a while; the couple was married in a Catholic ceremony in May of that year. They adopted a boy, Sal Jr., in 1955, and another son, Joseph, in 1963, after Sal Sr. had finished his first coaching stint with the Red Sox. Kay suffered a return of cancer that year (she had undergone surgery to treat it in 1958) and died four years later, in 1967. The pitcher remarried in 1971, to Doris, becoming the stepfather of her daughter Holly. During the 1950s, Maglie lived in Riverdale, The Bronx.

During the 1970s, Maglie was employed by a wholesale liquor distributor as a salesman. Later in the decade, he worked for the Niagara Falls Convention Bureau as their membership coordinator. He retired in 1979. A lover of Italian food, Maglie's favorite restaurant in Niagara Falls was the Como Restaurant, where he was a frequent customer. Golf was a hobby of his in retirement, and he would sign autographs at card shows and pitch in old-timers' games. Joseph, his second son, was a member of the United States Air Force.

Following Maglie's first wife's death, his son, Sal Jr., struggled with drug addiction and depression. When the younger Sal died in 1985, his adoptive father's health suffered. Sal Sr. had recovered from a near-fatal brain aneurysm suffered in 1982, but following a 1987 stroke, he moved into the Niagara Falls Memorial Nursing Home. He lived for five more years before dying on December 28, 1992, due to bronchial pneumonia complications.

title: Sal Maglie


text:
Segre

Segre may refer to:

 * Segre (surname)
 * Sègre (department), a former department of France
 * Segre River, a river in Catalonia
 * Segré, a commune in Maine-et-Loire, France
 * Segré, Burkina Faso
 * Diari Segre or Segre, a Spanish- and Catalan-language daily newspaper

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Segre


text:
Talk:Friedrich Karl Ludwig, Duke of Schleswig-Holstein-Sonderburg-Beck

Untitled

 * Cannot see why this would merit speedy. Rich Farmbrough 11:01, 18 July 2005 (UTC)

Descendants
He is an ancestor to the British Royal Family through his grandson, Christian IX. There is a double line from Christian IX as follows: 1. Christian IX > Alexandra > George V > George VI > Elizabeth II > Prince Charles; and 2. Christian IX > George I of Greece > Prince Andrew of Greece > Philip Mountbatten > Prince Charles. RCNesland (talk) 11:27, 2 December 2012 (UTC)

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User talk:Jeffyen

Welcome!
Hi Jeffyen, and a warm welcome to Wikipedia! I hope you have enjoyed editing as much as I did so far and decide to stay. Unfamiliar with the features and workings of Wikipedia? Don't fret! Be Bold! Here's some good links for your reference and that'll get you started in no time!

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- Mailer Diablo 11:02, 18 July 2005 (UTC)

Speedy deletion nomination of Template:Jeffyen

A tag has been placed on Template:Jeffyen requesting that it be speedily deleted from Wikipedia. This has been done under section T3 of the criteria for speedy deletion because it is an unused duplicate of another template, or a hard-coded instance of another template. After seven days, if it is still unused and the speedy deletion tag has not been removed, the template will be deleted.

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Wikipedia and copyright
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title: User talk:Jeffyen


text:
User talk:AcidFlask

Welcome!
Hi AcidFlask, and a warm welcome to Wikipedia! I hope you have enjoyed editing as much as I did so far and decide to stay. Unfamiliar with the features and workings of Wikipedia? Don't fret! Be Bold! Here's some good links for your reference and that'll get you started in no time!

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- Mailer Diablo 11:02, 18 July 2005 (UTC)

Philip Yeo
Hi AcidFlask

I didn't realize you were a contributor here. I made some additions to the Philip Yeo article, one paragraph of which, you may be very familiar with. I can't ask you to edit it yourself, but can you give it a look-through and check if it is fair and NPOV? If you prefer you can reply me by email. --Rifleman 82 20:00, 27 October 2006 (UTC)

Greetings
Hi AcidFlask

My name is Mark and I am a Singaporean studying in Australia. I heard about your story a while back and have just discovered that you are a contributor here. I am a firm believer in the freedom of speech and am ashamed of what our government has done to one of its own citizens. I would just like to say that I feel sorry for what has happened to you and hope that you are doing well now. Mark Choo

Singapore Meetup 4 date changed
Hi AcidFlask, you were originally invited to Singapore meetup 4. However, due to the lack of response, the date of the meetup has been changed to November. Please refer to this page for more information. -- ZhongHan (Email) 05:33, 9 July 2007 (UTC)

Stub template on user page
Hi. I hope you don't mind that I subst'ed the stub template on your user page and removed the category link; I did this so that your page doesn't turn up in a category of articles for editors to expand (only articles are supposed to be stubs). Grutness...wha?  23:27, 17 November 2008 (UTC)

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Thank you for your understanding and happy editing :) Editing on behalf of User:Jarry1250, LivingBot (talk) 17:18, 15 March 2011 (UTC)

Women in Red World Contest
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title: User talk:AcidFlask


text:
User talk:Plainwise

Welcome!
Hi Plainwise, and a warm welcome to Wikipedia! I hope you have enjoyed editing as much as I did so far and decide to stay. Unfamiliar with the features and workings of Wikipedia? Don't fret! Be Bold! Here's some good links for your reference and that'll get you started in no time!

