title: Over the Moon (2020 film)

text: The score was composed by Steven Price. Original songs were written by Christopher Curtis, Marjorie Duffield and Helen Park.


title: Over the Moon (2020 film)

text: On September 26, 2017, Pearl Studio hired Audrey Wells to write the script for the film called "Over the Moon", which was based on an idea by Janet Yang about a retelling of the classic Chinese myth. On February 6, 2018, Netflix acquired distribution rights to the film and Glen Keane was set to direct. However, during this, Audrey Wells died in 2018. The film was dedicated in Audrey Wells' memory.


title: Over the Moon (2020 film)

text: While studios like Disney and Pixar have become known to use groups of people known as the Braintrust and Story Trust to help with the script, Keane said that "Creative decisions here aren’t made by committee".


title: Over the Moon (2020 film)

text: The city of Lunaria was inspired by the cover of Pink Floyd's album "The Dark Side of the Moon" and the paintings of Joan Miró.


title: Over the Moon (2020 film)

text: Steven Price is confirmed to be the film's composer while new original songs are being handled by Christopher Curtis (from "Chaplin: The Musical"), Marjorie Duffield and Helen Park (from "KPOP the Musical").


title: Over the Moon (2020 film)

text: The film was released in select theaters and on Netflix on October 23, 2020. Prior to its October 23 debut, "Over the Moon" was shown at the Montclair Film Festival on October 17. A day before its release, a book written by animation historian Leonard Maltin about the history about the film called "Over the Moon: Illuminating the Journey", was released on October 22. In January 2021, Netflix reported 43 million households had watched the film.


title: Over the Moon (2020 film)

text: The website's critics consensus reads: "Although many of "Over the Moon"s narrative ingredients will seem familiar, the film's absorbing animation offers colorful compensation."


title: Over the Moon (2020 film)

text: Peter Debruge of "Variety" wrote: "Sometimes it's OK for an adventure to be just an adventure, and this one gets in the way of its own assets, while pointing to the potential of future journeys from the Netflix animation team."


title: BMW 1 Series (F20)

text: The second generation of the BMW 1 Series consists of the BMW F20 (5-door hatchback) and BMW F21 (3-door hatchback) subcompact cars. The F20/F21 generation was produced by BMW from 2011 to 2019 and is often collectively referred to as the F20.


title: BMW 1 Series (F20)

text: For the second generation of 1 Series, the coupé and convertible models marketed separately using the new BMW 2 Series nameplate.


title: BMW 1 Series (F20)

text: The F20/F21 was initially powered by inline-four petrol, inline-four diesel and inline-six petrol engines. In 2015, inline-three petrol and diesel engines were added to the model range. All engines are turbocharged.


title: BMW 1 Series (F20)

text: Unlike most hatchback competitors, the F20/F21 uses a rear-wheel drive (rather than front-wheel drive) for most models. The F20/F21 is the first 1 Series to offer an optional all-wheel drive (called "xDrive" by BMW).


title: BMW 1 Series (F20)

text: Available equipment includes satellite navigation with an 8.8-inch screen, iDrive, LED headlights and digital radio.


title: BMW 1 Series (F20)

text: The interior and exterior trim is either "Sport Line", "Urban Line" or "M-Sport Line". These trim packages differ by alloy wheels, kidney grille, FDS, and other appearance-related features.


title: BMW 1 Series (F20)

text: In November 2015, the optional Automatic parking (called "Parking Assistant", where the car steers itself to parallel park) was upgraded.


title: BMW 1 Series (F20)

text: 114-125 models with the M Sport trim and M135-M140 models can be fitted with M Performance Parts. These include black kidney grilles, sport brakes for 18 inch and higher wheels, side skirt ground effects, carbon fibre mirrors and an M Performance silencer system for M135 and M140 models.


title: BMW 1 Series (F20)

text: The F20 five-door hatchback was the first of the F20/F21 body styles to be released. It was unveiled in 2011 at the Frankfurt Motor Show and then the Auto Guangzhou motor show.


title: BMW 1 Series (F20)

text: Early models included the 116i, 118i, 116d, 118d, 120d. In 2012, the 125i, 125d and "116d EfficientDynamics Edition" models were introduced. In July 2012, the 114i and M135i were introduced, followed by optional all-wheel drive (xDrive) for the 120d and M135i models. After the introduction of the facelift (LCI) models in 2015, the M140i replaced the M135i, which upgraded the engine to the BMW B58 and included various cosmetic changes.


title: BMW 1 Series (F20)

text: The vehicle was unveiled at the Auto Mobil International Leipzig 2012. The exterior styling was overseen by Nicolas Huet.


title: BMW 1 Series (F20)

text: The launch models consisted of the petrol-engined 114i, 116i, 125i and M135i models, and the diesel-engined 114d, 116d, 116d "EfficientDynamics Edition", 118d and 125d models. The inline-six M135i model was unveiled in the 3-door body style at the 2012 Geneva International Motor Show. From 2016, the M140i replaced the M135i, with same engine and options as F20.


title: BMW 1 Series (F20)

text: The facelift ("LCI", "F20N") changes were unveiled at the 2015 Geneva International Motor Show on 5 March, and began production later that month. Changes included:


title: BMW 1 Series (F20)

text: The F20 has seen use in the British Touring Car Championship, with the "BTCC BMW 125i M Sport" entry winning the Constructors' Championship and Teams’ Championship in 2017.


title: BMW 1 Series (F20)

text: The F20/F21 is produced in Leipzig, Germany and Regensburg, Germany. Complete knock-down (CKD) assembly of the F20/F21 is conducted in Araquari, Brazil; Chennai, India; Kulim, Malaysia (by Inokom); and Rayong, Thailand.


title: Cynthia Germanotta

text: Cynthia Louise Germanotta (née Bissett; born August 30, 1954) is an American philanthropist, activist and entrepreneur. She is the president of the Born This Way Foundation, which she co-founded with her daughter Lady Gaga in 2012.


title: Cynthia Germanotta

text: Germanotta was born and raised in Wheeling, West Virginia. Her parents were Paul Douglas Bissett, a State Farm insurance agent who sang with the McMechen Men's Chorus and the McMechen Methodist Choir, and Veronica Rose Ferrie. She is of Italian descent through her mother and Scottish, English and German descent through her father. She has an older brother, Paul, and a younger sister, Cheryl Ann.


title: Cynthia Germanotta

text: Germanotta graduated from John Marshall High School. She then attended West Virginia University and earned a master's degree in public administration from George Washington University. While at West Virginia University, Germanotta was a cheerleader and a member of Chi Omega.


title: Cynthia Germanotta

text: In 2012, Germanotta and her daughter, Lady Gaga, co-founded the Born This Way Foundation, a non-profit organization focused on inspiring youth, ending bullying, and building up communities. Later that year, the foundation was awarded the Family Online Safety Institute's Award for Outstanding Achievement. Under Germanotta's leadership, the foundation also received the National Association of School Psychologists' Special Friend to Children Award in 2013 and the Anti-Defamation League's No Place for Hate Making a Difference Award in 2015. Germanotta was honored by Boston PFLAG and by Dancing Classrooms for her advocacy regarding youth mental health.


title: Cynthia Germanotta

text: Germanotta is an advocate for the Women's Council on Heart Health for the Ronald O. Perelman Heart Institute and serves on the board of the Empowerment Initiative at the University of Nebraska-Lincoln. She also served on the Ladies Auxiliary Committee of The Columbus Citizens Foundation, for which she received the Humanitarian Award in 2015. As of 2016, she serves as a member of the Board of Governors for the Parsons School of Design.


title: Cynthia Germanotta

text: On June 10, 2018, Germanotta addressed the United Nations General Assembly on behalf of the Born This Way Foundation and launched the United for Global Mental Health initiative. On May 20, 2019, the United Nations' World Health Organization announced that Germanotta would be one of four new Goodwill Ambassadors, as the ambassador for mental health.


title: Cynthia Germanotta

text: Germanotta is married to Joseph Germanotta, an internet entrepreneur and restaurateur (owner of the Art Bird & Whiskey Bar in Grand Central Terminal), and lives on the Upper West Side of Manhattan. She previously lived in West Village. They own an Italian restaurant in New York called Joanne Trattoria and have two daughters, Stefani and Natali. Germanotta is Catholic and is a parishioner at the Church of the Blessed Sacrament. In 2017, she appeared in the documentary "".


title: Edith Bouvier Beale

text: Edith Bouvier Beale (November 7, 1917 – January 14, 2002), nicknamed Little Edie, was an American socialite, fashion model, and cabaret performer. She was a first cousin of Jacqueline Onassis and Lee Bouvier Radziwill. She is best known for her participation (along with her mother, with whom she lived) in the 1975 documentary film "Grey Gardens" by Albert and David Maysles.


title: Edith Bouvier Beale

text: Beale was born in New York City, the only daughter of Phelan Beale, a lawyer, and Edith Ewing Bouvier (known as "Big Edie"), the daughter of Phelan’s law partner, John Vernou Bouvier Jr. She was born at 1917 Madison Avenue (now the site of the Carlyle Hotel). She had two brothers, Phelan Beale Jr. and Bouvier Beale, and had a lavish upbringing as part of America's "Catholic aristocracy". Beale attended The Spence School and graduated from Miss Porter's School in 1935.


title: Edith Bouvier Beale

text: Known as "Little Edie," Beale was a member of the Maidstone Country Club of East Hampton. A debutante, she was presented to society during a ball at the Pierre Hotel on New Year's Day 1936. "The New York Times" reported on the event, where she wore a gown of white net appliqued in silver with a wreath of gardenias in her hair.


title: Edith Bouvier Beale

text: While Beale was young, her mother pursued a singing career, hiring an accompanist and playing at small venues and private parties. In the summer of 1931, Phelan Beale separated from his wife, leaving Big Edie, then 35 years old, dependent on the Bouviers for the care of herself and children. In 1946, he finally obtained a divorce, notifying his family by telegram from Mexico.


title: Edith Bouvier Beale

text: In her youth, Little Edie was a clothes model at Macy's in New York and Palm Beach, Florida. She later claimed to have dated J. Paul Getty and to have once been engaged to Joseph P. Kennedy Jr. (although in reality she only met him once). During the 1961 inauguration of John F. Kennedy, she told Joseph P. Kennedy Sr. that, if young Joe had lived, she would have been First Lady instead of Jackie. Once, Beale ran away to Palm Beach, where she was found by her father and brought home.


title: Edith Bouvier Beale

text: From 1947 to 1952, she lived in the Barbizon Hotel for Women and worked as a model, dancer, and actress. When she was in her late 30s, Beale developed alopecia totalis which caused her body hair to fall out and prompted her to wear her signature headscarves. Beale's cousin, John Davis, claims Beale once climbed a tree at the house and set her hair on fire, suggesting Beale might have contributed to her own baldness.


