The Veterans of Foreign Wars (VFW), formally the Veterans of Foreign Wars of the United States, is an organization of U.S. war veterans, who, as military service members fought in wars, campaigns, and expeditions on foreign land, waters, or airspace. The organization was established twice separately, once by James C. Putnam on September 29, 1899, in Columbus, Ohio. The VFW is headquartered in Kansas City, Missouri.  The organization was congressionally chartered in 1936 under the presidency of Franklin D. Roosevelt.

History

The VFW resulted from the amalgamation of several societies formed immediately following the Spanish–American War. In 1899, little groups of veterans returning from campaigning in Cuba and the Philippine Islands, founded local societies upon a spirit of comradeship known only to those who faced the dangers of that war side by side. Similar experiences and a common language drew them together. The American Veterans of Foreign Service (predecessor to the Veterans of Foreign Wars of the United States) was established in Columbus, Ohio, September 29, 1899, by Spanish‑American War veteran James C. Putnam. The Colorado Society, Army of the Philippines, was organized in Denver, Colorado, on December 12, 1899 by General Irving Hale of Denver, Colorado. Shortly thereafter, a society known as the Foreign Service Veterans was born in Pittsburgh, Pennsylvania in October 1901. The Ohio based group and the Pittsburgh based group held a join convention in 1905, where the two groups merged.  Merging the final two groups was talked about as early as 1908 but wasn't accomplished until 1913. In August of 1913 an encampment was held in Denver and they merged their interests and identities in a national organization now known as the VFW.

Purpose

The purpose of the VFW is to speed rehabilitation of the nation's disabled and needy veterans, assist veterans' widows and orphans and the dependents of needy or disabled veterans, and promote Americanism by means of education in patriotism and by constructive service to local communities. The organization maintains both its legislative service and central office of its national rehabilitation service in Washington, D.C. The latter nationwide program serves disabled veterans of all wars, members and nonmembers alike, in matters of government compensation and pension claims, hospitalization, civil-service employment preference, etc."

Logo

Redesigned in November 2018, the official logo of the VFW includes an artistic representation of service stripes, easily recognizable insignia indicative of military service. Worn on most service uniforms, they denote length of service. As such, the first and leaner of the two service stripes represents the VFW's entry into its second century of service to America's veterans, service members and their families. The second, broader stripe represents its first century of service, spanning back to 1899.

Great Seal

The Cross of Malta is the VFW's official emblem. The cross, radiating rays, and Great Seal of the United States together symbolize the character, vows and purposes distinguishing VFW as an order of warriors who have traveled far from home to defend sacred principles. Its eight points represent the beatitudes prescribed in the Sermon on the Mount: Blessed are the poor in spirit, the meek, the pure, the merciful, the peacemakers; blessed are they who mourn, seek righteousness and are persecuted for righteousness' sake. The eight-pointed Cross of Malta harks back to the Crusades, launched during the 12th century.

Eligibility

Membership in the VFW is restricted to any active or honorably discharged officer or enlisted person who is a citizen of the United States and who has served in its armed forces "in any foreign war, insurrection or expedition, which service shall be recognized by the authorization or the issuance of a United States military campaign medal."

The following is a list of U.S. campaign medals, ribbons, and badges used by the Veterans of Foreign Wars of the United States to determine membership eligibility.

Refusal to admit WWII Japanese American veterans
Despite their distinguished record, many posts and departments refused Japanese-American veterans entry into the VFW. In Chicago, white officers from the 442nd RCT advocated for a group's charter to form a segregated American Legion post in 1946. In Sacramento, California, another group they found Alva Fleming, a sympathetic member in VFW district leadership who approved the charter of Nisei VFW Post 8985 on 7 February 1947. Fleming would go on to become State Commander for the Department of California, and considered to be the driving force in the founding of a total of 14 Nisei VFW posts throughout California, posts 8985 in Sacramento, Monterey post 1629, Gardena post 1961, Garden Grove post 3670, San Fernando post 4140, San Diego post 4851, Hanford post 5869, Oceanside post 6945, Fresno post 8499, Watsonville post 9446, San Francisco post 9879, East Los Angeles post 9902, Los Angeles post 9938, and San Jose post 9970, all still active today. Nisei veterans in the Pacific Northwest were not so lucky, unable to find anyone willing to do the same there despite letters of support from Col Virgil R. Miller and Gen Lucian Truscott. Although VFW national commanders Jean Brunner and Joseph Stack condemned the actions of local posts, their bylaws at the time promoted autonomy in individual posts and were powerless to prevent the discrimination. They could only offer them membership as members-at-large. Unwilling to be treated as a second class members, the PNW Nisei decided to form their own independent veterans organization when neither the VFW or the American Legion would accept them as members nor grant them charters for a segregated post.

Vietnam veterans membership controversy
The VFW initially refused membership for Vietnam War veterans. At the time, most incumbent VFW members were World War II and Korean War veterans. Many of these WWII veterans were of the opinion that the conflict in Vietnam was a "police action" and in their minds didn't qualify as a war, despite the Korean War also being a "police action" with no formal declaration of war. This rationale was used to deny membership to many Vietnam War veterans across the country. Many of these WWII veterans blamed Vietnam War veterans for losing the war. In the years since, many veterans of the Vietnam War have refused to join the VFW due to this, and many older posts now find themselves struggling to survive as WWII and Korea vets have either passed away or are no longer active, and younger Iraq and Afghanistan vets don't feel comfortable joining a dying post.

Membership and structure
 the VFW has 1.6 million members and Auxiliary members, forming 6,000 local chapters known as Posts, grouped into 52 Departments covering the 50 states, the Asia-Pacific area, and Europe.

Support and assistance programs
The VFW offers a wide range of assistance programs aimed at helping veterans of every generation. This includes providing free, professional help filing or appealing a VA claim, offering scholarships for post-secondary education or providing emergency financial relief.

VA claims and separation assistance
The VFW's National Veterans Service program consists of a nationwide network of VA accredited service officers and pre-discharge representatives who are experts in dealing with the VA and are the key to your success. The VA reports veterans represented by the VFW have recouped $8.3 billion in earned benefits, including $1.4 billion in new claims in 2018 alone.

Pre-discharge
With offices located on or near major military installations across the country, VFW Pre-Discharge representatives guide military personnel through the veterans claims process and conduct physical examinations prior to their separation from active duty. They are also ready to answer questions about education and medical benefits, as well as VA home loans.

Student veteran support

Help A Hero Scholarship
Established in 2014, the VFW's Help A Hero Scholarship provides service members and veterans with financial assistance they need to complete their educational goals without incurring excessive U.S. student loan debt.