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title: User talk:Plainwise


text:
User talk:Ketsugi

Welcome!
Hi Ketsugi, and a warm welcome to Wikipedia! I hope you have enjoyed editing as much as I did so far and decide to stay. Unfamiliar with the features and workings of Wikipedia? Don't fret! Be Bold! Here's some good links for your reference and that'll get you started in no time!

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title: User talk:Ketsugi


text:
Snellen

Snellen is a Dutch surname. Snel means "quick" in Dutch and the original bearer of the name may have been a lively person. However, the origin of the surname often was patronymic, as Snel and Snelle were short forms of the archaic Germanic given name Snellaard (which originally meant "lively and strong"). People with this surname include:

 * Herman Snellen (1834–1908), Dutch ophthalmologist
 * (born 1970), Dutch astronomer
 * (1642–1691), Dutch Naval Officer
 * (1840–1907), Dutch meteorologist and explorer of the Arctic
 * Pieter Cornelius Tobias Snellen (1834–1911), Dutch entomologist
 * Samuel Constantinus Snellen van Vollenhoven (1816–1880), Dutch entomologist

title: Snellen


text:
Talk:Horror Show (album)

Horror rock
I know alot of people state that this album is 100% true power metal, but somehow I also seem to discover alot of typical horror rock sound on various tracks of this album. Not only are the lyrics of each song derived from a classic horror movie, but also songs like 'Jeckyl & Hyde' seem to echo alot of the music being played by bands such as Shadow Reichenstein, The Other and The Spook (which are all fully horror rock/horror punk). Does anyone else share my opinion, or like to express his/her opinion about this? 84.27.98.21 (talk) 17:41, 25 August 2008 (UTC)

Ghost of Freedom
Ghost of Freedom is based off of Mel Gibson's movie, The Patriot. Here are my sources:

 * 1) MetalCrypt review of the album
 * 2) Interview with Matt Barlow stating the song was based off the movie, at least the title.
 * 3) with Jon Schafter confirming the song was based off the movie.

69.58.248.102 09:13, 18 January 2007 (UTC)

In the second source, Barlow states only the title was from the movie, "The story doesn’t follow, not even remotely, the theme of that movie." Schaffer credits it in kind of a vague way, but considering Barlow says it was his idea, I take his word better. (btw, the first link is dead, so I don't know what it says.) Sherick 21:55 27 June 2007 (UTC)

RE: Ghost of Freedom
Article edited according to sources submited. Thanks for the research! —The preceding unsigned comment was added by Raelxx (talk • contribs) 15:49, 8 May 2007 (UTC).

Fair use rationale for Image:IEHS.jpg
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Lyrics/Music for "Ghost of Freedom"
Does anyone know who wrote the lyrics and who wrote the music for "Ghost of Freedom"? I couldn't find anywhere where it would get that specific with the credits, they all just credited it to "Schaffer/Barlow", so I just assumed that meant that both the music and the lyrics were written by the two of them, but I don't feel sure enough.

--69.250.39.131 (talk) 00:36, 8 October 2008 (UTC)

title: Talk:Horror Show (album)


text:
Talk:Touched by the Crimson King

The Dark Tower
There are more references to The Dark Tower-cycle than you say. So is Love's Tragedy Asunder inspired on Susan, Rolands true love, as stated in the fourth book. In Seize The Day, he clearly sings "The tower knows who you are" and other references. And if I'm correct, Down Where I Am is also about these books, this being the birth of Mordred.

I think that "The Gunslinger" alludes to more than the 5th book in the series. In terms of tone and content I think it's more of an allusion to the end of the 7th book, from the point where Susannah leaves Roland behind and Roland continues to the Tower alone. After all the voice of the Beam/Tower beckoned him in the vernacular of the Calla folken, and they reference the Beams being safe. They also say that "to touch the Rose will not bring release" which I believe is a reference to Roland mediating over the roses on the passing of Susannah from his world.--Grammar Vigilante 14:28, 17 August 2007 (UTC)

"The Gunslinger" is some kind of conclusion to Roland's yourney. The first part of the song (the slow-paced part) is trough the eyes and toughts of Susannah (And perhaps Detta too), while the faster part is about Roland reaching The Tower. "The sacrifice of innocence; The hailing of the gun;My way was death and madness;Now let the tower come" This part is about where he runs toward the Tower and shouts the name of his death friends. So about the most parts I agree with Grammar Vigilante, but the part of "To touch the rose, it will not bring release" is about how he grabs the rose to die the eyes of the Crimson King and cuts of his finger.

Antoher thing about Seize The Day is that it has the end in it. Altough I'm not sure wether it should be stated or not. You see, the first words of the song (On and on this is my way) don't only stand for the road seeming to last forever, but (according to my interpretation) that he is send back to the dessert by The Tower/Gan each time he reaches him... —The preceding unsigned comment was added by Special:Contributions/ (talk)

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Great Expectations (1946 film)

Great Expectations is a 1946 British drama film directed by David Lean, based on the 1861 novel by Charles Dickens and starring John Mills and Valerie Hobson. The supporting cast included Bernard Miles, Francis L. Sullivan, Anthony Wager, Jean Simmons, Finlay Currie, Martita Hunt and Alec Guinness.