title: Edith Bouvier Beale

text: In October 1971, police raided Grey Gardens and found the house "full of litter, rife with the odor of cats and in violation of various local ordinances". The Suffolk County, New York, Board of Health prepared to evict Beale and "Big Edie" due to the unsafe condition of the property. Following the publicity, Beale's family paid a reported $30,000 to refurbish the property, settle back taxes, and give Beale and "Big Edie" a stipend (the two women's trust fund income had run out some years before). The eviction proceedings were dropped.


title: Edith Bouvier Beale

text: Beale's cousin Lee Radziwill hired documentary filmmakers Albert and David Maysles in 1972 to work on a film about the Bouvier family. At the outset, the brothers filmed Beale and "Big Edie". The original film project was not completed, and Radziwill kept the footage that had been shot of the Beales. However, the Maysles brothers were fascinated by the strange life the two women led. After raising funds for film and equipment on their own they returned and filmed 70 more hours of footage with Beale and Big Edie. The resulting 1975 film "Grey Gardens" is widely considered a masterpiece of the documentary genre. It was later adapted as a 2006 musical of the same name, where the characters Lee and Jackie Bouvier appear as visiting children in retrospect. An HBO television movie based upon the documentary and surrounding story of the Beales' lives, also called "Grey Gardens", appeared in 2009.


title: Edith Bouvier Beale

text: The original 1972 footage featuring Radziwill visiting the Beales was released in 2017 as "That Summer".


title: Edith Bouvier Beale

text: After her mother's death in February 1977, Beale attempted to start a cabaret career at age 60 with eight shows (January 10–14, 1978) at Reno Sweeney, a Manhattan night spot at 126 W. 13th Street. The club kept the bad reviews from her ("The New York Times", on January 12, 1978, called it "a public display of ineptitude"), and she faced two new audiences per night, even through a fever and recent cataract surgery. She continued to live in Grey Gardens for about two years, according to her mother's wishes, holding out against selling the house as a teardown. In 1979, she sold the mansion to Ben Bradlee, then the executive editor of "The Washington Post".


title: Edith Bouvier Beale

text: Beale moved to Bal Harbour, Florida, in late 1997. She was found dead in her apartment on January 14, 2002, aged 84; it is believed she died about five days earlier, either from a stroke or heart attack. The inscription on her grave marker reads: "I came from God. I belong to God. In the end—I shall return to God."


title: Edith Bouvier Beale

text: Interest in the Beales' story resulted in a variety of publishing and media projects as well as various mentions in popular culture.


title: Race and appearance of Jesus

text: The race and appearance of Jesus has been a topic of discussion since the days of early Christianity. Various theories about the race of Jesus have been proposed and debated. By the Middle Ages, a number of documents, generally of unknown or questionable origin, had been composed and were circulating with details of the appearance of Jesus. These documents are now mostly considered forgeries.


title: Race and appearance of Jesus

text: A wide range of depictions have appeared over the two millennia since Jesus's death, often influenced by cultural settings, political circumstances and theological contexts. The depiction of Jesus in art of the first Christian centuries gradually standardized his appearance with a short beard. These images are often based on second- or third-hand interpretations of spurious sources, and are generally historically inaccurate.


title: Race and appearance of Jesus

text: By the 19th century, theories that Jesus was non-Semitic were being developed, with writers suggesting he was variously white, black, Indian, or some other race. However, as in other cases of the assignment of race to biblical individuals, these claims have been mostly based on cultural stereotypes, ethnocentrism, and societal trends rather than on scientific analysis or historical method.


title: Race and appearance of Jesus

text: Research on ancient skeletons in Palestine suggests that Judeans of the time were biologically closer to Iraqi Jews than to any other contemporary population, and thus in terms of physical appearance the average Judean of the time would have likely had dark brown to black hair, olive skin, and brown eyes. Judean men of the time period were on average about in height. Scholars have also suggested that it is likely Jesus had short hair and a beard, in accordance with Jewish practices of the time and the appearance of philosophers. The earliest depictions of Jesus from the Roman catacombs depict him as free of facial hair.


title: Race and appearance of Jesus

text: Historians have speculated over how Jesus's ascetic and itinerant lifestyle and work as a (Ancient Greek for an artisan/craftsman, typically a carpenter), with the manual labor and exposure to the elements that entailed, affected his appearance. It has been suggested that Jesus likely had a lean appearance.


title: Race and appearance of Jesus

text: Old Testament references which are interpreted by Christians as being about a coming messiah have been used to form conjectures about the appearance of Jesus. refers to the scourged messiah with "no beauty that we should desire him" and describes him as "fairer than the children of men". These passages are often interpreted as Jesus' physical description.


title: Race and appearance of Jesus

text: The New Testament includes no descriptions of Jesus's appearance before his death, and the gospel narratives are generally indifferent to people's racial appearance or features.


title: Race and appearance of Jesus

text: The synoptic gospels include the account of the transfiguration of Jesus, during which he was glorified with "His face shining as the sun". but this appearance is considered to refer to Jesus in majestic, transfigured form.


title: Race and appearance of Jesus

text: Despite the lack of direct biblical or historical references, from the 2nd century onward, various theories about the appearance of Jesus were advanced. However, these focused more on his physical appearance than on his specific race or ancestry. Larger arguments of this kind have been debated for centuries.


title: Race and appearance of Jesus

text: Justin Martyr argued for the genealogy of Jesus in the biological Davidic line from Mary, as well as from his non-biological father Joseph. However, this only implies a general Jewish ancestry, acknowledged generally by authors.


title: Race and appearance of Jesus

text: The focus of many early sources was on the physical unattractiveness of Jesus rather than his beauty. The second-century anti-Christian philosopher Celsus wrote that Jesus was "ugly and small" and similar descriptions are presented in a number of other sources as discussed extensively by Robert Eisler, who in turn often quotes from Ernst von Dobschütz' monumental . Tertullian states that Jesus's outward form was despised, that he had an ignoble appearance, and the slander he suffered proved the 'abject condition' of his body. According to Irenaeus, he was a weak and inglorious man, and in the Acts of Peter he is described as small and ugly to the ignorant. Andrew of Crete relates that Christ was bent or even crooked and in the Acts of John he is described as bald-headed and small with no good looks.


title: Race and appearance of Jesus

text: As quoted by Eisler, both Hierosolymitanus and John of Damascus claim that "the Jew Josephus" described Jesus as having had connate eyebrows with goodly eyes and being long-faced, crooked and well-grown. In a letter of certain bishops to the Emperor Theophilus, Jesus's height is described as 3 cubits (four foot six), which was also the opinion of Ephrem Syrus (320–379 AD): "God took human form and appeared in the form of three human ells (cubits); he came down to us small of stature." Theodore of Mopsuestia likewise claimed that the appearance of Christ was smaller than that of the children of Jacob (Israel). In the apocryphal Lentulus letter, Jesus is described as having had a reddish complexion, matching Muslim traditions in this respect. Jesus's prediction that he would be taunted "Physician, heal yourself" may suggest that Jesus was indeed physically deformed ("crooked" or hunch-backed), as claimed in the early Christian texts listed above. Justin Martyr, Tertullian, and Ambrose considered lack of physical attractiveness in Jesus as fulfilling the messianic prophecy Suffering Servant narrative of Isaiah 53.


title: Race and appearance of Jesus

text: The more mainstream, theological perspective, as expressed by Church Fathers Jerome and Augustine of Hippo, argued that Jesus must have been ideally beautiful in face and body. For Augustine he was "beautiful as a child, beautiful on earth, beautiful in heaven". These theological arguments were further extended in the 13th century by Thomas Aquinas in his based on his analysis of the perfection of Christ, reasoning that Jesus must have embodied every possible human perfection.


title: Race and appearance of Jesus

text: By the Middle Ages, a number of documents, generally of unknown or questionable origin, had been composed and were circulating with details of the appearance of Jesus:


title: Race and appearance of Jesus

text: Anne Catherine Emmerich, in her four volumes of visions of the life of Christ, describes Jesus in his youth as "tall and slender with a delicate face and a beaming countenance and though pale, He was healthy-looking. His perfectly straight, golden hair was parted over His high, open forehead and fell upon His shoulders. He wore a long, light-brownish gray tunic, which reached to His feet, the sleeves rather wide around the hand." At the time of his ministry, she says "Jesus was tall and slender with a delicate face and a beaming countenance and though pale, He was healthy-looking. His perfectly straight, golden hair was parted over His high, open forehead and fell upon His shoulders. He wore a long, light-brownish gray tunic, which reached to His feet, the sleeves rather wide around the hand."


title: Race and appearance of Jesus

text: Quranic and hadith traditions such as Sahih Bukhari as well as tafsir have given an oral depiction of what Jesus looked like, although some accounts do not match, such as his being both curly-haired and straight-haired. The hadith refer to Muhammad's account of the Night Journey, when he was taken up to heaven by the angel Gabriel (Jibra'il), where he saw Jesus and other prophets. Most versions of this say "Jesus had curly hair and a reddish complexion." Others say his face was flushed as if he just had a bath ("a reddish man with many freckles on his face as if he had just come from a bath"). In another account from Bukhari, Jesus is seen in a dream near the Kaaba, as "a man of a wheatish complexion with straight hair. I asked who it was. They said: This is the Messiah, son of Mary." However, other narrations give variations in the color. Salim ibn Abd-Allah reports from his father Abdullah ibn Umar that the prophet "did not say that Jesus was of red complexion", rather he was "a man of brown complexion and lank hair". In contrast, Abd Allah ibn Abbas says Jesus was of "moderate complexion inclined to the red and white colors and of lank hair". According to Hanafi Madhab, contradictions in hadith may be resolved through multiple methods, one being the number of times a narration has been made and the number of chain of narrations and the character of those in the chain of narration or the narrator themselves. There are four hadiths in Bukhari stating Jesus had a brown complexion and three hadiths in Imam Muslim. However, the most prominent narrator is from Salim ibn Abdullah ibn Umar, descendant of Caliph Umar, with a chain of narration that stated: "a man of brown complexion and lank hair".


title: Race and appearance of Jesus

text: These variations have been explained in various ways, and have been co-opted to make assertions about race. For example, Ana Echevarría notes that medieval Spanish writer Jiménez de Rada, in his , chooses a version to emphasise that Jesus is whiter than Muhammad, quoting the Ibn Abbas version: "I saw Jesus, a man of medium height and moderate complexion inclined to the red and white colours and of lank hair." Echevarría comments that "Moses and Jesus are portrayed as specimens of a completely different 'ethnic type', fair and blond; 'ethnic' or 'racial' differences between them and Muhammad are thus highlighted." Furthermore, most accounts of hadith say Moses was of dark complexion, i.e. Sahih Bukhari Volume 4, Book 55, Number 607, Sahih Bukhari Volume 4, Book 55, Number 648, Sahih Bukhari Volume 4, Book 55, Number 650. There is almost universal agreement that Moses was of dark complexion by 6th-century Hijazi standards.