1 Student Veteran
To help ensure student veterans receive their benefits in a timely manner and have a place to turn to if they need help, the VFW, in conjunction with the Student Veterans of America (SVA), have developed the 1 Student Veteran program. 1 Student Veteran offers direct assistance to student veterans who have questions or are experiencing problems accessing their VA benefits.

VFW-SVA Legislative Fellowship
The VFW-SVA Legislative Fellowship grants ten exemplary student veterans (fellows) the chance to join the VFW legislative team on Capitol Hill during the VFW Legislative Conference. The fellows will walk the halls of Congress, educating their legislators on the issues facing today's student veterans and have the opportunity to meet with policy-makers from federal agencies responsible for implementing veterans' policy.

Veterans and Military Support Programs

The VFW's Veterans & Military Support Programs is the umbrella for three successful, long-standing programs; Operation Uplink, Unmet Needs, and the Military Assistance Program (MAP). These initiatives focus on troop support.

Military Assistance Program

MAP is the link between the VFW and the community. MAP is designed to promote VFW interaction within the local military community through the Adopt-A-Unit Program. MAP Grants are available to posts, districts, and departments who participate in a variety of morale boosting functions such as farewell and welcome home events.

Operation Uplink

Operation Uplink keeps military members in contact with their loved ones by allowing deployed troops to call home at no charge from MWR internet cafés in Afghanistan, Kuwait and other locations all around the world. Operation Uplink also distributes "virtual pins" which enable wounded warriors and veterans in Veterans Affairs facilities to call from home at no cost.

Unmet Needs

Unmet Needs assists military service members and their families who run into unexpected financial difficulties as a result of deployment or other hardships directly related to military service. Assistance is in the form of a grant of up to . Unmet Needs assists with basic life needs such as: mortgage and rent, home and auto repairs, insurance, utilities, food and clothing.

Programs

The VFW promotes civic responsibility, patriotism, and supports youth and local programs in communities across America.

Voice of Democracy

Each year, nearly 40,000 high school students from across the country enter to win a share of the  in educational scholarships and incentives awarded through the VFW's Voice of Democracy audio-essay competition. The national first-place winner receives a $30,000 scholarship.

Patriot's Pen

Patriot's Pen challenges students from grades 6-8, to enter to win one of 46 national awards totaling , as well as $5,000 and an all-expense-paid trip to Washington, D.C. for the national first-place winner. Students draft a 300-400-word essay, expressing their views based on a patriotic, annual theme chosen by the VFW Commander in Chief.

Scout of the Year

Scout of the Year selects three young people – of the Boy or Girl Scouts, Sea Scouts or Venturing Crew – who have demonstrated practical citizenship in school, scouting and the community. The first-place winner receives a  award, the second-place winner receives a  award and the third-place winner receives .

Teacher of the Year

Teacher of the Year recognizes three exceptional teachers for their outstanding commitment to teach Americanism and patriotism to their students. The VFW recognizes the nation's top classroom elementary, junior high and high school teachers who teach citizenship education topics – at least half of the school day in a classroom environment – and promote America's history, traditions and institutions effectively.

Community service

The VFW host events across America, as well as giving grants and helping at large-scale volunteer events.

Publications
The VFW has published the monthly VFW Magazine since January 1951. It was known as Foreign Service from 1914 to 50.

Notable commanders
Notable national commanders of the Veterans of Foreign Wars have included:

Lyall T. Beggs
Robert Coontz
Thomas S. Crago
Irving Hale
Tillinghast L. Huston
Bernard W. Kearney
Rice W. Means
Richard L. Roudebush
James E. Van Zandt

Notable members

Notable members of the Veterans of Foreign Wars of the United States include:

See also
List of veterans organizations

References

Further reading

External links

 Veterans of Foreign Wars politician members at The Political Graveyard
 VFW National Home for Children in Eaton Rapids, Michigan

1899 establishments in Ohio
501(c)(19) nonprofit organizations
Advocacy groups in the United States
Aftermath of the Spanish–American War in the United States
American veterans' organizations
Lobbying organizations in the United States
Magazine publishing companies of the United States
Nonpartisan organizations in the United States
Non-profit organizations based in Kansas City, Missouri
Organizations established in 1899
Patriotic and national organizations chartered by the United States Congress
Philippine–American War
United States military support organizations

Veterans of Foreign Wars


Anna Maria "Anke" Groot (; born 1952) is a Dutch retired model and was Miss Europe of 1973.

Groot was the runner-up at Miss Holland 1973 in Roermond, Netherlands. She reached semi-finals at Miss World 1973 in London, where she won the Miss Photogenic special award. She won the 1973 Miss Europe title in Kitzbühel, Austria (the contest was postponed to January 1974).

In August 1974, she announced her retirement as a model and plans to open a bistro where she would become manager and hostess.

References

1952 births
Dutch beauty pageant winners
Dutch female models
Living people
Miss Europe winners
Miss World 1973 delegates

Anna Maria Groot


The Canudos State Park () is a state park in Bahia, Brazil.
It protects the area of the War of Canudos, where peasants of mixed blood were massacred by Republican soldiers in 1896–97.

Location

The Canudos State Park is in the municipality of Canudos, Bahia, and has an area of .
It is about  from the state capital of Salvador.
The park entrance is reached from highway BR-235 by a paved road.
From the highest point there is a panorama of the Cocorobó Dam.

History

The present town of Canudos is the third of that name.
The first was destroyed by the army.
The inhabitants rebuilt a town on the ruins, but it was destroyed by the Cocorobó Dam, built by the military regime in the 1960s with the dual purpose of providing water for the region and erasing history.
The vacant land was acquired by decree 33.193 of 27 May 1986, and the Canudos State Park was established by decree 33.333 of 30 June 1986.
The decree authorized the Department of Education and Culture, through the Bahia State University (UNEB), to adopt the measures necessary for the park's construction.
The stated purpose of the park is to make it impossible to forget the martyrs led by Antônio Conselheiro.

Environment

The area is dry and hot all year.
Vegetation is caatinga, characterized by species with few leaves and many thorns, particularly cacti and bromeliads.
When it rains the empty riverbeds suddenly fill with water but are sometimes dry again a few hours later, leaving pools where the animals drink.
The Vaza-Barris River was like this until the Cocorobó Dam was built.
This was the difficult environment where Conselheiro and his followers lived.

Intensive research carried out by the Canudos Project, co-funded by UNEB and the Fundação de Amparo à Pesquisa do Estado da Bahia (FAPESB), found about 120 species of plants native to the caatinga biome. The majority of plants were pau-de-rato (Caesalpinia pyramidalis).
UNEB and the Companhia Hidrelétrica do São Francisco (CHESF) have planted about 1,000 seedlings of native plants, and plan to plant over 10,000 seedlings.