The script is based on a slimmed-down version of Dickens' novel. It was written by David Lean, Anthony Havelock-Allan, Cecil McGivern, Ronald Neame and Kay Walsh, after Lean had seen an abridged 1939 stage version of the novel, written by Alec Guinness. In the stage version, Guinness had played Herbert Pocket while Martita Hunt played Miss Havisham, roles that they reprised for the film. However, the film was not a strict adaptation of the play. The film was produced by Ronald Neame and photographed by Guy Green. It was the first of two films Lean directed based on Dickens' novels, the other being his 1948 adaptation of Oliver Twist.

John Bryan and Wilfred Shingleton won the Academy Award for Best Art Direction, Black-and-White, while Guy Green won for Best Cinematography, Black-and-White. The film was also nominated for Best Director, as well as Best Screenplay Adaptation, and Best Picture. The film is now regarded as one of Lean's best; in 1999, on the British Film Institute's Top 100 British films list, Great Expectations was named the 5th greatest British film of all time.

Plot
Orphan Phillip "Pip" Pirrip lives with his shrewish older sister and her kindhearted blacksmith husband, Joe Gargery. While visiting his parents' graves alone, Pip encounters an escaped convict, Abel Magwitch, who intimidates the boy into returning the next day with blacksmith's tools to remove his chains. Pip also brings some food. Famished, Magwitch devours the food and thanks him. Magwitch is caught when he attacks a hated fellow escapee rather than fleeing.

Miss Havisham, a rich, eccentric spinster, arranges to have Pip come to her mansion regularly to provide her with company and to play with her adopted daughter, beautiful but cruel teenager Estella. Estella mocks Pip's coarse manners at every opportunity, but young Pip had quickly fallen in love with her at first sight. He also meets a boy, Herbert Pocket, whom he beats in an impromptu boxing match. The visits come to an end when Pip turns 14 and begins his apprenticeship as a blacksmith. Estella also leaves, for France, to learn the ways of a lady.

Six years later, Miss Havisham's lawyer Mr Jaggers visits Pip to tell him a mysterious benefactor has offered to transform him into a gentleman with "great expectations"; Pip assumes it is Miss Havisham. He is taken to London and stays with Herbert Pocket, who teaches him how to behave like a gentleman. Herbert tells Pip that Miss Havisham was left at the altar many years ago and that she is determined to avenge herself against men, with Estella as her instrument to break men's hearts.

When Pip turns 21, Joe brings a request from Miss Havisham to visit her. There Pip is reunited with Estella, who tells him that she has no heart, and confesses that, despite flirting with the wealthy but unpopular Bentley Drummle, she has absolutely no feelings for him.

Back in London, Pip receives an unexpected visitor: Magwitch, who escaped from prison again and made a fortune sheep-farming in New South Wales, Australia. Magwitch reveals that he is Pip's benefactor, and that he was so touched by Pip's kindness that he resolved to prosper so that Pip could live a gentleman's life. He tells the "dear boy" that he considers him his son.

Growing suspicious of Drummle's overtures towards Estella, Pip visits her. She tells him she is going to marry Drummle. Pip confronts Miss Havisham for using Estella to manipulate him. Miss Havisham begs his forgiveness. Pip leaves, but when she stands to follow him, a piece of flaming wood from the fireplace rolls out and ignites her dress. Her screams alert Pip, who runs back to save her, but fails.

After being warned that an old enemy has learned that Magwitch is in London, Pip and Herbert plot to smuggle him onto a packet ship leaving England, on which Pip is to accompany him. They row out to the ship, but are intercepted by waiting police, tipped off by Magwitch's old enemy. Magwitch is injured in a struggle, but his nemesis is pushed down to his death by the ship's paddlewheels. Magwitch is captured and sentenced to death.

Magwitch tells Pip of his lost daughter, and Pip's suspicion that she is Estella is confirmed by Jaggers. Pip visits a dying Magwitch in prison, and tells him of her fate and that he, Pip, is in love with her. Magwitch dies a contented man.

Stricken by illness and with his expectations gone, Pip is taken home and nursed back to health by Joe. He revisits Miss Havisham's deserted house, where he finds Estella and learns that Drummle had broken off their engagement when Jaggers informed him of her parentage. Learning that Estella plans to live in seclusion in the house, which she has inherited, Pip tears down the curtains and opens the boarded-up windows and tells Estella that he has never stopped loving her. After hesitating, she embraces him and they leave the house together.

Locations
Restoration House in Rochester was Dickens' inspiration for "Satis House", the decaying mansion of Miss Havisham. The production reproduced Restoration House in Denham Film Studios in Buckinghamshire.

Dickens based Joe Gargery's house on the forge in the village of Chalk, near Gravesend, Kent – a replica was erected on St Mary's Marshes on the Isle of Grain on the Thames Estuary. Pip and Herbert Pocket arrange to meet Magwitch and help him escape at Chatham Docks where slip 8 was used for the scene as well as exterior shots of the prison hulk ships. The River Medway and the adjacent St Mary's Marshes appear in scenes where Pip and his friend, Herbert Pocket, row their boat to a small inn whilst waiting for the paddle steamer to arrive. The ship used in the film was called Empress, dating from the latter half of the nineteenth century and owned by Cosens & Co Ltd of Weymouth. She was brought down to the River Medway for the shoot. "New masts were stepped-in with square rigging and dummy sails, the funnel was lengthened and the paddle-boxes enlarged until it looked exactly right."