title: Race and appearance of Jesus

text: The Doctrine and Covenants describes the Lord appearing to Joseph Smith: "His eyes were as a flame of fire; the hair of his head was white like the pure snow; his countenance shone above the brightness of the sun; and his voice was as the sound of the rushing of great waters..." (D&C: 110:3)


title: Race and appearance of Jesus

text: Mary, mother of Jesus is described in First Nephi as "a virgin, and she was exceedingly fair and white" (1Nephi 11:13).


title: Race and appearance of Jesus

text: According to the Gospel of Matthew and the Gospel of Luke, Jesus was a descendant of King David. One argument against this claim is the contradiction which is contained in Jesus's genealogies: Matthew says he is descended from King Solomon, while Luke says he is descended from Solomon's brother, Nathan. John of Damascus taught that there is no contradiction, for Nathan wed Solomon's wife after Solomon died in accordance with (the mitzvah that a man must marry his brother's childless widow).


title: Race and appearance of Jesus

text: In his book "The Forging of Races", Colin Kidd argues that the assignment of race to biblical individuals has been a mostly subjective practice which is based on cultural stereotypes and societal trends rather than scientific methods. Kidd reviews a number of theories about the race of Jesus, including a white "Aryan" Jesus and a black African Jesus.


title: Race and appearance of Jesus

text: In his book "Racializing Jesus", Shawn Kelley says the assignment of a specific race to Jesus has been a cultural phenomenon which has been emanating from the higher levels of intellectual circles within societies, and he draws parallels between the different approaches within different settings. Cain Hope Felder has argued that New Testament passages such as express a universalism going beyond race, ethnicity or even religion.


title: Race and appearance of Jesus

text: By the 19th century, theories that Jesus was a member of the so-called "Aryan race", and in particular, theories that his appearance was Nordic, were developed and later appealed to advocates of the new racial antisemitism, who wanted nothing Jewish about Jesus. Houston Stewart Chamberlain posited that Jesus was of Amorite-Germanic extraction. The Amorites were actually a Semitic people. Madison Grant claimed Jesus for the Nordic race. This theory found its most extreme form in the Nazi theology of Positive Christianity. Scholars who supported the radical Aryan view also argued that being a Jew by religion was distinguishable from being a Jew by race or ethnicity. These theories usually include the rationalization that Jesus was an Aryan because the region of Galilee was supposedly inhabited by non-Jews who spoke an unknown Indo-European language, but this theory has not gained scholarly acceptanceGalilee was inhabited by a significantly non-Jewish minority, but its members spoke various local Semitic languages.


title: Race and appearance of Jesus

text: In his book "Anacalypsis" (1836), Godfrey Higgins suggested that Jesus was a dark, brown-skinned Indo-Aryan from North India. In 1906, a German writer named Theodor Plange wrote a book titled "Christ-an Indian?" in which he argued that Jesus was an Indian and the Christian gospel originated in India.


title: Race and appearance of Jesus

text: By the 20th century, theories that Jesus was black had also been proposed, but they did not claim he belonged to a specific African ethnicity, based on the argument that as a group and in whole or in part, the ancient Israelites, were originally black people. Martin Luther King Jr. was a proponent of the "Black Christ" movement and he identified the struggle of Jesus against the authorities of the time with the struggle of African Americans in the United States, as he questioned why the white church leaders did not voice concern for racial equality. For some, this blackness was due to Jesus's identification with black people, not to the color of his skin, while others such as the black nationalist Albert Cleage argued that Jesus was ethnically black.


title: Race and appearance of Jesus

text: A study which was documented in the 2001 BBC series "Son of God" attempted to determine what Jesus's race and appearance may have been. Assuming Jesus to be a Galilean Semite, the study concluded in conjunction with Mark Goodacre that his skin would have been "olive-coloured" and "swarthy"these results were criticised by some media outlets for being "dismissive" and "dumbed down".


title: Race and appearance of Jesus

text: In academic studies, beyond generally agreeing that "Jesus was Jewish", there are no contemporary depictions of Jesus that can be used to determine his appearance.


title: Race and appearance of Jesus

text: In 2001, a new attempt was made to discover what the true race and face of Jesus might have been, and it was documented in the "Son of God" documentary series. The study, sponsored by the BBC, France 3 and Discovery Channel, used one of three first-century Jewish skulls from a leading department of forensic science in Israel. A face was constructed using forensic anthropology by Richard Neave, a retired medical artist from the Unit of Art in Medicine at the University of Manchester. The face Neave constructed suggested that Jesus would have had a broad face and large nose, and differed significantly from the traditional depictions of Jesus in renaissance art.


title: Race and appearance of Jesus

text: Additional information about Jesus's skin color and hair was provided by Mark Goodacre, a senior lecturer at the Department of Theology and Religion at the University of Birmingham. Using third-century images from a synagoguethe earliest pictures of Jewish peopleGoodacre proposed that Jesus's skin color would have been darker and swarthier than his traditional Western image. He also suggested that he would have had short, curly hair and a short cropped beard. The First Epistle to the Corinthians, where Paul the Apostle says it is "disgraceful" for a man to have long hair, was cited as support for this, the argument being that as Paul allegedly knew many of the disciples and members of Jesus's family, it is unlikely that he would have written such a thing had Jesus had long hair.


title: Race and appearance of Jesus

text: Although not literally the face of Jesus, the result of the study determined that Jesus's skin would have been more olive-colored than white or black, and it also determined that he would have most likely looked like a typical Galilean Semite of his day. Among the points which were made in the study was the fact that the Bible says Jesus's disciple Judas Iscariot needed to point him out to those arresting him. The implied argument is that if Jesus's physical appearance had differed markedly from that of his disciples he would have been relatively easy to identify. James H. Charlesworth says Jesus's face was "most likely dark brown and sun-tanned", and his stature "may have been between five feet five and five feet seven".


title: Race and appearance of Jesus

text: In 2018 historian Joan Taylor published "What Did Jesus Look Like?" which traced portrayals of Jesus back through time from the European Jesus of western art to Jesus himself. By working with Yossi Nagar, an Israeli anthropologist who was able to prove that the physical characteristics of the bones of Jews which date back to the time of Jesus have similarities to the bones of contemporary Iraqi Jews, Taylor concluded that Jesus had honey/olive skin, brown eyes and black hair. As for the honey/olive description, Taylor writes that his skin was "a darker hue consistent with the skin tone of people of the Middle East" (p. 163). Taylor thinks the BBC's reconstruction is "quite speculative" because reconstruction of cartilage (noses, etc.) is guesswork.


title: Race and appearance of Jesus

text: During the Middle Ages, a number of legendary images of Jesus began to appear, at times, they were probably constructed in order to validate the styles of the depictions of Jesus which were reported during that period, e.g. the image of Edessa. The Veil of Veronica was accompanied by a narrative about the Passion of Jesus.


title: Race and appearance of Jesus

text: A number of descriptions of Jesus have been reported by saints and mystics who claim that they have seen Jesus in visions. Reports of such visions are more common among Roman Catholics than they are among members of other Christian denominations.


title: Race and appearance of Jesus

text: By the 20th century, some reports of miraculous images of Jesus began to receive a significant amount of attention, e.g. Secondo Pia's photograph of the Shroud of Turin, one of the most controversial artifacts in history. During its May 2010 exposition, the shroud and its photograph of what some authors consider the face of Jesus were visited by more than two million people.


title: Race and appearance of Jesus

text: Another 20th-century depiction of Jesus, namely the Divine Mercy image, is based on Faustina Kowalska's reported vision, which she described in as a pattern that was then painted by artists. The depiction is now widely used among Catholics, and it has more than a hundred million followers worldwide.


title: Race and appearance of Jesus

text: Despite the lack of biblical references or historical records, for two millennia a wide range of depictions of Jesus have appeared, often influenced by cultural settings, political circumstances and theological contexts. As in other forms of Christian art, the earliest depictions date to the late second or early third century, and they are primarily found in Rome. In these early depictions, Jesus is usually shown as a youthful figure who does not have a beard but does have curly hair, sometimes he is shown with features which are different from the features of the other men in the scenes, e.g. his disciples or the Romans. However, bearded depictions also appear very early on, perhaps drawing on an existing stereotype from the Greek world of the appearance of the many itinerant charismatic philosophers.


title: Race and appearance of Jesus

text: Although some images of Jews exist in the synagogue in Dura-Europos, and such images may have been common, in theory, Judaism forbade images, and its influence on the depictions of Jesus remains unknown. Christian depictions of Jesus which were produced during the 3rd and 4th centuries typically focused on New Testament scenes of healings and other miracles. Following the conversion of Constantine in the fourth century, Christian art found many wealthy donors and flourished. During this period, Jesus began to have more mature features, and he was also shown with a beard. A new development which occurred at this time was the depiction of Jesus without a narrative context; he was just depicted as a figure all by himself.


title: Race and appearance of Jesus

text: By the fifth century, depictions of the Passion began to appear, perhaps reflecting a change in the theological focus of the early Church. The sixth-century Rabbula Gospels include some of the earliest images of the crucifixion and resurrection. By the sixth century, the bearded depiction of Jesus had become standard, both in the East and in the West. These depictions of Jesus with reddish brown hair which is parted in the middle and almond shaped eyes remained consistent for several centuries. At this time, various legends were developed in order to validate the styles of the depictions, e.g. the image of Edessa and later the Veil of Veronica.


title: Race and appearance of Jesus

text: The Byzantine Iconoclasm acted as a barrier to developments in the East, but by the ninth century, art was again permitted. The Transfiguration of Jesus was a major theme in the East and every Eastern Orthodox monk who took up iconography needed to start his craft by producing the icon of the Transfiguration. Whereas Western depictions aim for proportion, the abolition of perspective and alterations in the size and proportion of an image in Eastern icons aim to reach beyond man's earthly dwellings.


title: Race and appearance of Jesus

text: The 13th century witnessed a turning point in the portrayal of the powerful Kyrios image of Jesus as a wonder worker in the West, as the Franciscans began to emphasize the humility of Jesus both at his birth and at his death via the Nativity scene as well as the crucifixion. The Franciscans approached both ends of this spectrum of emotions and as the joys of the Nativity were added to the agony of the crucifixion, a whole new range of emotions was ushered in, with wide-ranging cultural impact on the image of Jesus for centuries thereafter.