Exhibits

The Canudos State Park is in the area where the War of Canudos was fought, and has valuable historical, archaeological and anthropological sites, serving as an open air museum.
It is structured to support historical tourism and research, with a photographic exhibition, relics, maps and signs.
The park has a  trail that leads past strategic points associated with the bloody 19th century battles.
Signs describe the sites of military camps, hospitals, cemeteries of the soldiers and of Antônio Conselheiro's followers, and trenches occupied by the combatants.

The park includes the Vale da Morte, where the soldiers buried their dead, the Vale da Degola and the Alto do Maio, where the commander of the third expedition Colonel Antônio Moreira César (1850–97) died.
The graves in the Vale da Morte are shallow, and erosion uncovers the bones.
Although measures have been taken to protect the sites, the ground is littered with old rifle bullets, shrapnel and pieces of pottery, which are vulnerable to tourists looking for souvenirs.
A photographic exhibition has glass panels up to  high with photographs of the war and its aftermath, as well as the map of the region and engravings of the country.

Notes

Sources

State parks of Brazil
Protected areas of Bahia
1986 establishments in Brazil

Canudos State Park


A box cut (box pit) is a small open cut built to supply a secure and safe entrance as access to a slope to an underground mine. Generally the box cut is sunk until sufficiently unweathered rock is found to permit the development of the decline.
The portal is generally made safe with rock bolts, wire mesh, and shotcrete, which prevents accidental rock falls from closing access to the decline.

See also
Underground hard-rock mining

References

Underground mining

Box cut


Trust the Saint is a collection of short stories by Leslie Charteris that originally appeared in The Saint Mystery Magazine and was first published in October 1962 by The Crime Club in the United States and by Hodder and Stoughton in the United Kingdom. This was the 35th book to feature the adventures of Simon Templar, alias "The Saint", and was published around the time the character began to receive wide recognition through the TV series The Saint starring Roger Moore as Templar.

Stories
The book consisted of 6 stories:

The Helpful Pirate
The Bigger Game
The Cleaner Cure
The Intemperate Reformer
The Uncured Ham
The Convenient Monster

Television adaptations
Two stories from this collection were later adapted as episodes of the 1962-69 TV series, The Saint.

"The Helpful Pirate" and "The Convenient Monster" aired back-to-back during the fifth season, airing on 28 October and 4 November 1966 respectively.

Reprints
 "The Convenient Monster" was one of a handful of stories in the Saint canon that crossed over into the realm of fantasy, and was reprinted in the December 1965 edition of The Magazine of Fantasy and Science Fiction.

1962 short story collections
Simon Templar books
Short story collections by Leslie Charteris
The Crime Club books

Trust the Saint


Body Double is a 1984 American neo-noir erotic thriller film directed, co-written, and produced by Brian De Palma. It stars Craig Wasson, Gregg Henry, Melanie Griffith and Deborah Shelton. The film is a direct homage to the 1950s films of Alfred Hitchcock, specifically Rear Window, Vertigo and Dial M for Murder, taking plot lines and themes (such as voyeurism and obsession) from the first two.

At the time of its release, the film was a commercial failure, earning just $8.8 million at the box office against a production budget of $10 million, as well as mixed reviews, though Melanie Griffith's performance earned praise and brought her a Golden Globe nomination. Subsequently, it has been better received and is now considered to be a cult film.

Plot
Struggling actor Jake Scully has recently lost his role as a vampire in a low-budget horror film after his claustrophobia thwarts shooting. After returning home to discover his girlfriend cheating on him, Scully splits up with her and is left homeless, as the residence belongs to her. At a method acting class, where he meets Sam Bouchard, Scully reveals his fears and the childhood cause of his claustrophobia. They go to a bar where Scully is offered a place to stay; Sam's rich friend has gone on a trip to Europe and needs a house-sitter for his ultra-modern home in the Hollywood Hills.

While touring the house with Scully, Sam is especially enthusiastic about showing him one feature: a telescope, and through it a female neighbor, Gloria Revelle, who erotically dances at a specific time each night. Scully voyeuristically watches Gloria until he sees her being abused by a man she appears to know. The next day, he follows her when she goes shopping. Gloria makes calls to an unknown person whom she promises to meet. Scully also notices a disfigured "Indian", a man he had noticed watching Gloria a few days prior. Scully follows Gloria to a seaside motel where she is apparently stood up by the person she was there to meet. On the beach, the Indian suddenly appears and snatches her purse. Scully chases him into a nearby tunnel, but his claustrophobia overcomes him. Gloria walks him out of it, and they impulsively and passionately kiss before she retreats. That night, Scully again is watching through the telescope when the Indian returns and breaks into Gloria's home. Scully races to save Gloria, but her vicious white German Shepherd attacks him, and the Indian murders Gloria with a huge handheld drill.

Scully alerts the police, who rule the murder a botched robbery. However, Detective Jim McLean becomes suspicious after finding a pair of Gloria's panties in Scully's pocket. Although McLean does not arrest him, he tells Scully that his voyeuristic behavior and failure to alert police sooner helped cause Gloria's death. Later that night, suffering from insomnia and watching a pornographic television channel, Scully sees porn actress Holly Body dancing sensually, exactly as Gloria did. In order to meet Holly, he pretends to be a porn producer hiring for a new film.

Scully learns from Holly that Sam hired her to impersonate Gloria each night, dancing in the window, knowing Scully would be watching and later witness the real Gloria's murder. Offended when he suggests she was involved in a killing, Holly storms out of the house. The Indian picks her up, knocks her unconscious and drives away with her. Scully follows them to a reservoir where the Indian is digging a grave. Scully attacks him, and in the scuffle peels his face off to reveal it as a mask worn by Sam. Scully has been set up as a scapegoat by Sam, who is in fact Gloria's abusive husband Alex, to provide him with an alibi during the murder. Scully is overpowered and thrown into the grave. Though his claustrophobia initially incapacitates him again, he overcomes his fear and climbs out, and Sam is knocked into the aqueduct by the dog and drowned.

During the ending credits, Scully is shown having been recast in his previous vampire role as Holly watches from the sidelines.

Cast

The film includes appearances from real-life adult performers Linda Shaw, Alexandra Day, Cara Lott, Melissa Scott, Barbara Peckinpaugh and Annette Haven. Steven Bauer, from De Palma's previous film Scarface and Griffith's then-husband, has a cameo as a male porn actor.

Production
After De Palma's successes of Carrie, Dressed to Kill and his remake of Scarface, Columbia Pictures offered him a three-picture deal with Body Double set to be the first.