The company was based at Rochester, and stayed for six weeks at the Royal Victoria and Bull Hotel – the Blue Boar in Dickens' novel. The unit for the location work for the film was based on a derelict naval fort on Darnett Ness Island in the River Medway.

Development of the script
The script is a slimmed-down version of Dickens' novel. It was inspired after David Lean witnessed an abridged 1939 stage version of the novel, by Alec Guinness. Guinness had played Herbert Pocket, and Martita Hunt was Miss Havisham in the stage version of 1939. The script for the film was written by David Lean, Anthony Havelock-Allan, Cecil McGivern, Ronald Neame and Kay Walsh.

David Lean approached Clemence Dane to write the script, but considered what she wrote "so awful [-] It was hideously embarrassing" – that he decided he and Ronald Neame should write their own versions. In January 1945 they went to the Ferry Boat Inn at Fowey in Cornwall and wrote a continuity. When Lean worked on Brief Encounter Neame worked on the script with Havelock-Allan, and later with Cecil McGivern. Kay Walsh was another writer given a screen credit and wrote the ending.

Production notes
Alec Guinness admired the way Lean directed him, singling out a close-up in which he had to laugh out loud, and which he struggled to make look un-manufactured. Lean told him to forget about the whole thing, sat by his side, and made a little signal to the camera to start turning in the course of the conversation. He said something which made Guinness laugh and then said, "Cut". Guinness: "So he got this shot on a totally false premise... but thank God. I don't think I would have ever achieved it otherwise". Valerie Hobson however called the experience of working with Lean on the film "the unhappiest" and called him "a cold director – he gave me nothing at all as an actress".

At the end of the film, a shot of Valerie Hobson staring into a mirror was taking longer than anticipated and was suspended – it was lunchtime – and returned to in the afternoon. Later, some three months after the film had been on exhibition, a cinema-goer asked what was meant by a Chad being reflected in the mirror. It seems that a worker on the film had drawn it on the wall during the break in filming, and it is dimly visible in the final scene behind John Mills' shoulder as he says "I've never ceased to love you when there seemed no hope in my love".

The musical score is credited to Walter Goehr, known primarily as a conductor, but significant portions were actually written by Kenneth Pakeman.

Critical
The film won critical praise on first release, with many commentators hailing it as the finest film yet made from a Dickens novel. Dilys Powell, writing for The Sunday Times, was "grateful for cinema which includes so much of Dickens, which constructs its narrative from the original material with scarcely an intrusion" and Richard Winnington, in the News Chronicle, wrote that "Dickens has never before been rendered effectively into cinema terms". Gavin Lambert however, writing for the short-lived, but influential Sequence magazine, felt "that it is not so much an attempt to recreate Dickens on the screen, as a very graceful evasion of most of the issues". In America James Agee praised the film – "almost never less than graceful, tasteful and intelligent".

A 1999 review in the US by Roger Ebert noted the film as "the greatest of all the Dickens films" and added that "The movie was made by Lean at the top of his early form". The director, David Lean, himself had a particular fondness for the film. Later in life when a fan would mention how much they loved Lawrence of Arabia, Lean would reply with a "thank you." If a fan expressed that Great Expectations was their favorite Lean film, the director would often respond, "Quite right."

Box office
It was also the third most popular film at the British box office in 1947 and most popular movie at the Canadian box office in 1948. According to Kinematograph Weekly the 'biggest winner' at the box office in 1947 Britain was The Courtneys of Curzon Street, with "runners up" being The Jolson Story, Great Expectations, Odd Man Out, Frieda, Holiday Camp and Duel in the Sun.

It earned $2 million in rentals in North America.

The film's critical status has generally stayed high. Kevin Brownlow, a biographer of Lean, wrote that "Dickens' brilliance at creating characters was matched by Cineguild's choice of actors", and Alain Silver and James Ursini have drawn attention to the film's "overall narrative subjectivity", finding Lean "more than faithful to the original's first person style".

In 1999, it came fifth in a BFI poll of the top 100 British films, while in 2004, Total Film named it the fourteenth greatest British film of all time. It was the first British film to win an Oscar for its cinematography.

Awards
John Bryan (Art Direction) and Wilfred Shingleton (Set Direction) won the Academy Award for Best Art Direction, Black-and-White, while Guy Green won for Best Cinematography, Black-and-White in 1948. Lean was nominated for Best Director, Lean, Ronald Neame and Anthony Havelock-Allan for Best Screenplay and the film for Best Picture.

title: Great Expectations (1946 film)


text:
Great Alne

Great Alne is a small village in Warwickshire, England, 7 mi north-west of Stratford-upon-Avon, 3 mi north-east of Alcester and 15 mi from Warwick, on the road to Wootton Wawen. It takes its name from the River Alne and was first chronicled in the charter of King Ethelbald (723–737). In 1969 Warwickshire County Council designated part of Great Alne as a Conservation Area, including most of the village east of the Memorial Hall and twelve listed buildings of local architectural and historical value. At the 2001 Census the population was 587.