title: Race and appearance of Jesus

text: The Renaissance brought forth a number of artistic masters who focused on the depictions of Jesus and after Giotto, Fra Angelico and others systematically developed uncluttered images that focused on the depiction of Jesus with an ideal human beauty. Leonardo da Vinci's "The Last Supper" which is considered the first work of High Renaissance art due to its high level of harmony became well known for depicting Jesus surrounded by the varying emotions of the individual apostles at the announcement of the betrayal.


title: Race and appearance of Jesus

text: Objections to depictions of Jesus have appeared, e.g. in 1850 John Everett Millais was attacked for his painting "Christ in the House of His Parents" because it was "painful" to see "the youthful Saviour" depicted as "a red-headed Jew boy". The first cinematic portrayal of Jesus was in the 1897 film "La Passion du Christ" produced in Paris, which lasted five minutes. Thereafter cinematic portrayals have continued to show Jesus with a beard in the standard western depiction that resembles Renaissance images.


title: Race and appearance of Jesus

text: More recent artistic and cinematic portrayals have also made an effort to characterize Jesus as an ancient Middle Eastern resident. In the 2004 movie "The Passion of the Christ", Jesus was portrayed by Jim Caviezel, who wore a prosthetic nose during filming and had his blue eyes digitally changed to brown to give him a more Middle Eastern appearance. According to designer Miles Teves, who created the prosthesis: "Mel [Gibson] wanted to make the actor playing Jesus, James Caviezel, look more ethnically Middle Eastern, and it was decided that we could do it best by changing the shape of his nose."


title: Chauvinism

text: Chauvinism is the unreasonable belief in the superiority or dominance of one's own group or people, who are seen as strong and virtuous, while others are considered weak, unworthy, or inferior. It can be described as a form of extreme patriotism and nationalism, a fervent faith in national excellence and glory.


title: Chauvinism

text: In English, the word has come to be used in some quarters as shorthand for male chauvinism, a trend reflected in "Merriam-Webster's Dictionary", which, as of 2018, begins its first example of use of the term "chauvinism" with "an attitude of superiority toward members of the opposite sex".


title: Chauvinism

text: According to legend, French soldier Nicolas Chauvin was badly wounded in the Napoleonic Wars and received a meager pension for his injuries. After Napoleon abdicated, Chauvin maintained his fanatical Bonapartist belief in the messianic mission of Imperial France, despite the unpopularity of this view under the Bourbon Restoration. His single-minded devotion to his cause, despite neglect by his faction and harassment by its enemies, started the use of the term.


title: Chauvinism

text: "Chauvinism" has extended from its original use to include fanatical devotion and undue partiality to any group or cause to which one belongs, especially when such partisanship includes prejudice against or hostility toward outsiders or rival groups and persists even in the face of overwhelming opposition. This French quality finds its parallel in the English-language term "jingoism", which has retained the meaning of "chauvinism" strictly in its original sense; that is, an attitude of belligerent nationalism.


title: Chauvinism

text: In this sense, chauvinism is irrational, in that no one can claim their nation or ethnic group to be inherently superior to another. An example of a modern-day English nationalist extreme enough to be considered a chauvinist is Nigel Farage.


title: Chauvinism

text: Male chauvinism is the belief that men are superior to women. The first documented use of the phrase "male chauvinism" is in the 1935 Clifford Odets play "Till the Day I Die".


title: Chauvinism

text: The balance of the workforce changed during World War II. As men entered or were conscripted into the military to fight in the war, women started replacing them. After the war ended, men returned home to find jobs in the workplace now occupied by women, which "threatened the self-esteem many men derive from their dominance over women in the family, the economy, and society at large." Consequently, male chauvinism was on the rise, according to Cynthia B. Lloyd.


title: Chauvinism

text: Lloyd and Michael Korda have argued that as they integrated back into the workforce, men returned to predominate, holding positions of power while women worked as their secretaries, usually typing dictations and answering telephone calls. This division of labor was understood and expected, and women typically felt unable to challenge their position or male superiors, argue Korda and Lloyd.


title: Chauvinism

text: Chauvinist assumptions are seen by some as a bias in the TAT psychological personality test. Through cross-examinations, the TAT exhibits a tendency toward chauvinistic stimuli for its questions and has the "potential for unfavorable clinical evaluation" for women.


title: Chauvinism

text: An often cited study done in 1976 by Sherwyn Woods, Some Dynamics of Male Chauvinism, attempts to find the underlying causes of male chauvinism.


title: Chauvinism

text: Adam Jukes argues that a reason for male chauvinism is masculinity itself:For the vast majority of people all over the world, the mother is a primary carer...There’s an asymmetry in the development of boys and girls. Infant boys have to learn how to be masculine. Girls don’t. Masculinity is not in a state of crisis. Masculinity is a crisis. I don’t believe misogyny is innate, but I believe it’s inescapable because of the development of masculinity.


title: Chauvinism

text: Female chauvinism is the belief that women are superior to men. Second-wave feminist Betty Friedan observed that "...the assumption that women have any moral or spiritual superiority as a class is [...] female chauvinism." Ariel Levy used the term in her book "Female Chauvinist Pigs", in which she argues that many young women in the United States and beyond are replicating male chauvinism and older misogynist stereotypes.


title: Chauvinism

text: Huddy, Leonie; Del Ponte, Alessandro. (2019). "National Identity, Pride, and Chauvinism—their Origins and Consequences for Globalization Attitudes". In "Liberal Nationalism and Its Critics: Normative and Empirical Questions" (eds) Gina Gustavsson, David Miller. Oxford: Oxford Academic, pp. 38–56. https://doi.org/10.1093/oso/9780198842545.003.0003


title: Chauvinism

text: Tuchowski, Andrzej. (2017). "Nationalism, Chauvinism and Racism as Reflected in European Musical Thought and in Compositions from the Interwar Period." Bern: Peter Lang. <nowiki>ISBN 9783631787274</nowiki>.


title: Satchel Paige

text: Leroy Robert "Satchel" Paige (July 7, 1906 – June 8, 1982) was an American professional baseball pitcher who played in Negro league baseball and Major League Baseball (MLB). His career spanned five decades and culminated with his induction into the National Baseball Hall of Fame.


title: Satchel Paige

text: A right-handed pitcher, Paige first played for the semi-professional Mobile Tigers from 1924 to 1926. He began his professional baseball career in 1926 with the Chattanooga Black Lookouts of the Negro Southern League and became one of the most famous and successful players from the Negro leagues. On town tours across the United States, Paige would sometimes have his infielders sit down behind him and then routinely strike out the side.


title: Satchel Paige

text: At age 42 in 1948, Paige made his debut for the Cleveland Indians; to this day, this makes him the oldest debutant in the National League or American League history. Additionally, Paige was 59 years old when he played his last major league game, which is also a record that stands to this day. Paige was the first black pitcher to play in the American League and was the seventh black player to play in Major League Baseball. Also in 1948, Paige became the first player who had played in the Negro leagues to pitch in the World Series; the Indians won the Series that year. He played with the St. Louis Browns from 1951 to 1953, representing the team in the All-Star Game in 1952 and 1953. He played his last professional game on June 21, 1966, for the Peninsula Grays of the Carolina League, two weeks shy of 60. In 1971, Paige became the first electee of the Negro League Committee to be inducted into the Baseball Hall of Fame.


title: Satchel Paige

text: While Satchel Paige was playing baseball, many ages and birthdates were reported, ranging from 1900 to 1908. Paige himself was the source of many of these dates. His actual birthdate, July 7, 1906, was determined in 1948 when Cleveland Indians owner Bill Veeck traveled to Mobile, Alabama, and accompanied Paige's family to the County Health Department to obtain his birth certificate. Paige's birth certificate is displayed in his autobiography.


title: Satchel Paige

text: In 1959, Paige's mother told a reporter that he was 55 rather than 53, saying she knew this because she wrote it down in her Bible. Paige wrote in his autobiography, "Seems like Mom's Bible would know, but she ain't ever shown me the Bible. Anyway, she was in her nineties when she told the reporter that, and sometimes she tended to forget things."


title: Satchel Paige

text: Paige was born Leroy Robert Page to John Page, a gardener, and Lula Page (née Coleman), a domestic worker, in a section of Mobile, Alabama, known as Down the Bay. Lula and her children changed the spelling of their name from Page to Paige in the mid 1920s, just before the start of Satchel's baseball career. Lula said, "Page looked too much like a page in a book," whereas Paige explained, "My folks started out by spelling their name 'Page' and later stuck in the 'i' to make themselves sound more high-tone." The introduction of the new spelling coincided with the death of Paige's father, and may have suggested a desire for a new start.


title: Satchel Paige

text: According to Paige, his nickname originated from childhood work toting bags at the train station. He said he was not making enough money at a dime a bag, so he used a pole and rope to build a contraption that allowed him to cart up to four bags at once. Another kid supposedly yelled, "You look like a walking satchel tree." A different story was told by boyhood friend and neighbor Wilber Hines, who said he gave Paige the nickname after he was caught trying to steal a bag. At the age of 10, Paige was playing "top ball", which was what got him into baseball. "Top ball" was a kids' game that used sticks and bottle caps instead of baseballs and bats to play a variation of the diamond sport. Satchel's mother, Lula, would even comment on how Paige would rather "play baseball than eat. It was always baseball, baseball."


title: Satchel Paige

text: On July 24, 1918, just seventeen days after his 12th birthday, Paige was sentenced to six years—or until his 18th birthday, whichever came first—at the Alabama Reform School for Juvenile Negro Law-Breakers in Mount Meigs, Alabama, owing to his truancy in school along with his tendency to grab things that did not belong to him.


title: Satchel Paige

text: The person who taught Paige to pitch while in reform school was the Reverend Moses Davis. It was Davis, who was also a trustee of the school, who devoted the long hours coaching the boys in baseball, and it was he who struck the deal with the sporting-goods store in Montgomery to secure the team's first uniforms. Davis was African American, as was the entire teaching staff at Mount Meigs, including the school's founder, Cornelia Bowen, a graduate of Tuskegee Institute. Paige was released from the institution in December 1923, seven months short of his 18th birthday. He summed up his years of incarceration: "I traded five years of freedom to learn how to pitch. At least I started my real learning on the Mount. They were not wasted years at all. It made a real man out of me."


title: Satchel Paige

text: After his release, Paige played for several Mobile semi-pro teams. He joined the semi-pro Mobile Tigers, for which his brother Wilson was already pitching. He also pitched for a semi-pro team named the "Down the Bay Boys", and he recalled an incident in the ninth inning of a 1–0 ballgame when his teammates made three consecutive errors, loading the bases for the other team with two outs. Angry, Paige said he stomped around the mound, kicking up dirt. The fans started booing him, so he decided that "somebody was going to have to be showed up for that." He called in his outfielders and had them sit down in the infield. With the fans and his own teammates howling, Paige struck out the final batter, winning the game.