Writing
De Palma created the concept of the film after interviewing Angie Dickinson's body doubles for Dressed to Kill. "I started thinking about the whole idea of the body double," he said. "I wondered what I would do if I wanted to make sure to get somebody's attention, to have them looking at a certain place at a certain time." The erotic thriller was also becoming a popular genre to audiences, with the box offices successes of Dressed to Kill and Body Heat. After fighting with censorship boards over the rating of Scarface — they rated it X and he had to battle to make it R — De Palma resolved to make Body Double as pushback. At the time, he said, "If this one doesn't get an X, nothing I ever do is going to. This is going to be the most erotic and surprising and thrilling movie I know how to make...I'm going to give them everything they hate and more of it than they've ever seen. They think Scarface was violent? They think my other movies were erotic? Wait until they see Body Double."

Having been impressed with the horror film Blood Bride, De Palma enlisted its director and writer Robert J. Avrech to write the Body Double script with him. Both were fans of Alfred Hitchcock, and screened Rear Window and Vertigo to gather inspiration. Avrech later described his work on the film as "working off of De Palma's ideas of Hitchcock's ideas."

Casting
De Palma initially wanted pornographic actress Annette Haven to play Holly, but she was rejected by the studio due to her pornographic filmography. Nonetheless, Haven did appear in a minor role and consulted with DePalma about the adult film industry. De Palma then offered the role to Linda Hamilton, who turned it down in favor of The Terminator. Jamie Lee Curtis, Carrie Fisher, and Tatum O'Neal were considered for the role before Melanie Griffith was cast. De Palma later said Haven "was an enormous amount of help" to him in his understanding of the adult film industry and what Holly's background might be, and Griffith brought "a comic edge that I wanted to be a major part of the tone of the second half of the movie." Griffith was initially reluctant to take the role, thinking she "didn't want any more nymphet roles, but now I think I can bring a lot of life to that kind of character...I think I gave her a great amount of intelligence."

De Palma also considered Dutch erotic actress Sylvia Kristel for the role of Gloria, but she was unavailable. Although he cast Deborah Shelton, he found her voice to be unsuitable and had her lines dubbed by Helen Shaver in post-production.

Body Double contains a film within a film sequence in which pop band Frankie Goes to Hollywood performs their song "Relax" on the set of a pornographic film, and in which scream queen Brinke Stevens, and adult actresses Cara Lott and Annette Haven appear.  The club scene was converted into a music video and shown on MTV. Voice actor Rob Paulsen makes a cameo as a cameraman who utters "Where's the cum shot?".

Production

Principal photography began in Los Angeles on February 21, 1984. Several locations in and around the area were used, including: Tail o' the Pup, the Beverly Center, Barney's Beanery, the LA Farmer's Market, the Rodeo Collection mall on Rodeo Drive, the Spruce Goose dome and Beach Terrace Motel in Long Beach, the Hollywood Tower and adjacent Hollywood Freeway, Tower Records, and the Chemosphere house.

Post-production
The film was initially given an X by the Motion Picture Association of America ratings board. Because many theaters refused to show X-rated films, De Palma had to re-edit the film as he did on Dressed to Kill and Scarface. De Palma cut what he called "a few minor things from the porno movie scene" and secured an R rating. De Palma said Columbia did not support the film due to its excessive violence. He said, "Do you think the guys who run Coca-Cola (Columbia Pictures' parent company) want publicity about violence? They are very aware of their public images, and when they start seeing articles in The New York Times about their product and violence, they go crazy. They're not showmen. They're corporation types."

Themes

Artifice and illusion
De Palma said the film deals with themes previously explored in his other films: "visualistic storytelling, a kind of obsessional voyeuristic activity, a sense of humor about the world we live in, manipulators manipulating manipulators." The theme of artifice is demonstrated through Body Doubles Hollywood setting—a location itself understood to be in the business of "make-believe"—characters, and plot. The title refers to the filmmaking term for a person who substitutes for another actor in scenes where the face is not shown, but it also acquires a second literal meaning in the film as the audience, along with Jake, is presented with situations intended to deceive. The theme is also exhibited in multiple plot lines throughout, such as Jake's belief that it is Gloria he is spying on, Jake disguising himself in order to infiltrate the pornographic film shoot, and the reveal of the killer's identity.

Numerous scenes call attention to their own artificiality and the film's construction, from the opening scene of a desert where the camera then pulls away to reveal the desert is in fact a matte painting on the set of a B-movie. Critics noted that with this scene, "De Palma puts us on edge from the start...repeatedly revealing in the first few minutes that what we're seeing isn't real — it's all a calculated illusion intended to trick us."

De Palma also makes use of rear projection techniques to emphasize artificialness. Rear projection is used in scenes where Jake drives around Los Angeles following Gloria. The scene of Jake's kiss with Gloria in front of the tunnel utilizes rear projection and functions as a direct reference to Alfred Hitchcock's Vertigo with its 360-degree camera shot.

The scene on the porn film set soundtracked to Frankie Goes to Hollywood's song "Relax" is referred to by critics as "exhilarating" for its staging and metatextuality. Filmed in one long unbroken take, the scene segues into a musical sequence without warning and prompts viewers to question whether the action is happening in the porn film itself or the larger world of Body Double.

Manuela Lazic of The Film Stage noted that the scene has "Jake [playing] a parody of his nebbish self accompanied physically and musically by Frankie Goes to Hollywood", and that "the director presents a need to 'fake it 'til you make it' as absolute and inescapable. It is telling of De Palma's joyful cynicism that this scene, an apotheosis of fakery and eroticism, is probably Body Doubles most memorable." For the sequence, De Palma allowed his actual camera crew to be visible in shots, further blurring the lines between the film itself and the film Holly Body is making.

Body Double also explores the difference between fantasy and reality as Jake becomes drawn to who he thinks is Gloria dancing in the window. As a voyeur, he attaches a fantasy to her without ever interacting with her in person. When Jake becomes compelled to follow Gloria, she becomes a flesh and blood person to him, more than an object of his fantasies. On a more heightened level, when Jake has his first conversation with Holly after the filming of the porn movie, he is taken aback by her straightforwardness and assertiveness. Holly, "a woman with agency, in full command of her body, career, and sexuality...[appears to be] a rebuke of the illusion Jake held of the leering, lip-licking porn star in Holly Does Hollywood".

De Palma has commented on the deliberate mixing of illusion and reality, saying "It [the film] constantly plays with that. But even though there are great shifts in form, it never really alienates the audience, which is an accomplishment, I feel."

Voyeurism and exhibitionism
As in his previous films such as Greetings, Hi, Mom!, Dressed to Kill, and Blow Out, De Palma addresses the theme of voyeurism. Critics noted that the act of voyeurism can provide an "illusory, imaginative form of control", a feeling Jake has lost due to his demoted, emasculated position. With Body Double, voyeurism becomes tied to exhibitionism, and is used to reflect back on the viewer. Jake, a voyeur who "likes to watch", is understood to be a stand-in for the audience. Voyeurism is turned on its head as it is intimated early on that the woman Jake is peeping on knows her nightly dances are being watched, and with the eventual reveal that the routine is in fact a hired performance.