History
Land at Alne was given by Coenwulf of Mercia, about 809 to his newly founded abbey of Winchcombe, in Gloucestershire. The Domesday Book records "in Ferncombe Hundred, Winchcombe Abbey holds 6 hides in (Great) Alne. Land for 6 ploughs. In lordship 1 plough; 3 slaves. 11 villagers with 4 smallholders have 5 ploughs. A mill at 5s; woodland 1/2 league long with 4 furlongs wide. The value was £3; now £4." It remained in the hands of the monastery until the dissolution, when it passed to the Crown, who leased it to the Throckmortons of Coughton until 1 December 1599. This is when Queen Elizabeth I sold it to Edward Stone of the city of Westminster and Thomas Gainsford of the City of London, Gainsford later making over his part to Stone.

It has since passed through a number of private hands, being owned by different local families including the Throckmortons and Holyoakes. Alne Mill, converted into luxury flats in 1989, lies about 0.25 mi to the south of the village and the road leading down to it is probably the Milnewey or Millway mentioned in 1541 and 1728. The mill at Alne, which was worth 5s. in the Domesday Book, and had increased in value to 6s. 8d. in the Taxation of 1291. In 1516 it was let by the abbot to John and Elizabeth Palmer at an annual rent of £1 10s.

Governance
Great Alne is in the Kinwarton ward of Stratford-on-Avon District Council and the Studley division of Warwickshire County Council. Great Alne is represented by District Councillor Thom Holmes of the Liberal Democrats and County Councillor Justin Kerridge of the Conservative Party. Nationally it is part of Stratford on Avon parliamentary constituency, whose MP since the 2010 election has been Nadhim Zahawi of the Conservatives. It was included in the West Midlands electoral region of the European Parliament.

Notable buildings
The parish church of St Mary Magdalene consists of a chancel with a modern north vestry, nave, north aisle and west porch-turret. Whilst the church is 13th century in origin with some later additions, much restoration was completed in 1837 when the nave was enlarged and a west gallery added, providing 86 additional seats, according to a record in the church. The west wall, with an entrance and two windows, is modern, as is also the west porch, which is carried up as a square bell-turret changing to an octagon at the top and having an octagonal pyramidal roof. There is one bell of 1670 by John Martin of Worcester. The modern north aisle has two north windows and one at the east and at the west. The font, of flower-pot shape, may be an old one retooled: it has a shallow bowl. The top has been repaired on opposite sides, probably where there had been staples.

The stained glass in the east window dates from 1860 and is by Hardman & Co., who were also responsible for the stained glass in the Houses of Parliament. Thomas Clarke, the rector at the time of the puritan ‘Survei of the Ministrie in Warwickshier’ of 1586, was described; "parson no precher nor learned, yet honest of life & zealous in religion he hath 3 or 4 charges & cures beside that of Kynerton, Witeley? (Weethley) he supplieth by his deputies: his hirelinges that serue by his non-residentship are all dumbe & idle & some of them gamsters : vah of all Ixxx" a yeare." A wooden war memorial to the memory of the men of the parish who gave their lives in the First World War and Second World Wars includes the name of a woman, Sister E.M. Elvins.

There is one pub-restaurant, The Huff Cap, formerly the Mother Huff Cap Inn, the name deriving from the days when most pubs brewed their own beer, Huff Cap being a 16th-century term for a strong ale that would ‘huf one’s cap’ or make the head swell, not for the froth on the top of the beer as is sometimes stated. The 'mother' is likely to be the dame who brewed the beer and managed the public house. In 1746 the pub is thought to have been 'The Huff Cap' and to have acquired 'mother' later. This hostelry was once on the main coach road from Stratford to Bridgnorth.

Transport
The old railway station, built on the Great Western Railway branch-line from Bearley to Alcester opened in 1876 but is now converted to a residential dwelling. The station sat on the GWR's Alcester Branch linking their Hatton – Stratford-upon-Avon Branch with the now defunct Midland Railway's Gloucester Loop line South of Redditch. The line closed to passengers in 1917 only to reopen between 1922/3 but stopping again in 1939 for passenger use, apart from workers' trains to the nearby Maudslay Motor Company's works from Birmingham. The line closed completely in 1951 with lifting of the track taking place shortly afterwards.

Education
Great Alne Primary School is located on the edge of the village, about a mile from the outskirts of Alcester.

title: Great Alne


text:
Talk:Metrolina (disambiguation)

Untitled
Where did the word Metrolina come from? Local TV news? "Greater Charlotte" or "Charlotte Metropolitan area" would be a more accurate term. And I don't think the fact that Greater Charlotte encompasses parts of two seperate states is either remarkable in itself or a good reason to invent a word like Metrolina...

title: Talk:Metrolina (disambiguation)


text: User talk:82.163.159.168

title: User talk:82.163.159.168


text:
Los García

Los García was a Puerto Rican television sitcom from the 1970s. First shown weekly on WAPA-TV, and later on TeleIsla (then called WRIK-TV, Rikavision Channel 7), it depicted the life of a local fictional family, as well as that of some of their neighbors. The series' characters were based (and even named after) real individuals. It was the best-rated television program in Puerto Rico in three (or five, depending on which source is quoted) out of the six years of the program's run. It is still aired in re-runs by the local Puerto Rico community channel for DirecTV.

Origins
Tommy Muñiz had a stream of radio productions in the late 1940s and 1950s, the most successful of which were family-oriented comedies. The two most successful ones, La Familia Pérez and Gloria y Miguel, featured comedic variations on real-life stories about married couples, essentially premiering sitcoms in Puerto Rico. When local television stations started their broadcasts in 1954, Muñiz tried the formula in two productions: Hogar, dulce hogar in the late 1950s, and a television version of Gloria y Miguel in the mid-1960s. Since broadcasts were live, and airings were frequent, Muñiz, who was the writer for these programs as well, felt that the family sitcom format was quite challenging to sustain. He felt slightly burned out by the time each program had run its course, and was quite reluctant to pursue the formula further.