title: Satchel Paige

text: A former friend from Mobile, Alex Herman, was the player/manager for the Chattanooga White Sox of the minor Negro Southern League. In 1926 he discovered Paige and offered to pay him $250 per month, of which Paige would collect $50 with the rest going to his mother. He also agreed to pay Lula Paige a $200 advance, and she agreed to the contract.


title: Satchel Paige

text: The local newspapers—the "Chattanooga News" and "Chattanooga Times"—recognized from the beginning that Paige was special. In April 1926, shortly after his arrival, he recorded nine strikeouts over six innings against the Atlanta Black Crackers. Partway through the 1927 season, Paige's contract was sold to the Birmingham Black Barons of the major Negro National League (NNL). According to Paige's first memoir, his contract was for $450 per month, but in his second he said it was for $275.


title: Satchel Paige

text: Pitching for the Black Barons, Paige threw hard but was wild and awkward. In his first big game in late June 1927, against the St. Louis Stars, Paige incited a brawl when his fastball hit the hand of St. Louis catcher Mitchell Murray. Murray then charged the mound and Paige raced for the dugout, but Murray flung his bat and struck Paige above the hip. The police were summoned, and the headline of the "Birmingham Reporter" proclaimed a "Near Riot." Paige improved and matured as a pitcher with help from his teammates, Sam Streeter and Harry Salmon, and his manager, Bill Gatewood. He finished the 1927 season 7–1 with 69 strikeouts and 26 walks in 89 innings.


title: Satchel Paige

text: Over the next two seasons, Paige went 12–5 and 10–9 while recording 176 strikeouts in 1929. (Several sources credit his 1929 strikeout total as the all-time single-season record for the Negro leagues, though there is variation among the sources about the exact number of strikeouts.) On April 29 of that season he recorded 17 strikeouts in a game against the Cuban Stars, which exceeded what was then the major league record of 16 held by Noodles Hahn and Rube Waddell. Six days later he struck out 18 Nashville Elite Giants, a number that was tied in the white majors by Bob Feller in 1938. Due to his increased earning potential, Barons owner R. T. Jackson would "rent" Paige out to other ball clubs for a game or two to draw a decent crowd, with both Jackson and Paige taking a cut.


title: Satchel Paige

text: Abel Linares offered Paige $100 per game to play winter ball for the Santa Clara team in the Cuban League. Gambling on baseball games in Cuba was such a huge pastime that players were not allowed to drink alcohol, so they could stay ready to play. Paige—homesick for carousing, hating the food, despising the constant inspections and being thoroughly baffled by the language—went 6–5 in Cuba. He left Cuba abruptly before the end of the season, with several stories told about the circumstances. Paige told one version in which the mayor of a small hamlet asked him, in Spanish, if he had intentionally lost a particular game. Paige, not understanding a word the man said, nodded and smiled, thinking the man was fawning over him, and then had to flee from the furious mayor. Another version, also told by Paige, says that when he called on an attractive local girl at her home, she and her family interpreted his attentions as an official engagement and sent the police to enforce it, leading Paige to flee the island with police in pursuit. A third version, told by the general manager of the Santa Clara Leopards, says that he left Cuba in haste after legal charges were brought against him regarding an amorous incident with "a young lady from the provincial mulatto bourgeoisie."


title: Satchel Paige

text: When Paige returned to the United States, he and Jackson revived their practice of renting him out to various teams. In the spring of 1930, Jackson leased him to the Baltimore Black Sox, who had won the 1929 American Negro League championship led by their bowlegged third baseman Jud "Boojum" Wilson. Paige, as a Southerner, found that he was an outsider on the Black Sox, and his teammates considered him a hick. Moreover, he was the team's number two pitcher behind Lamon Yokely, and Paige did not like being overshadowed.


title: Satchel Paige

text: In midsummer Paige returned to Birmingham, where he pitched well the rest of the summer, going 7–4. In September he was leased to the Chicago American Giants of the NNL for a home-and-home series with the Houston Black Buffaloes of the Texas–Oklahoma League. Paige won one and lost one in the series and then returned to Birmingham.


title: Satchel Paige

text: By the spring of 1931, the Depression was taking its toll on the Negro leagues, and the Black Barons had temporarily disbanded. Few teams could afford Paige, but Tom Wilson, who was moving the Nashville Elite Giants to Cleveland as the Cleveland Cubs, thought he could. Playing in the same city as a white major league team, Paige recalled, "I'd look over at the Cleveland Indians' stadium, called League Park... All season long it burned me, playing there in the shadow of that stadium. "It didn't hurt my pitching, but it sure didn't do me any good."


title: Satchel Paige

text: In June 1931, the Crawford Colored Giants, an independent club owned by Pittsburgh underworld figure Gus Greenlee, made Paige an offer of $250 a month. On August 6, Paige made his Crawford debut against their hometown rivals, the Homestead Grays. Entering the game in the fourth inning, Paige held the Grays scoreless and had six strikeouts and no walks in five innings of relief work to get the win.


title: Satchel Paige

text: In September, Paige joined a Negro all-star team organized by Tom Wilson, called the Philadelphia Giants, to play in the California Winter League. This was the first of nine winters that he played in a league that provided ongoing competition between elite black and white baseball players, including major and minor league players. On October 24 Paige won his first California game 8–1, allowing five hits and striking out 11, including Babe Herman four times. He finished the winter with a 6–0 record and 70 strikeouts in 58 innings.


title: Satchel Paige

text: In 1932, Greenlee signed Josh Gibson, Oscar Charleston and Ted "Double Duty" Radcliffe away from Cumberland Posey's Homestead Grays to assemble one of the finest baseball clubs in history. Paige took the mound when the Crawfords opened the season on April 30 in their newly built stadium, Greenlee Field, the first completely black-owned stadium in the country. Paige lost the opener to the New York Black Yankees in a pitching duel with Jesse "Mountain" Hubbard, but he got even with them by beating them twice that season, including Paige's first Negro league no-hitter in July. Paige went 10–4, allowing 3.19 runs per game and striking out 92 in 132 innings.


title: Satchel Paige

text: In the midst of the Depression, Cum Posey's new East–West League had collapsed by mid-season, and Greenlee was able to obtain many of the best players in black baseball. By the end of the season, Greenlee had signed to contracts Cool Papa Bell, John Henry Russell, Leroy Matlock, Jake Stephens, "Boojum" Wilson, Jimmie Crutchfield, Ted Page, Judy Johnson, and Rap Dixon. With the Crawfords playing five future Hall of Famers, many Negro league historians regard the 1930s Crawfords as the greatest team in Negro league history.


title: Satchel Paige

text: The next season, Greenlee organized a new Negro National League, which survived for 16 years. Despite Greenlee's efforts to control his biggest star, Paige followed his own schedule and was often late to games that he was scheduled to pitch. In August, he jumped the Crawfords, accepting an offer from Neil Churchill's North Dakota semi-pro team, the Bismarcks (sometimes known as the "Bismarck Churchills" today), of $400 and a late model car for just one month's work. It was Paige's first experience playing with an integrated team in the United States. He helped Bismarck beat their local rivals in Jamestown, who were also featuring a Negro league ace pitcher, Barney Brown. Paige was unapologetic when he returned to Pittsburgh in September to help the Crawfords win the second-half championship. Paige was snubbed by other Negro league players and fans when he was not selected for the first ever East–West All-Star Game.


title: Satchel Paige

text: The 1934 season was perhaps the best of Paige's career, as he went 14–2 in league games while allowing 2.16 runs per game, recording 144 strikeouts, and giving up only 26 walks. On July 4, Paige threw his second no-hitter, this time against the Homestead Grays. He struck out 17, and only a first-inning walk to future Hall of Famer Buck Leonard and an error in the fourth inning prevented it from being a perfect game. Leonard, unnerved by the rising swoop of the ball, repeatedly asked the umpire to check the ball for scuffing. When the umpire removed one ball from play, Paige hollered, "You may as well thrown 'em all out 'cause they're all gonna jump like that."


title: Satchel Paige

text: "The Denver Post" conducted an annual baseball tournament (sometimes known as the "Little World Series") that attracted semi-pro and independent professional teams from across the country. In 1934 it was open, for the first time, to black players. Greenlee leased Paige to the Colored House of David, a prominent barnstorming team of white men who represented a religious commune and wore beards. Their manager was Hall of Fame pitcher Grover Cleveland Alexander. Paige pitched shutouts in his first two starts, striking out 14 and 18. The final, championship game was his third start in five days and he faced the Kansas City Monarchs—at the time an independent, barnstorming team—who were participating in the tournament with a lineup augmented by Negro league stars Turkey Stearnes and Sam Bankhead. Paige faced Chet Brewer before a crowd of 11,120. Paige won the pitchers' duel 2–1, striking out 12 Monarchs for a tournament total of 44 strikeouts in 28 innings. The 1934 tournament was Paige's first major exposure in front of the white press.


title: Satchel Paige

text: Paige received his first East–West All Star Game selection in 1934. Playing for the East, Paige came in during the sixth inning with a man on second and the score tied 0–0, and proceeded to strike out Alec Radcliffe and retire Turkey Stearnes and Mule Suttles on soft fly balls. The East scored one run in the top of the eighth and Paige held the West scoreless the rest of the way, giving him his first All-Star Game victory. 27 years after winning the second-ever East-West All-Star Game, Paige was also the winning pitcher of the 1961 East-West Game, the next to last in the series.


title: Satchel Paige

text: Despite an outstanding season, Paige had a strong competitor for best Negro league pitcher of 1934, the 21-year-old Slim Jones of the Philadelphia Stars, who went 22–3 in league games. In September, a four-team charity benefit doubleheader was played at Yankee Stadium, with the second game featuring a faceoff between Paige and Jones. Paige recalled driving all night from Pittsburgh and parking near the stadium, then falling asleep in the car. A batboy found and woke him, and he got into uniform just in time for his scheduled start. In a game that was sometimes described as the greatest game in Negro league history, Paige and Jones battled to a 1–1 tie that was called because of darkness. A rematch was scheduled, and this time Paige and the Crawfords beat Jones and the Stars 3–1.


title: Satchel Paige

text: That fall, Paige faced off against major league star Dizzy Dean, who that season had won 30 regular season games plus two more in the World Series, in several exhibition games. In Cleveland, Paige struck out 13 while beating Dean 4–1, although for that game Dean was playing with a minor league team. Later, while playing in the California Winter League, Paige faced Dean in front of 18,000 fans in Los Angeles, with Dean's team including major league stars like Wally Berger. The two teams battled for 13 innings, with Paige's team finally winning 1–0. Bill Veeck, future owner of the Cleveland Indians, St. Louis Browns, and Chicago White Sox, was watching the game and many years later described it as "the greatest pitchers' battle I have ever seen." Paige and Dean would continue to barnstorm against each other until 1945. Later, when Dean was a sports columnist for the "Chicago Tribune", he called Paige "the pitcher with the greatest stuff I ever saw."