The scene of Jake first encountering Holly on the set of Holly Does Hollywood is understood to be a commentary on the male gaze. Jake spies Holly in a hallway mirror reflection; as he approaches her, a bathroom mirror captures Jake looking at Holly; thus, the audience is watching Jake watch Holly, who in turn is performing for the porn film and is aware of Jake's presence.

Critic David Denby observed: "Body Double is about Los Angeles, about the eroticized way of life, partly created by the media culture, in which exhibitionist and voyeur are linked by common need. The people live in houses with huge windows; they cruise one another insolently, unafraid of being watched as they watch; privacy is meaningless—there is only the sexiness of endless scrutiny and quick encounter."

Satire of Hollywood

Marylynn Uricchio of the Pittsburgh Post-Gazette wrote, "De Palma throws in elements of satire and more than nods his head at the whole Hollywood tradition. There's that sweepy, heavy-handed score by Pino Donaggio that punctuates the action with a snide smile. And there's that 360-degree kiss scene, straight out of Hitchcock, with the highly colored backgrounds of the old Technicolor films." Griffith stated Body Double "is a parody of Hollywood more than anything". Some critics opined that the character of "The Indian", with his garish makeup, is a reference to the old Hollywood practice of using redface to depict Native American characters.

Critics have also pointed out that the film's juxtaposition of mainstream Hollywood filmmaking with pornography illustrates that "mainstream films use sex and sexuality in the same manner as exploitation films." By blurring the boundaries between mainstream filmmaking and pornography and showing how illusionism is present in both, Body Double knowingly satirizes the world of Hollywood and its pretenses that it is more "legitimate" than the adult film world.

Release
The film was previewed for Columbia Pictures executives in Van Nuys ahead of its general release. De Palma says that Columbia was enthusiastic about the film until the screening. Response from the audience was not strong "and the studio started to get really worried," he said. "The only people crazier than the people who criticize me for violence are the people at the studios. I can't stand that sort of cowardice." De Palma and Columbia mutually agreed to end the three-picture deal.

Box office
Body Double was released to theaters on October 26, 1984, the same day as The Terminator. It opened at number three at the box office, earning $2.8 million in its opening weekend. The film earned $8.2 million over its first three weeks, before being pulled in its fourth week. The film earned $8.8 million on a $10 million budget, making it a box office bomb.

Reception
Body Double debuted to a divided response, with positive reviews commending the visual style, performances and De Palma's nods to Hitchcock, and negative reviews criticizing the absurdities of the plot, describing the Hitchcock homages as derivative, and lambasting the sex and violence as vulgar. Roger Ebert praised the film, giving it three and a half out of four stars and calling it "an exhilarating exercise in pure filmmaking, a thriller in the Hitchcock tradition in which there's no particular point except that the hero is flawed, weak, and in terrible danger -- and we identify with him completely."

Vincent Canby of The New York Times wrote that De Palma "again goes too far, which is the reason to see it. It's sexy and explicitly crude, entertaining and sometimes very funny. It's his most blatant variation to date on a Hitchcock film (Vertigo), but it's also a De Palma original, a movie that might have offended Hitchcock's wryly avuncular public personality, while appealing to his darker, most private fantasies." Writing for The Day, Paul Baumann said, "This is one movie that can make the horrific fascinating and still underline, in a hilarious way, the absurdity of it all." David DiNicola wrote, "I could not resist [the film's] visual brilliance with without malice or cynicism holds up a mirror to the 'nature' of millions of American viewers."

Griffith received critical acclaim for her performance, with Canby commenting she "gives a perfectly controlled comic performance that successfully neutralizes all questions relating to plausibility. She's not exactly new to films, having played in 'Night Moves,' 'Smile' and 'The Drowning Pool' as a very young actress. What is new is the self-assured screen presence she demonstrates here, and it's one of the delights of 'Body Double.'" Baumann wrote Holly's "wildly incongruous conversations with the earnest Jake get funnier and funnier as the real danger gets closer and closer" and that De Palma can turn "[Griffith's] caustic hectoring of motorists...into a charmed bit of pathos".

Praise was also given to the film's visuals and camera work. Todd McCarthy of Variety stated, "To his credit, DePalma moves his camera as beautifully as any director in the business today and on a purely physical level 'Body Double' often proves quite seductive as the camera tracks, swirls, cranes and zooms towards and around the objects of De Palma's usually sinister contemplation. Unfortunately, most of the film consists of visual riffs on Alfred Hitchcock, particularly 'Vertigo' and 'Rear Window.'" David Denby of New York gave a mixed review, but raved about De Palma's "gliding, sensual trancelike style that is the most sheerly pleasurable achievement in contemporary movies." Denby singled out the scene set at the Rodeo Collection mall, writing "virtually wordless, this sustained episode accumulates a kind of suspense that is as much moral and psychological as physical".

Paul Attanasio of The Washington Post positively reviewed the film, writing, "A lewd, gory, twisty-turny murder mystery swirling around Hollywood's porn industry, 'Body Double' finds Brian De Palma at the zenith of his cinematic virtuosity. The movie has been carefully calculated to offend almost everyone—and probably will. But, like Hitchcock, De Palma makes the audience's reaction the real subject; 'Body Double' is about the dark longings deep inside us."

Negative reviews opined De Palma was returning to familiar territory by riffing on Hitchcock, and that the scenes of violence cheapened the film. Gene Siskel of the Chicago Tribune gave the film two-and-a-half stars out of four and wrote, "When the drill came onto the screen, De Palma lost me and control of his movie. At that point 'Body Double' ceased to be a homage to Hitchcock and instead became a cheap splatter film, and not a very good one at that." Sheila Benson of the Los Angeles Times panned the film as "elaborately empty" and "silly", suggesting that De Palma "finally may have exhausted the patience of even his most tenacious admirers." In The New Yorker, Pauline Kael shared similar sentiments, writing "the big, showy scenes recall Vertigo and Rear Window so obviously that the movie is like an assault on the people who have put De Palma down for being derivative. This time, he's just about spiting himself and giving them reasons not to like him. And these big scenes have no special point, other than their resemblance to Hitchcock's work." Kael added "the voyeuristic sequences, with Wasson peeping through a telescope, aren't particularly erotic; De Palma shows more sexual feeling for the swank buildings and real estate."

Some also claimed the plot is ultimately given less importance than the film's visuals. TV Guide wrote, "Contrived, shallow, distasteful, and ultimately pointless, Body Double is more an exercise in empty cinematic style than an engrossing thriller. Although cinematographer Burum executes some absolutely breathtaking camera moves, his effort goes for naught when pitted against director De Palma and cowriter Avrech's insipid narrative." Rita Kempley of The Washington Post described the film as a horror comedy, but said it comes off as "sadistic" and does not find a balance "between the comic and the macabre".