By the time his production company experienced a strike in 1973, Muñiz felt compelled to abandon television productions altogether. He remained as executive producer for various comedies, particularly those featuring José Miguel Agrelot, and had various other businesses to fall back to, but he had lost the desire to write and produce. As his other businesses fell in hard times, coinciding with an economic recession in Puerto Rico, he was repeatedly urged by family and peers to try producing yet another family sitcom, a tried-and-true formula that, they considered, would involve little risk. He reluctantly agreed, and when no actor was available to play the main role, he took a gamble and decided -against his own wishes- to star in the comedy as well.

Jean Baptiste Romanacce, the real "Juan Bautista García"
When Tommy Muñiz first sketched his new production, he intended the starring role to reflect an everyday man from Puerto Rico. Curiously enough, the man who served as the main inspiration for the role had not been born in the island country. Tomás Muñiz, Tommy's father and a famous producer in his own merit, had met Jean Baptiste Romanacce-García, a Corsican immigrant whose name was adapted into Juan Bautista García, a Spanish-sounding name, upon his arrival to Puerto Rico in 1906. García was a self-made man who thrived after his orphaned childhood and became a handyman and freelance set designer for Puerto Rico's television stations. He was also known in the island country for having fathered ten children, adopting three more, and somehow managing the entire tribe. After using García's services often through the years, Tommy Muñiz (himself the father of eight children) befriended García. In turn, Rafo Muñiz, Tommy Muñiz's son, was a childhood friend of García's grandson, Roberto, who in turn was the son of Rodofreddo (also known as Roberto) García.

Tommy Muñiz felt inspired by the decorations that García had done at the Parroquia Espíritu Santo -the neighborhood church near Muñiz's household,- and came with the idea of dedicating a television show to the García family. Based on this, Tommy's character became Juan Bautista García, and Rafo Muñiz's character was Godofredo, a young neighbor (a twist on Rodofreddo's name). The real García died on June 1, 1975, just before the series went on the air.

The cast
Casting for the series was fortuitous, as were many production details. While Tommy was writing his scripts, his son Rafael (Rafo), who had played the family's son in the television version of "Gloria y Miguel", asked to play Godofredo -the role demanded a cheeky, wisecracking teenager, and although Rafo was already in his twenties, he felt he could play it. Juan Bautista needed a daughter -who would be Godofredo's girlfriend, and mutual family friends referred Gina Beveraggi, who had no previous stage experience, to Muñiz. He ended up naming the character Ginny, after Gina's real name. Mutual references also contacted Manela Bustamante, a very successful Cuban-born comedian, famous for her role of Cachucha in Cuban radio and television. to play Doña Toni, a fast-talking, nosy neighbor. Muñiz asked a neighbor, William Gracia -also with no acting experience- to play Don Pepín, another nosy neighbor. Liberato Garced Rodriguez was originally cast as Juan, Jr., better known as Junito. Garced was later replaced by Edgardo Rubio, (the son of United States Medal of Honor recipient Euripides Rubio), who would later on achieve fame in WAPA-TV's Barrio Cuatro Calles, and later played comedic roles in Spanish-language television in Florida. Rubio also made his television acting debut as a cast member of Los García.

Muñiz's staff then recruited Gladys Rodríguez, a former child- and later internationally known dramatic actress, for the role of Teresa García Albano, Pablo's wife. She had come out of semi-retirement by the time the series' pilot was filmed, after playing various major dramatic roles around Latin America. Muñiz felt too old for the role (Muñiz was 54 and Rodríguez was 33 at the time) and didn't feel his acting skills could match Rodriguez's, but they both felt an instant connection, right from the beginning. Their acting chemistry was such that many years later, when Jacobo Morales cast his Academy Award nominated film Lo que le pasó a Santiago, he selected Muñiz for the main role and Rodriguez as his romantic interest.

In rather unusual fashion, Muñiz wrote the series' scripts less rigidly than in his previous productions, giving the characters more flexibility to ad lib (in part because some scripts had been recycled from Gloria y Miguel but would otherwise sound dated). Ad libbing would sometimes have its consequences, since the show was taped but otherwise acted live and not edited: in one episode Rodríguez called Doña Toni by Manela's name and all actors -including Bustamante- had to refrain from cracking up a laugh.

The Garcia's lived in Parque Florido, a Spanish translation of "Floral Park", the San Juan neighborhood where Muñiz lived (Raúl Juliá lived a short distance from the Muñizes). The character's names, for the most part, were literally taken from Muñiz's (and the real Juan Bautista García's) neighbors as well.

The fortuitous nature of the show's assembly extended to its theme "song", a hodgepodge of four musical selections, the two most notable of which were mashed-up versions of the Champ Boys' funked-up version of Mike Oldfield's Tubular Bells, and an instrumental version of Donna Summer's Love to Love You Baby -or, more precisely, its bass line, which is common to both songs.