title: Satchel Paige

text: In the spring of 1935, Greenlee refused Paige's request to raise his $250 per month salary, so Paige decided to return to Bismarck for the same $400 per month and late model used car that he got before. Churchill added other Negro league players to the team—pitchers Barney Morris, and Hilton Smith, catcher Quincy Trouppe, and pitcher/catcher Double Duty Radcliffe. Paige dominated the competition, with a 29–2 record, 321 strikeouts, and only 16 walks. In Wichita, Ray "Hap" Dumont was establishing a new national baseball tournament, the National Baseball Congress. Dumont invited 32 semi-pro teams, paying $1,000 for Paige and his Bismarck teammates to attend. The tournament was held at Lawrence–Dumont Stadium in Wichita, Kansas and offered a $7,000 purse. Churchill added yet another Negro league star to his team—Chet Brewer, the Kansas City Monarchs' ace pitcher. Bismarck swept the tournament in seven straight games. Paige won the four games he started, pitched in relief in a fifth game, and struck out 60 batters—a record that still held 74 years later.


title: Satchel Paige

text: In September, Paige could not return to the NNL because he was banned from the league for the 1935 season for jumping to the Bismarck team. J. L. Wilkinson, owner of the independent Kansas City Monarchs, signed Paige on a game-by-game basis through the end of the season.


title: Satchel Paige

text: That winter, a northern California promoter, Johnny Burton, hired Paige to front a team called the "Satchel Paige All-Stars", in a game to be held on February 7, 1936, in Oakland against a white all-star squad. The opposing team included a number of major league players out of the Bay Area, including Ernie Lombardi, Augie Galan, Cookie Lavagetto, and Gus Suhr, as well as Pacific Coast League star Joe DiMaggio, who was making his last stop as a minor leaguer before joining the New York Yankees. Other than Negro league catcher, Ebel Brooks, Paige's team was composed of local semi-pro players. Despite the imbalance in talent, Paige kept the game to a 1–1 tie through nine innings, striking out 12 and giving up one run on three hits. In the bottom of the tenth inning, he struck out two more, then gave up a single to Dick Bartell, bringing up DiMaggio. Bartell stole second on the first pitch, then went to third on a wild pitch. DiMaggio then hit a hard hopper to the mound that Paige deflected; DiMaggio beat the second baseman's throw to drive in the winning run. A Yankee scout watching the game wired the club that day a report that read, "DiMaggio everything we'd hoped he'd be: Hit Satch one for four."


title: Satchel Paige

text: In 1936, Paige returned to Pittsburgh where Greenlee acquiesced to Paige's salary demands and gave him a $600-per-month contract, by far the highest in the Negro leagues. In games for which complete box scores are available, Paige went 5–0, allowed 3.21 runs per game, and struck out 47 in 47 innings. At the end of the season, Tom Wilson arranged with the other NNL owners to assemble an all-star team that would enter the lucrative "Denver Post" tournament. The team included Paige, Josh Gibson, Cool Papa Bell, Leroy Matlock, Buck Leonard, Felton Snow, Bill Wright and Sammy Hughes. They swept the tournament in seven games to win the $5,000 prize, with Paige winning three of them. In the title game against an overmatched semi-pro team from Borger, Texas, Paige pitched a 7–0 shutout, striking out 18. The Negro league all-stars then barnstormed, playing a series against a team of major leaguers led by Rogers Hornsby. One match-up featured Paige facing the 17-year-old Bob Feller, who had just finished a half-season with the Cleveland Indians. Each pitched three innings and gave up one hit, with Feller striking out eight and Paige seven. Later in the game, the Negro league team pulled out a win.


title: Satchel Paige

text: In the spring of 1937 the Crawfords were training in New Orleans, and Paige was approached by Dr. José Enrique Aybar, dean of the University of Santo Domingo, deputy of the Dominican Republic's national congress and director of Los Dragones, a baseball team operated by Rafael Trujillo, dictator of the Dominican Republic. Aybar hired Paige to act as an agent for Trujillo in recruiting other Negro league players to play for "Los Dragones." Aybar gave Paige $30,000 to hire as many players as he could. Paige recruited five of his Crawfords teammates—Cool Papa Bell, Leroy Matlock, Sam Bankhead, Harry Williams and Herman Andrews—as well as Josh Gibson, who had recently been traded to the Homestead Grays. Other Dominican teams were also recruiting Negro league players. Greenlee and his fellow owners banned Paige and the other jumpers from the organized Negro leagues, but failed to dissuade the players.


title: Satchel Paige

text: In the Dominican Republic, the American players were shadowed by armed guards. Although the purpose of the guards was to protect the players, the players were fearful that Trujillo would unleash them in anger if his team lost the championship. The season ended with an eight-game series between the two top teams, Paige's Dragones of "Ciudad Trujillo" (as Trujillo had renamed the capital city of Santo Domingo) and the "Águilas Cibaeñas" of Santiago. The Dragones won the first four, with Paige contributing two of them. The Águilas came back to win the next two and still had a chance to win the championship if they won the final two games. In Paige's memoirs, he recalled finishing the game with two shutout innings to hold onto a 6–5 win while soldiers looked on "like a firing squad." In reality, however, Paige did not enter the game until there was one out in the ninth inning, with his team leading 8–3. He proceeded to give up three runs on three hits before he got the third out on a great throw by Bankhead. Paige had an excellent season overall, however, leading the league with an 8–2 record.


title: Satchel Paige

text: Paige and the other players returning from the Dominican Republic faced a Negro league ban for jumping their teams. In response, they formed a barnstorming team called "Trujillo's All-Stars", which was later known as the "Satchel Paige All-Stars." Wilkinson evaded the ban by having promoter Ray Dean schedule games between the All-Stars and the House of David. In August, the All-Stars won the "Denver Post" tournament. In late September, Paige faced a team of Negro league all-stars at the Polo Grounds. Despite striking out eight and allowing only two runs, he lost when the opposing pitcher, Johnny "Schoolboy" Taylor, tossed a no-hitter. A week later a rematch was held at Yankee Stadium, and this time Paige beat Taylor handily.


title: Satchel Paige

text: In 1938, Greenlee, who still held Paige's NNL contract, again made an unsuccessful attempt to sign Paige. Greenlee then sold his contract to the Newark Eagles for $5,000, but they could not sign him either. Paige instead went to play in the Mexican League.


title: Satchel Paige

text: Jorge Pasquel, a Mexican baseball executive and businessman, and his four brothers wanted the Mexican League to compete with the major leagues. Their plan to do that was to hire the best Negro league players who were ignored by the big leagues, then raid big league teams and field integrated clubs in the name of international baseball. With this goal, they hired Paige for $2,000 per month to play for the moribund Club Agrario of Mexico City, to create a rivalry for Club Azules of Veracruz, a powerhouse bunch led by Martín Dihigo. Back in the states, Greenlee, out $5,000, declared Paige "banned forever from baseball."


title: Satchel Paige

text: Pitching in Venezuela, Paige felt pain in his right shoulder. After he arrived in Mexico, the pain developed into the first major injury of his career. He tried to pitch through the pain, and managed to beat Dihigo in their first match-up in early September, allowing one run in eight innings. Two weeks later they faced off again, and this time Paige could barely lift his arm. He managed to go six-plus innings in a game that Paige's team ultimately lost 10–3. One sportswriter wrote that Paige looked like a "squeezed lemon."


title: Satchel Paige

text: Paige returned to his hotel room. He recalled that the next morning, "My stomach got sick with the pain that shot up my right arm. Sweat popped out all over me. The pain wouldn't quit. I tried lifting my arm. I couldn't. I just sat there, sweating, hurting enough to want to cry, getting sicker in the stomach and getting scared—real scared. My arm. I couldn't lift it." He was examined by physicians in Mexico and in the United States; one expert told him that he would never pitch again.


title: Satchel Paige

text: With his arm injured, Paige suddenly found himself unemployable. He looked for work as a manager or coach, but was unsuccessful. One ballclub owner was willing to give him a chance to play ball again—J.L. Wilkinson of the Monarchs. Wilkinson offered him the modest opportunity to play, not for the Negro American League Monarchs, but for a second-string barnstorming team called the Travelers, which was now renamed the Satchel Paige All-Stars. Paige would pitch when he could and play first base when he could not.


title: Satchel Paige

text: Managed by Newt Joseph, the team also included Byron "Mex" Johnson, but otherwise it mostly functioned as a minor-league team staffed by marginal, aging, or young players. Playing throughout Kansas, Missouri, the Dakotas, Illinois, and even Utah, large crowds turned out to see Paige throw an inning or two, relying on junkballs. Paige recalled, "Everybody'd heard I was a fastballer and here I was throwing Alley Oops and bloopers and underhand and sidearm and any way I could to get the ball up to the plate and get it over, maybe even for a strike. But even that made my arm ache like a tooth was busting every time I threw. And the balls I was throwing never would fool anybody in the Negro leagues, not without a fast ball to go with them."


title: Satchel Paige

text: Sometime that summer Paige's fast ball returned. Paige's catcher, Frazier "Slow" Robinson, recalled that one afternoon Paige told him, "You better be ready because I'm ready today." Paige then surprised him when, with Robinson expecting a lob, Paige "threw that baseball so hard that he knocked the mitt off my hand." Modern sports medicine specialists suggest that Paige suffered from a partially torn rotator cuff in his shoulder caused by repetitive stress. Paige's recovery was assisted by the Monarch's long-time trainer, Frank "Jewbaby" Floyd, who was sent by Wilkinson to work with Paige. Floyd worked with massage, hot and cold water, ointments, and chiropractic. He had Paige rest his arm by pitching fewer innings and playing other positions.


title: Satchel Paige

text: By late fall his team was playing well against major Negro league teams. On September 22, 1939, in the second game of a double-header against the powerful American Giants, Paige won a 1–0 game, striking out 10 men in the seven innings before the game was called on account of darkness. Buck O'Neil, who had batted against Paige in 1935 and 1936 and faced him again in a game against the parent Monarchs, recalled a dropoff in speed but an improvement in deception. "He could still throw hard. Not as hard as he had thrown, but you're talkin' about somebody thrown' ninety-eight, a hundred miles an hour. But now he's throwin' maybe ninety—which is still more than the average guy ... He was the best and, actually, he was so deceptive! You'd look at that big ol' slow arm movin' and—"chooo"—that ball's just right by you. And then he'd come up and throw you a change of pace and, oh, man."