The film was criticized for a violent scene involving a woman that many described as an example of sexualized violence. "Women in peril work better in the suspense genre," said De Palma. "It all goes back to the Perils of Pauline...I don't think morality applies to art. It's a ludicrous idea. I mean, what is the morality of a still life? I don't think there's good or bad fruit in the bowl." In the scene in question, a character is killed by a power drill; though the drill is never shown entering the body, it is suggestively framed as a phallus. De Palma said it "was not my intention to create a sexual image with the drill, although it could be construed that way." David Denby noted the film's "violence is so outlandish that only the literal-minded should be able to take it seriously", and argued that its gaudiness appears to address De Palma's detractors "who talk of violence in his films as if it were the real thing", or those who cannot distinguish between the image and actual violence. The London Clinic for Battered Women asked Columbia Pictures for a percentage of the profits from the film, claiming it was "blood money" for using "the victimization of women as a source of massive profit."

Accolades

Cult reputation and reassessed response
In following decades, Body Double underwent a critical reassessment and developed a cult following, with critics citing its directorial and aesthetic indulgences, its early 1980s new wave soundtrack, homages to Alfred Hitchcock, and the use of iconic Los Angeles locations. Critic Sean Axmaker said that with distance, the film can more easily be seen as a satire of the 1980s era of excess and an image-obsessed culture.

Writing of the 2013 Blu-ray release of the film, Chuck Bowen of Slant Magazine said, "Body Doubles consciously derivative thriller plot is as dense with meta-text as any film in De Palma's career; the searing personal material, which has been buried underneath the film's superficial happenings with precision and élan, must be discovered with the eyes." Critic Christy Lemire wrote, "What's real, what's imagined and what's movie magic remain mysteries until the end. But the winding road through the hills to get there is always a wind-in-your-hair thrill."

Critics have also commented on how the second half of the film is a subversive commentary on the first part. In an essay for Bright Wall/Dark Room magazine, Travis Woods wrote, "just as the film's reflexive second hour is De Palma's counter-critique to his critics, it is also a gear-shift into Holly's world, a nightscape L.A. wherein De Palma subverts the tropes he littered throughout the film's first half by employing the postmodern grimy-sticky grit of VHS porn, MTV-styled music video theatrics, and the twisting of a traditional hero's journey dropped into the duplicitous hell of Me-Decade Hollywood."

On the film's finale, Bowen added: "De Palma pulls the entire rug out from underneath the film's reality and turns everything we've just seen into a prolonged Brechtian shaggy-dog joke, only to then pull the rug out from under that joke and halfheartedly reaffirm the film's reality as a mystery-thriller. By the end of this masterpiece, one of the great and most uniquely American films of the 1980s, we only trust surfaces, which are as fleeting and illusory as anything else."

In 2016, Mark Olsen of the Los Angeles Times named Body Double as one of De Palma's "underrated gems" of the 1980s, stating, "Even more than 'Dressed to Kill' or 'Blow Out,' for me 'Body Double' is the most quintessentially Brian De Palma movie of what might be thought of as his 'high period' — that late-'70s, early-'80s moment when he was making relatively high-budget, high-profile movies that culminated in 'The Untouchables.'" In 2023, IndieWire listed Body Double as number 30 on their list of The 100 Best Movies of the '80s.

Griffith and Wasson's performances have also been the focus of praise. Lemire wrote, "The scene in [Holly] explains to [Jake] what she will and will not do on camera is a perfect encapsulation of Griffith's charm. She's girlishly angelic but also startlingly no-nonsense. She's a much smarter cookie than she gets credit for being and her comic timing is slyly perfect." Manuela Lazic of The Film Stage said, "As central character Jake Scully, Wasson turns his conventionally attractive looks into an endlessly fascinating nebbishness and awkwardness. In an early scene, Jake simply walks to his car and jumps in the driver's seat, yet Wasson manages to turn this casual action into one of the most amusing instances of purposefully bad acting."

Review aggregator Rotten Tomatoes reports that 78% of critics have given the film a positive review based on 36 reviews, with an average rating of 6.2/10. The critical consensus reads: "Exemplifying Brian De Palma's filmmaking bravura and polarizing taste, Body Double is a salacious love letter to moviemaking." On Metacritic, the film has a rating of 69 out of 100 based on 18 critics' reviews, indicating "generally favorable reviews".

In a 2016 interview with The Guardian, De Palma reflected on the film's initial critical reception, saying "Body Double was reviled when it came out. Reviled. It really hurt. I got slaughtered by the press right at the height of the women's liberation movement...I thought it was completely unjustified. It was a suspense thriller, and I was always interested in finding new ways to kill people."

In an interview with Matt Zoller Seitz, De Palma was asked about his thoughts on criticism of the film as misogynistic. He said, "I just was making those movies when women's liberation movement was at its political peak, and they focused on violence in particular. It's a kind of basic element of the genre, and just because the political atmosphere changes doesn't make it any more valid."

Griffith later gave credit to the film and the accolades she garnered for her performance for helping to launch her career after an absence from films. The film helped reintroduce the song "Relax" in America, where it recharted and reached the top 10 of the Billboard Hot 100 in March 1985.

Home media
Body Double was first released to DVD in 1998 with widescreen and pan and scan formats. On October 3, 2006, the film was released as a Special Edition DVD by Sony Pictures . The DVD included the featurettes "The Seduction," "The Setup," "The Mystery," and "The Controversy," all of which cover different aspects of the production and contain interviews with Brian De Palma, Melanie Griffith, Deborah Shelton, and Gregg Henry.

On August 13, 2013, the film was released to Blu-ray by Twilight Time. Special features from the 2006 DVD were ported over. On October 24, 2016, the film was re-released as a Limited Edition Blu-ray from Indicator Series. It included previously released features as well as an interview with Craig Wasson, the documentary Pure Cinema from first assistant director Joe Napolitano, and an illustrated booklet containing an essay by film critic Ashley Clark, a Film Comment interview of De Palma in 1984 by journalist Marcia Pally, and an article from a May 1987 issue of Film Comment in which De Palma gives a personal guide of his favorite films.

In popular culture
The 1989 black comedy film Vampire's Kiss takes its title from the B-movie Jake Scully acts in.

The Bret Easton Ellis novel American Psycho repeatedly refers to Body Double as the favorite film of the serial killer Patrick Bateman because of the power drill scene. Bateman mentions that he has seen the film 37 times and rents the tape of it from a video store several times in the story.

Remake
Body Double was remade in 1993 in India as Pehla Nasha. The film was directed by Ashutosh Gowariker in his directorial debut. Deepak Tijori plays the lead role and the movie features Pooja Bhatt, Raveena Tandon and Paresh Rawal.