The characters
Juan Bautista García lived with his family in a fictional neighborhood called "Parque Florido", with his wife Teresa, and his children, straight-as-an-arrow teenage daughter Ginny and impish tween (later teen) Junito. Juan had already reached middle age, and was prematurely portrayed as a "grumpy old man". As such, he was constantly looking for occasions where he could relax and not be bothered by life's everyday stresses. However, he would inevitably be bothered by his interaction with many of the cast members. His pet peeves were three neighbors: Godofredo, his daughter's slacker boyfriend; Don Pepín, the bossy, meddling neighbor sharing a fence with the Garcías, and Doña Toni, an ever-present neighbor who would make rounds around the neighborhood to observe people (and eventually gossip about them). Juan, however, would make a fuss about everything, particularly how much was owed to the neighborhood's newspaper boy.

Maintaining Juan's sanity and order at the household was Teresa's full-time job. She pressed Juan (sometimes angrily or hysterically, for comic effect) to do household chores, correct mistakes, or solve misunderstandings. Many of these were caused by Juan's absent-mindedness, Don Pepín's uncalled for interventions, or Juan's reliance on Godofredo (who would inevitably screw things up). Junito would also play practical jokes on the family, which almost always backfired.

Plots revolved around everyday tasks such as: who ended up raking leaves in the backyard (and how inevitably it ended up not being done), the (messy) outcome of changing the family car's oil, or a neighbor borrowing a ladder (with or without alerting Juan first). Juan would sometimes cause mischief on purpose: in an episode the family visited a Middle Eastern restaurant and Juan let himself be dragged backstage by a belly dancer (with a grin in his face), while Teresa loudly protested.

Not too many details were given about Juan's job, although it was implied that he was an insurance clerk (William Gracia was an insurance salesperson in real life). Actor Carlos Bethel appeared occasionally in the program as Juan's boss. Teresa was a full-time housewife.

A common practice in the program was for Juan, Don Pepín (and very rarely, Doña Toni) to break the fourth wall and talk directly to the camera. Don Pepín did this most often. He would constantly explained why he, the always well-intentioned neighbor, would need to correct some household situation at the Garcías' (and, almost always, without them even knowing it). His nosy attitude was a source of comedic conflict with his domineering wife, Rebecca (occasionally played by Valentina Rivera). Doña Toni, on the other hand, would sometimes start talking extremely fast (a skill that she had perfected while playing her Cachucha character in Cuba). For comic effect, she sometimes ranted to her husband Victor (played by yet another acquaintance of the production staff with no acting experience) without even letting him say a word, and then chastising him ("¡Cállate, Victor", or "Shut up Victor!") when he attempted to speak (it was implied that conversations at Doña Toni's household were monologues most of the time). In one memorable episode Victor told her loudly to shut up, to her surprise.

Los García becomes a smash hit
Los García is considered by many Puerto Rican television critics to be among the best comedy shows in Puerto Rican history. The show began in 1975, quickly becoming a public favorite. The show ran until the early 1980s. It topped local television ratings for at least three of the six seasons in which it ran.

Phrases from the program became cultural references. Besides Doña Toni's "¡Cállate, Victor!", Tommy Muñiz made the phrase ¡Sea mi vida gris! (Loosely translatable to Damned be my life!), which he mentioned every time his character got mad for some reason, a trademark of his during this show. Most famous of all was an exchange between Teresa and Junito. Whenever Teresa got frustrated to the point of hysteria with Juan, she'd scream his name three times ("¡Juan, Juan, Juan!"). Junito, mocking her for sounding like a drag racing car engine revving up when she went frantic, would inevitably respond: ¡Chíllala, Mami, chíllala!, which would loosely translate to: "Peel out, Mom, peel out!". Teresa's trademark scream even became part of the title of one of the biography books about Muñiz, "¡Juan, Juan, Juan...! Crónicas de la televisión en los tiempos de Don Tommy", written by Beba García.

Juan García, The Widower
During the five years through which she played Teresa García, Gladys Rodríguez received various offers to play dramatic roles in telenovelas. She turned these down until the offers were too good to let go. Eventually she felt compelled to leave Los García; as to give Rodríguez a credible exit, her character was made to pass away, making Juan Bautista García a widower. Juan Bautista then became a "happy widower"; various episodes described his convoluted love life, as well as his nosy neighbors' attempts to convince Juan to act his age. However, ratings dipped soon after: Puerto Rican audiences were not used to see Juan García as a bachelor.

Juan Bautista was then set to marry again, this time with a co-worker, Clarissa López, played by Venezuelan actress Marisela Berti, (the wife of singer Chucho Avellanet at the time). Clarissa had a domineering mother, Altagracia (played by Ana Luisa Agrelot, José Miguel Agrelot's sister, and a comedic actress in her own right), who considered that her daughter was getting too old to get married. However, Altagracia also felt Juan Bautista was too old for her.

In a special one-hour episode, Juan Bautista married Clarissa at the family's house in Parque Florido. Various parallel stories played out during the episode: the appearance of Clarissa's absent father Clodomiro (played by José Miguel Agrelot), who Altagracia deeply resented; the appearance of Teresa as a poltergeist dressed in a wedding gown, playing pranks at the wedding, and Pepín's indiscreet gossiping being openly resented by his wife, Rebecca.

Aftermath
A strike by some of channel 7's actors, by then owned by Tommy Muñiz, affected the show. Increased competition in the show's 7 p.m. time slot from other channels that showed telenovelas during the same hour also affected the show.