title: Satchel Paige

text: In just one season, Paige left his mark on Puerto Rican baseball. He arrived in Puerto Rico in late October, four weeks after the start of the 1939–40 winter season, and joined the "Brujos de Guayama" (the Guayama Witch Doctors). The town of Guayama is widely known for its Santería, Palo, and other spiritualist religious practices. In a legendary game in Guayama, Paige walked off the mound because he saw a ghost standing next to him.


title: Satchel Paige

text: A team that featured shortstop Perucho Cepeda and outfielder Tetelo Vargas, the Guayama Witch Doctors were the 1938–39 champions. In September 1939, they had won the semi-pro baseball "World Series" in Puerto Rico against the Duncan Cementeers. On November 5, Paige pitched a shutout against rival Santurce, which featured player-manager Josh Gibson, by a lopsided score of 23–0.


title: Satchel Paige

text: In a December game against Mayagüez, Paige set a league record by striking out 17. He ended the season with a 19–3 record, a 1.93 ERA, and 208 strikeouts in 205 innings. The 19 wins and 208 strikeouts set league single-season records that have never been broken. Paige helped his team win the league championship playoff series, winning two games against the San Juan Senadores.


title: Satchel Paige

text: Puerto Rican pitcher Ramón Bayron recalled, "It took special eyes to see his pitches." Luis Olmo, who later played with the Brooklyn Dodgers, described Paige that winter as "the best I've ever seen."


title: Satchel Paige

text: Paige returned to the Travelers for the 1940 season. Abe and Effa Manley, owners of the Newark Eagles, still claimed that they still held the rights to Paige's Negro league contract, and retaliated against Wilkinson by signing players from Wilkinson's Negro American League. In late June, the NNL and NAL leaders met to discuss the situation and reached an agreement that allowed Paige to advance to the Kansas City Monarchs and let the Manleys keep the players they had recruited in violation of the inter-league rules. Late in the 1940 season, Paige was promoted to the Monarchs. On September 12, Paige made his debut with the Monarchs against the American Giants and pitched a five-inning darkness-shortened complete game. The Monarchs won 9–3 and Paige struck out ten.


title: Satchel Paige

text: Because of Paige's strong gate appeal, there was considerable demand by outside teams to lease Paige's services to pitch for a single game. With infrequent league games, Wilkinson booked Paige to pitch for small-town teams or other Negro league teams at rates ranging from a third of the total receipts to a fixed fee $250 to $2,000 per game, plus expenses. Wilkinson purchased a Douglas DC-3 airplane just to ferry Paige around to these outside appearances. Because of the larger gate when Paige pitched, the Monarchs' owners could also insist on a larger share of the receipts from their road games. Wilkinson and Paige each kept a share of the fees. By the early 1940s, Paige's estimated annual earnings were $40,000, which was four times the pay of the average player on the major league New York Yankees and nearly matched the pay of their top star, Joe DiMaggio.


title: Satchel Paige

text: Hoping for some publicity for Paige, who had received relatively little coverage while pitching in the hinterlands with the Travelers, Wilkinson arranged for Paige to pitch on opening day of 1941 for the New York Black Yankees. Appearing in front of a crowd of 20,000 fans at Yankee Stadium, Paige pitched a complete game, 5–3 victory, striking out eight. As intended, the contest brought considerable coverage from both the black and white media, including a pictorial by "Life" magazine.


title: Satchel Paige

text: Paige took over the role of ace pitcher for the Monarchs, while Hilton Smith, their former ace, dropped to number two pitcher and sometimes was relegated to relieving Paige. Because of Paige's ability to draw a crowd, he would often be scheduled to start a game and pitch for three innings, with Smith or another teammate assigned to pitch the last six. In addition to Smith, Paige's teammates included first baseman Buck O'Neil, shortstop and manager Newt Allen, and center fielder Willard Brown. In 1941, the Monarchs won their third consecutive Negro American League championship. Though no standings were published, according to historian John Holway, they had a 24–6 team record for a winning percentage of .800, placing them five games ahead of the second-place New Orleans/St. Louis Stars.


title: Satchel Paige

text: On August 1, 1941, Paige made his first appearance in the East–West All Star Game in five years, collecting 305,311 votes, 40,000 more than the next highest player, Buck Leonard. Paige entered the game at the start of the eighth inning with the East leading 8–1 and pitched the last two innings. The only hit he gave up was a slow roller to the NNL's new starting catcher, the Baltimore Elite Giants' Roy Campanella.


title: Satchel Paige

text: With America's entrance into World War II, Dizzy Dean came out of retirement, forming an all-star team consisting of recently drafted white major league and minor league players. On May 24, Dean faced Paige and the Monarchs in an exhibition game at Wrigley Field, the first time a black team ever played at Wrigley. The Monarchs defeated Dean's All-Stars 3–1 in front of a crowd of 29,775. On May 31, Paige teamed up with the Homestead Grays to face Dean's All-Stars again before 22,000 fans at Griffith Stadium. The Grays won 8–1, with Paige striking out seven (including Washington Senators star Cecil Travis) in five innings of work.


title: Satchel Paige

text: In the 1942 East-West All-Star Game, Paige entered in the top of the seventh with the score tied 2–2. Pitching the last three innings, he allowed three runs on five hits and was charged with the loss in the 5–2 game.


title: Satchel Paige

text: The Monarchs won the Negro American League pennant again in 1942. For the first time since 1927, the champions of the two leagues, Kansas City and Washington/Homestead, met in the Negro World Series. Paige started game one in Washington and pitched five shutout innings. The Monarchs scored their first run in the top of the sixth. In the bottom of the frame, Jack Matchett relieved Paige and finished the game, with Kansas City adding seven more runs to win 8–0.


title: Satchel Paige

text: Game two was played two days later in Pittsburgh, and a highlight was Paige's dramatic showdown with Josh Gibson. In the bottom of the sixth, Paige relieved starter Hilton Smith with the Monarchs ahead 2–0. In the seventh inning, he gave up three singles and faced Gibson with the bases loaded and two outs. Gibson fouled off the first two pitches, then whiffed on the third. When Paige told the story in his autobiography, he mythologized the story. According to Paige, the strikeout came in the ninth inning with a one-run lead, and he walked the three batters ahead of Gibson in order to face him. The mythical version was retold by Buck Leonard and Buck O'Neil in their memoirs. In the actual game, the Monarchs added three runs in the top of the eighth to take a 5–0 lead, then Paige gave up four in the bottom of the frame to make it 5–4. The Monarchs added another three in the top of the ninth and won 8–4.


title: Satchel Paige

text: After two days rest, Paige started game three, which was played in Yankee Stadium. Paige gave up two runs in the first and was pulled after two innings. Matchett pitched the remainder of the game, which the Monarchs won, 9–3, giving them a 3–0 lead in the series. The next series game was played a week later in Kansas City. When the injury-plagued Grays brought in star players from other teams, including pitcher Leon Day, second baseman Lenny Pearson, and outfielder Ed Stone of the Newark Eagles and shortstop Bus Clarkson of the Philadelphia Stars, the Monarchs played under protest. Day and Paige both pitched complete games, with Paige giving up four runs on eight hits and Day giving up one run on five hits for a Grays victory. The Monarchs' protest was upheld and the game was disallowed. Game four took place in Shibe Park in Philadelphia, and Paige was scheduled to start, but he did not show up until the fourth inning. According to his autobiography, Paige was delayed in Lancaster, Pennsylvania by an arrest for speeding. The Grays had taken a 5–4 lead, and Paige immediately entered the game. In the remainder of the game, he did not allow a hit or a run and struck out six, while the Monarchs' hitters scored two runs in the seventh to take the lead and three more in the eighth to win, 9–5, and sweep the series. Paige had pitched in all four official games in the Series (as well as one unofficial one), going 16 innings, striking out 18, and giving up eight hits and six runs.


title: Satchel Paige

text: Paige was the West's starting pitcher in the 1943 East-West All-Star Game, played before a record 51,723 fans in Comiskey Park. He pitched three scoreless innings without giving up a hit, struck out four, walked one, and was credited as the winning pitcher in the West's 2–1 victory. As a batter, he hit a double to lead off the bottom of the third, then was lifted for a pitch runner to "thunderous applause."


title: Satchel Paige

text: World War II caused a large number of baseball players to be inducted into military service. Among Paige's Kansas City teammates, Connie Johnson, Buck O'Neil, and Ted Strong entered military service that year, and Willard Brown followed them the following season. Paige's Selective Service records show that during the war his draft status evolved from 1-A (available to be drafted) to 2-A ("deferred in support of national health, safety, or interest") to the final 4-A (too old for service, even though when he registered he gave a birth date of 1908, two years younger than his actual birth date). Paige continued to play, and the available statistics show a slip in performance in 1943, with a 6–8 record and a 4.59 run average (his highest average since 1929) reported for the Monarchs. The Monarchs' string of four straight pennants ended, as the Negro American League title was captured by the Birmingham Black Barons in 1943 and 1944 and by the Cleveland Buckeyes in 1945. Paige was the fourth and final pitcher to achieve the pitching Triple Crown in leading a league in ERA, wins, and strikeouts. He won six games while striking out 85 batters with a 0.72 ERA to lead the Negro American League.


title: Satchel Paige

text: Before the 1944 East-West All-Star Game—black baseball's most lucrative event—Paige grabbed headlines when he demanded that the owners contribute the receipts to the war relief fund, threatening a player strike if they did not accede. The owners were able to turn the other players and fans against Paige, however, when they revealed that Paige had received $800 for participating in the 1943 game (in contrast to the $50 paid to the other players) and had demanded an extra cut for the 1944 game as well. Paige was removed from the roster and the strike was averted when the owners agreed to raise the player payments (the East's team accepted $200 each, while the West's players agreed to $100).


title: Satchel Paige

text: In 1946, many of the Monarchs' players, including Willard Brown, Connie Johnson, Buck O'Neil, Ford Smith, and Ted Strong, returned from military service, and the team led the NAL in both the first and second halves, capturing the league pennant. O'Neil led the league in batting average, Brown in home runs, Johnson in wins, and Paige in total run average.


title: Satchel Paige

text: The Monarchs faced the Newark Eagles in the 1946 Negro World Series. The first game was played at the Polo Grounds and Hilton Smith started for the Monarchs. The Monarchs held a 1–0 lead in the bottom of the sixth, when Smith walked Larry Doby to lead off the inning, and Paige was called in to relieve. Paige struck out Monte Irvin and Lenny Pearson, but Doby stole second and Paige gave up a single to Johnny Davis, which tied the game. In the top of the seventh, the Monarchs got the lead back when Paige hit a single, advanced to second on an error, and scored on a hit by Herb Souell. Paige shut down the Eagles for the rest of the game, striking out eight and allowing four hits over four innings, and was credited with the win.