See also

 List of films featuring surveillance
 List of American films of 1984

References

Bibliography

Further reading
 (from booklet included in 2016 Body Double Blu-ray release)

External links

1984 films
1984 thriller films
1980s English-language films
1980s erotic thriller films
1980s mystery thriller films
1980s psychological thriller films
1980s satirical films
1980s slasher films
American erotic thriller films
American mystery thriller films
American neo-noir films
American psychological thriller films
American satirical films
American slasher films
Columbia Pictures films
Erotic mystery films
Erotic slasher films
Films about actors
Films about filmmaking
Films about pornography
Films about stalking
Films directed by Brian De Palma
Films scored by Pino Donaggio
Self-reflexive films
Films about Hollywood, Los Angeles
Films set in Los Angeles
Films shot in Los Angeles
1980s American films

Body Double


The Jodrell Bank Observatory a radio telescope in Cheshire. It picks up radio waves from outer space. Jodrell Bank is mainly used for investigating radio waves from the planets and stars.

It was the idea of its first director, Bernard Lovell, to use radio signals to investigate cosmic rays. Lovell, Professor of Astronomy at Manchester University, had worked on radar in World War II. The observatory was set up in 1945.

It has been used to research meteoroids, quasars, pulsars, masers and gravitational lenses. It was heavily involved in tracking space probes.

The main telescope at the observatory is the Lovell Telescope. It has diameter of , and is the third largest steerable radio telescope in the world. There are three other active telescopes at the observatory.

The Jodrell Bank Observatory is the base of the Multi-Element Radio Linked Interferometer Network (MERLIN), a "National Facility" run by the University of Manchester. What this means is that radio telescopes can work together to form a long baseline to better collect data from an important phenomenon. There are three other active telescopes at the observatory; the Mark II, and  and 7 m diameter radio telescopes.

The telescope discovered radio noise from the Great Nebula in Andromeda—the first definite detection of an extragalactic radio source—and the remains of Tycho's Supernova in the radio frequency. At that time, Tycho's Supervova had not been discovered by regular light telescopes.

References

1940s establishments in the United Kingdom
Observatories
World Heritage Sites in the United Kingdom
Radio receivers
1945 establishments in Europe
University of Manchester

Jodrell Bank Observatory


Erik Eriksøn, also known as Eric Longlegs (), (1272–1310), Lord of Langeland, was the second son of Eric I, Duke of Schleswig and younger brother of Valdemar IV, Duke of Schleswig.

Life
Eric was born in 1272 as the second son of Eric I, Duke of Schleswig, by his wife Margaret of Rugia. He held the island of Langeland in fief and inherited the properties of the ducal family in southern Funen, just as his uncle, Abel, Lord of Langeland, had before him. He is mentioned for the first time as responsible for the killing of the seneschal Skjalm Stigsen on 23 August 1292. The murder was probably a result of the enmity caused when King Eric VI of Denmark, after coming of age, confiscated the fief of Langeland and the properties of the ducal family in southern Funen.

Together with his brother, Duke Valdemar, he joined the king's enemies. In 1293, there was a clash between the two parties at Sommersted Heath near Haderslev which resulted in a compromise where Eric received Langeland as a fief.

Subsequently, he married Sophia of Querfurt, a daughter of Jutta of Saxony, widow of King Eric IV of Denmark in her second marriage to Burchard VIII, Count of Querfurt-Rosenburg. Sophia was thus a half-sister of King Eric IV's daughters, among which were the deceased Queen Ingeborg of Norway, mother of King Eric II of Norway. The marriage thus connected Eric to the king of Norway, who knighted him, and also led to a new conflict with King Eric VI, who retained his wife's inheritance from her half-sisters.

On 3 February 1296 a compromise was entered in Vordingborg, in which the king promised to hand over Sophia's inheritance, but where the ducal family's properties in southern Funen, which had formerly belonged to Abel, Lord of Langeland, were kept by the king as lawfully acquired from Abel's daughter. Only the city of Rudkøbing was transferred to become part of the fief of Langeland, and Eric confirmed the city's rights on the same day.

Eric died in 1310. In 1315, Sophia, in the presence of the king and several noblemen, donated the inheritance of her sisters to Saint Agnes' Priory in Roskilde, keeping only the city of Skælskør for herself.

Marriage and issue
Eric married Sophia of Querfurt, a daughter of Burchard VIII, Count of Querfurt-Rosenburg, Burgrave of Magdeburg and Jutta of Saxony, widow of Eric IV of Denmark. The marriage was childless.

Ancestry

References
Biography in Dansk Biografisk Leksikon 1. ed.

House of Estridsen
1310 deaths
1272 births
13th-century Danish people
Sons of monarchs

Eric Longlegs, Lord of Langeland


In chemistry, a template reaction is any of a class of ligand-based reactions that occur between two or more adjacent coordination sites on a metal center.  In the absence of the metal ion, the same organic reactants produce different products. The term is mainly used in coordination chemistry. Thetemplate effects emphasizes the pre-organization provided by the coordination sphere, although the coordination modifies the electronic properties (acidity, electrophilicity, etc.) of ligands.

An early example is the dialkylation of a nickel dithiolate:

The corresponding alkylation in the absence of a metal ion would yield polymers.  Crown ethers arise from dialkylations that are templated by alkali metals.  Other template reactions include the Mannich and Schiff base condensations. The condensation of formaldehyde, ammonia, and tris(ethylenediamine)cobalt(III) to give a clathrochelate complex is one example.

The phosphorus analogue of an aza crown can be prepared by a template reaction. Where it is not possible to isolate the phosphine itself.

Limitations
Many template reactions are only stoichiometric, and the decomplexation of the "templating ion" can be difficult. The alkali metal-templated syntheses of crown ether syntheses are notable exceptions. Metal Phthalocyanines are generated by metal-templated condensations of phthalonitriles, but the liberation of metal-free phthalocyanine is difficult.

Some so-called template reactions proceed similarly in the absence of the templating ion. One example being the condensation of acetone and ethylenediamine, which yields isomeric 14-membered tetraaza rings.  Similarly, porphyrins, which feature 16-membered central rings, form in the absence of metal templates.

Concept in catalysis
In a general sense, transition metal-based catalysis can be viewed as template reactions: Reactants coordinate to adjacent sites on the metal ion and, owing to their adjacency, the two reactants interconnect (insert or couple) either directly or via the action of another reagent. In the area of homogeneous catalysis, the cyclo-oligomerization of acetylene to cyclooctatetraene at a nickel(II) centre reflects the templating effect of the nickel, where it is supposed that four acetylene molecules occupy four sites around the metal and react simultaneously to give the product.  This simplistic mechanistic hypotheses was influential in the development of these catalytic reactions.  For example, if a competing ligand such as triphenylphosphine were added to occupy one coordination site, then only three molecules of acetylene could bind, and these come together to form benzene (see Reppe chemistry).