After the end of Los García's successful run, the members of the show went on to do other things: Rafo Muñiz quit acting for a while, returning sporadically to the profession that first gave him popularity, but he became a successful show producer, representing many singers in Puerto Rico with his Promotores Latinos company. In 1989, he produced a version of MTV's Remote Control, but the United States network threatened to sue and the show was taken off the air. Edgardo Rubio had a productive career as an actor. Gladys Rodríguez, who left the show before it ended, went on to star in many telenovelas and some comedy shows as well as the 1982 feature film Una Aventura Llamada Menudo, and, in 1989, she and Tommy Muñiz reunited to play another romantic couple, in Jacobo Morales' film, Lo que le Pasó a Santiago, which was nominated for an Oscar for Best Foreign Film.

2006 Los Garcia Reunion TV Special
On Saturday, June 17, 2006, Los García reunited for a prime time special aired on Telemundo entitled "El Reencuentro" as a homage to series creator Tommy Muñiz. The plot revolved in the birth of Ginnita's son. Ginnita is Juan and Teresa's granddaughter; Ginny and Godofredo's daughter.

"We were in first place for six years in Puerto Rican television because the people identified themselves with the family relationship we portrayed. All families have a neighbor like 'don Pepín' and a son-in-law like 'Godofredo'. These aspects of the story transcended in the audience" said Gladys Rodríguez, who praised Muñiz's figure. "Don Tommy motivates us to do the best. He's a genius. He wrote the scripts, created our characters, acted with us and directed us. He deserves a homage like this one".

The cast included Gina Beveraggi, William Garcia, Edgardo Rubio, Christie Miró, Edgar Cuevas and Rafo Muñiz.

title: Los García


text:
Talk:...But Home Is Nowhere

Untitled
I'm wondering why exactly this song deserves its own page. --Blue Dream 11:14, July 18, 2005 (UTC)

Agreed. I'll put it up for merge. --Klestrob44 04:28, 14 August 2005 (UTC).

title: Talk:...But Home Is Nowhere


text: Talk:Bill Joy

title: Talk:Bill Joy


text:
Noel Odell

Noel Ewart Odell FRSE FGS (25 December 1890 – 21 February 1987) was an English geologist and mountaineer. In 1924 he was an oxygen officer on the Everest expedition in which George Mallory and Andrew Irvine famously perished during their summit attempt. Odell spent two weeks living above 23,000 feet, and twice climbed to 26,800 ft and higher, all without supplemental oxygen. In 1936 Noel Odell with Bill Tilman climbed Nanda Devi, at the time the highest mountain climbed.

Early life
He was born at St Lawrence, Isle of Wight the son of Rev Robert William Odell and his wife, Mary Margaret Ewart.

He was educated at Brighton College and the Royal School of Mines, Imperial College. He received a doctorate (PhD) from Cambridge University.

He was an accomplished rock climber, joining the Alpine Club in 1916 and famous for his solo first ascent in 1919 of Tennis Shoe on the Idwal Slabs, in Snowdonia. Odell Gully in the Huntington Ravine of New Hampshire's Mount Washington is named after Odell, who was the first to accomplish its ascent in winter.

Everest 1924
On 8 June 1924 George Mallory and Andrew Irvine attempted to climb to the top of Mount Everest via the Northeast Ridge route. Keen-sighted Odell reported seeing them at 12:50 p.m. ascending one of the major "steps" on the North-East ridge, "the last step but one from the base of the final pyramid" and "going strongly for the top." But no evidence thus far has proved that they reached the summit, or that they ascended above the major Second Step. They never returned and perished on the mountain. Odell was the last person to see the pair alive.

In his first two accounts, written between June and November 1924, Odell was certain he had seen Mallory and Irvine climbing the Second Step. But in the expedition account published in 1925, and after mounting skepticism from members of the climbing community as to whether it was the Second Step or the lower First Step, Odell conceded it might have been the First Step where he had seen the pair. After he had been rejected as too old for the next Everest expedition, he recanted his change of mind and returned to the belief that he had seen the two climbers surmount the Second Step. Had they done so, there would have been a fair chance that one of them, at least, might have reached the summit.

Achievements
In 1936 Noel Odell with Bill Tilman successfully reached the summit of Nanda Devi which at the time, and until 1950, was the highest mountain climbed. Odell returned to Everest with the expedition led by Tilman in 1938.

Noel Odell had a colourful career outside mountaineering as well, serving with the Royal Engineers in both World Wars, as a consultant in the petroleum and mining industries, and teaching geology at a number of universities around the world, including Harvard and Cambridge. He was Professor of Geology at the University of Otago in New Zealand and Peshawar University in Pakistan.

In 1944 he was elected a Fellow of the Royal Society of Edinburgh. His proposers were Sir James Wordie, George Tyrrell, Sir Arthur Trueman and John Weir.

Family
In 1917 he married Gwladys Jones (died 1977).

Publications

 * The Geology of the Eastern Parts of Central Spitzbergen (1927)
 * Geological and some other Observations in the Mount Everest Region (1938)
 * The Petrography of the Franz Josef Fjord Region (1955)

Legacy

 * In the 2010 documentary film about Mallory's expedition, The Wildest Dream, Alan Rickman acts as the voice of Noel Odell.

title: Noel Odell