title: Satchel Paige

text: Two days later, Paige came into the second game in a similar situation as the first, but the result was quite different. Ford Smith started the game for the Monarchs, and he had a 4–1 lead entering the bottom of the seventh. After allowing two runs and with Irvin on first, Paige was brought in to protect the 4–3 lead. This time, however, Paige gave up four hits before the end of the inning, and four runs crossed the plate. Paige finished the game, but was charged with the loss in the 7–4 game.


title: Satchel Paige

text: The next two games were played in Kansas City, and the Monarchs won game three, getting a complete game from Jim LaMarque. Ted Alexander started game four, but gave way to Paige in the top of the sixth with the Monarchs trailing 4–1. Paige gave up three runs on three hits in the sixth, including a home run to Irvin. He went on to finish the game, giving up one more run in the seventh, and the Monarchs lost 8–1.


title: Satchel Paige

text: Kansas City won the fifth game and Newark won the sixth. For the deciding game seven, Paige was missing. Buck O'Neil believed Paige was meeting with Bob Feller about their upcoming barnstorming tour. With Ford Smith pitching, the Monarchs lost 3–2, and the Eagles claimed the championship.


title: Satchel Paige

text: In late 1946, Bob Feller organized the first barnstorming tour to use airplanes to travel from site to site. His tour has been described as "the most ambitious baseball undertaking since John McGraw and Charles Comiskey dreamed up their round-the-world junket in 1913." For his team, Feller recruited all-stars from both major leagues. As his main opponent, he asked Paige to head a team of Negro league all-stars.


title: Satchel Paige

text: Feller's team included 1946 American League batting champion, Mickey Vernon, at first base, Johnny Beradino at second, Phil Rizzuto at shortstop, and Ken Keltner at third. The outfielders were Jeff Heath, Charlie Keller, and Sam Chapman; after the World Series was over, National League batting champion Stan Musial would also join the tour. Catching was shared by Jim Hegan and Frankie Hayes. In addition to Feller, the pitching staff included Bob Lemon, Dutch Leonard, Johnny Sain, Spud Chandler, and Fred Hutchinson.


title: Satchel Paige

text: With help from J.L. Wilkinson and Tom Baird, Paige assembled a team that included first baseman Buck O'Neil, second baseman Hank Thompson, shortstops Chico Renfroe and Artie Wilson, third basemen Howard Easterling and Herb Souell, outfielders Gene Benson and Johnny Davis, catcher Quincy Trouppe, and pitchers Barney Brown, Joseph Jessup, Rufus Lewis, Hilton Smith, and Neck Stanley.


title: Satchel Paige

text: Feller scheduled 35 games in 31 cities in 17 states, all to be played in 27 days. The tour would require 13,000 miles of travel. Several same-day multi-city doubleheaders were to be played. Feller leased two DC-3 airplanes, with "Bob Feller All-Stars" painted on one fuselage and "Satchel Paige All-Stars" on the other. While Feller's team would face several other opponents, the majority of the games were against Paige's team. Feller and Paige would start each game whenever possible and usually pitch one to five innings.


title: Satchel Paige

text: The first game was played at Forbes Field in Pittsburgh on September 30, two days after the end of the major league season and one day after the final game of the Negro World Series. Paige and Feller each pitched three innings and left the game with the score tied 1–1. Feller struck out three and gave up two hits, while Paige struck out four and gave up only one hit. Paige's team broke the tie in the seventh inning when Hank Thompson walked and stole second and Souell drove him home with a single up the middle.


title: Satchel Paige

text: Over the next six days, Feller's team won games in Youngstown, Cleveland, Chicago, Cincinnati, New York, and Newark, before Paige's team won a second game in New York. Paige pitched five shutout innings in Yankee Stadium before a crowd of 27,462. After the game they flew to Baltimore, where that same evening Paige's team beat Feller's. The next day, Paige's team won again in Columbus. From there, Feller's team won games in Dayton, Ohio, Richmond, Indiana, Council Bluffs, Iowa, and Wichita, Kansas. They then played two games in Kansas City, with Paige's team winning the first game on a three-run walk-off home run by Johnny Davis, and Feller's team winning the second. After that series, Feller's team continued on to Denver and California, while most of Paige's team left the tour. Paige, however, continued on to California where he joined a lesser team, Chet Brewer's Kansas City Royals, which was scheduled to play Feller's All-Stars.


title: Satchel Paige

text: Paige faced Feller in Los Angeles and in San Diego and lost both games. Another scheduled match-up was cancelled when Paige filed a lawsuit against Feller, claiming that Feller had not paid some of the money he was owed. Overall, Feller had pitched 54 innings against Paige's team and given up 15 runs, an average of 2.50 per nine innings. Paige had pitched 42 innings and allowed 18 runs, or 3.86 per nine innings.


title: Satchel Paige

text: After the 1947 season, Feller organized another all-star team for a barnstorming tour. This time, Paige was not invited to tour with him, with Feller opting to play more games in the South against white opponents. Paige did face Feller twice, however, while playing with Chet Brewer's Kansas City Royals in Los Angeles. In the first game, on October 15, both pitchers went four innings. Feller gave up four hits and one walk and struck out two, while Paige gave up just two hits and one walk and struck out seven. Nevertheless, Paige took the loss when he gave up a run in the fourth when Keltner singled and later scored on a sacrifice fly by Heath. On October 19, they again faced each other in front of a crowd of 12,000-plus. Both pitchers went five innings. Paige allowed three hits and no walks, and struck out eight, including Ralph Kiner twice. He left the game with a 1–0 lead, but Feller's team came back in the late innings to win 2–1.


title: Satchel Paige

text: On July 7, 1948, Cleveland Indians owner Bill Veeck brought Paige in to try out with Indians player-coach Lou Boudreau. On that same day, his 42nd birthday, Paige signed his first major league contract, for $40,000 for the three months remaining in the season, becoming the first black pitcher in the American League and the seventh black big leaguer overall. On July 9, 1948, Paige became the oldest man ever to debut in the National League or American League, at the age of 42 years and two days. When asked about his age, he would reply "If someone asked you how old you were and you didn't know your age, how old would you think you were?" With the St. Louis Browns beating the Indians 4–1 in the bottom of the fourth inning, Boudreau pulled his starting pitcher, Bob Lemon, and sent Paige in. Paige, not knowing the signs and not wanting to confuse his catcher, pitched cautiously. Chuck Stevens lined a ball to left field for a single. Jerry Priddy bunted Stevens over to second. Up next was Whitey Platt, and Paige decided to take command. He threw an overhand pitch for a strike and one sidearm for another strike. Paige then threw his "Hesitation Pitch" (see "pitching style" section below), which surprised Platt so much that he threw his bat 40 feet up the third base line. Browns manager Zack Taylor bolted from the dugout to talk to umpire Bill McGowan about the pitch, claiming it was a balk, but McGowan let it stand as a strike. Paige then got Al Zarilla to fly out to end the inning. The next inning, he gave up a leadoff single, but with his catcher having simplified his signals, Paige got the next batter to hit into a double play, followed by a pop fly. Larry Doby pinch-hit for Paige the following inning.


title: Satchel Paige

text: Paige got his first big league victory on July 15, 1948, the night after he pitched in an exhibition game against the Brooklyn Dodgers in front of 65,000 people in Cleveland's Municipal Stadium. It came at Philadelphia's Shibe Park. The Indians were up 5–3 and the bases were loaded in the sixth inning of the second game of a double header. He got Eddie Joost to fly out to end the inning, but gave up two runs the next inning when Ferris Fain doubled and Hank Majeski hit a home run. Paige buckled down and gave up only one more hit the rest of the game, getting five of the next six outs on fly balls.


title: Satchel Paige

text: Longtime Chicago Cubs broadcaster Jack Brickhouse once said with amusement that Paige "threw a lot of pitches that were not quite 'legal' and not quite 'illegal. American League President Will Harridge eventually ruled the hesitation pitch illegal and stated that if Paige threw it again, it would be called a balk. Paige said, "I guess Mr. Harridge did not want me to show up those boys who were young enough to be my sons."


title: Satchel Paige

text: On August 3, 1948, with the Indians one game behind the Athletics, Boudreau started Paige against the Washington Senators in Cleveland. The 72,562 people that saw the game set a new attendance record for a major league night game. Although a nervous Paige walked two of the first three batters and gave up a triple to Bud Stewart to fall behind 2–0, by the time he left in the seventh, the Indians were up 4–2 and held on to give him his second victory. His next start was at Comiskey Park in Chicago. 51,013 people paid to see the game, but many thousands more stormed the turnstiles and crashed into the park, overwhelming the few dozen ticket-takers. Paige went the distance, shutting out the White Sox, 5–0, debunking the assumption that nine innings of pitching was now beyond his capabilities.


title: Satchel Paige

text: The Indians were in a heated pennant race on August 20, 1948. Coming into the game against the White Sox, Bob Lemon, Gene Bearden and Sam Zoldak had thrown shutouts to run up a 30-inning scoreless streak, 11 shy of the big league record. 201,829 people had come to see his last three starts. For this game in Cleveland, 78,382 people came to see Paige, a full 6,000 more people than the previous night game attendance record. Paige went the distance, giving up two singles and one double for his second consecutive three hit shutout. At that point in the season, Paige was 5–1 with an astoundingly low 1.33 ERA. He made one appearance in the 1948 World Series. He pitched for two-thirds of an inning in Game Five while the Indians were trailing the Boston Braves. Paige gave up a sacrifice fly to Warren Spahn, got called for a balk, and got Tommy Holmes to ground out to shortstop Lou Boudreau. The Indians won the series in six games.


title: Satchel Paige

text: Paige ended the 1948 season with a 6–1 record with a 2.48 ERA, 2 shutouts, 43 strikeouts, 22 walks and 61 base hits allowed in 72 innings. There was some discussion of Paige possibly winning the Rookie of the Year Award. While technically a "rookie" to the majors, the 20-plus-year veteran Paige regarded such an idea with disdain and considered rejecting the award if it were to be given. The issue proved moot, as both versions of the award (by Major League Baseball and by "Sporting News") were given to other players. The year 1949 was not nearly as good for Paige as 1948. He ended the season with a 4–7 record and was 1–3 in his starts with a 3.04 ERA. After the season, with Veeck selling the team to pay for his divorce, the Indians gave Paige his unconditional release.


title: Satchel Paige

text: Penniless, Paige returned to his barnstorming days after being released from the Indians. When Veeck bought an 80% interest in the St. Louis Browns he soon signed Paige. In his first game back in the major leagues, on July 18, 1951, against the Washington Senators, Paige pitched six innings of shutout baseball until the seventh when he gave up three runs. He ended the season with a 3–4 record and a 4.79 ERA.