References

Polymer chemistry
Chemical reactions of ethers

Template reaction


The Signor–Lipps effect is a paleontological principle proposed in 1982 by Philip W. Signor and Jere H. Lipps which states that, since the fossil record of organisms is never complete, neither the first nor the last organism in a given taxon will be recorded as a fossil. The Signor–Lipps effect is often applied specifically to cases of the youngest-known fossils of a taxon failing to represent the last appearance of an organism. The inverse, regarding the oldest-known fossils failing to represent the first appearance of a taxon, is alternatively called the Jaanusson effect after researcher Valdar Jaanusson, or the Sppil–Rongis effect (Signor–Lipps spelled backwards).

One famous example is the coelacanth, which was thought to have become extinct in the very late Cretaceous—until a live specimen was caught in 1938. The animals known as "Burgess Shale-type fauna" are best known from rocks of the Early and Middle Cambrian periods. Since 2006, though, a few fossils of similar animals have been found in rocks from the Ordovician, Silurian, and Early Devonian periods, in other words up to 100 million years after the Burgess Shale. The particular way in which such animals have been fossilized may depend on types of ocean chemistry that were present for limited periods of time.

But the Signor–Lipps effect is more important for the difficulties it raises in paleontology:
It makes it very difficult to be confident about the timing and speed of mass extinctions, and this makes it difficult to test theories about the causes of mass extinctions. For example, the extinction of the dinosaurs was long thought to be a gradual process, but evidence collected since the late 1980s suggests it was abrupt, which is consistent with the idea that an asteroid impact caused it.
The uncertainty about when a taxon first appeared makes it difficult to be confident about the ancestry of specific genera. For example,  if the earliest-known fossil of genus X is much earlier than the earliest-known fossil of genus Y and genus Y has all the features of genus X plus a few of its own, it is natural to suppose that X is an ancestor of Y. But this hypothesis could be called into question at any time by the finding of a fossil of Y that is earlier than any known fossil of X—unless an even older fossil of genus X is found, and so on.

See also
 Lazarus taxon
 German tank problem
 Sampling bias

References

External links
Enchanted Learning glossary
Hominid Evolution and the Signor–Lipps Effect
Steve C. Wang, Asst. Prof. of Statistics, Swarthmore College
Signal + Noise

Extinction
Fossil record
Paleontological concepts and hypotheses

Signor–Lipps effect


Doublecross is a 1956 British crime film directed by Anthony Squire and starring Donald Houston, Fay Compton and William Hartnell.  It was also known as Queer Fish.

Plot

The story takes place in a Cornish fishing town in the 1950s.

Local fisherman assemble in a local pub, apparently to practise their bell-ringing. They are approached by two foreign men (and one woman) who are interested in making use of a boat and ask questions about going to the French coast.

Albert Pascoe agrees to take them to France for £100, half paid in advance. They sail off on a moonlit night on a trip that will take until the next afternoon.

Meanwhile, back in the village, Albert's smaller rowing boat is found with four large poached salmon in it. A friend hides them from the authorities.

Police get involved when it is revealed that one of the foreign men is a murderer.

Albert overhears the two foreign men and woman (wife of one of the men) discussing that one of the men Dmitri Krassin had to kill a man in England while stealing UK state secrets. After this, Albert decides to double-cross the three, tricking them by altering the boat's compass and landing them back somewhere on the coast of England, which he knows resembles the coast of France.

In mid-channel the foreign men plot to kill Albert after he drops them in France. He is forewarned of this by the woman Anna and attacks them as soon as they land, trying to wrestle a gun from Krassin. He spits in Clifford's face. Anna has not left the boat and when he returns to the boat they set off to sea again. Anna discusses her home country of Hungary where her father fished on Lake Balaton, and Anna and Albert begin to fall in love.

When quizzed by the police, Albert reveals that he dropped the spies at Lands End, England, knowing that they could not get off the beach and had no idea that it was not France, and defends Anna as being completely innocent.

The police refuse to charge Albert with illegally catching a salmon just as he returned to the harbour. Albert and Anna decide to try to live together as a couple.

Cast
 Donald Houston - Albert Pascoe
 Fay Compton - Alice Pascoe
 Anton Diffring - Dmitri Krassin a spy
 Allan Cuthbertson - Clifford, a spy
 Delphi Lawrence - Anna Krassin
 William Hartnell - Herbert Whiteway, the landowner
 Kenneth Cope - Jeffrey of the Coast Guard (his first credited role in a film)
 Colin Douglas - Police Sergeant
 Robert Shaw - Ernest, an off-duty policeman who fills in for Albert in his bell-ringing role (Shaw's first film role albeit minor)
 Frank Lawton - Chief Constable
 Harry Towb - the pub landlord

References

External links

1956 films
1950s crime thriller films
British crime films
Cold War spy films
Films set in Cornwall
Seafaring films
1950s English-language films
1950s British films
British black-and-white films

Doublecross (1956 film)


Charles Frederick Lettow (born February 10, 1941) is a senior judge of the United States Court of Federal Claims, appointed to that court in 2003 by President George W. Bush.

Born to Carl F. and Catherine Lettow in Iowa Falls, Iowa, Lettow received a B.S.Ch.E. from Iowa State University in 1962. He served in the U.S. Army with the Third Infantry Division from 1963 to 1965, and thereafter received a Bachelor of Laws degree from Stanford University in 1968, where he was Note Editor of the Stanford Law Review and a member of Order of the Coif. He was a law clerk to Judge Ben C. Duniway of the United States Court of Appeals for the Ninth Circuit, from 1968 to 1969, and to Chief Justice Warren E. Burger of the Supreme Court of the United States from 1969 to 1970. Lettow served as counsel to the Council on the Environmental Quality in the Executive Office of the President from 1970 to 1973. He then joined the law firm of Cleary, Gottlieb, Steen & Hamilton, first as an associate from 1973 to 1976, and then as a partner until 2003. During that time, he argued three cases in the U.S. Supreme Court and more than 40 cases in the federal courts of appeals, and handled numerous cases in federal trial courts.

While at Cleary, Gottlieb, Lettow was active with educational institutions and bar organizations. He served as a member of the board of trustees of The Potomac School from 1983 to 1990, and was chairman of the board from 1985 to 1988. He also was chairman of the Environmental Controls Committee of the Section of Business Law, American Bar Association, from 1983 to 1987. In January 1992, Lettow received an award from the National Association of Attorneys General "for sustained assistance to the States in their preparation for appearances before the Supreme Court of the United States". He became a member of the American Law Institute in 1994, and in 1997 and 1998, he received awards from the National State and Local Legal Center for amicus briefs in the U.S. Supreme Court. Lettow also received a Master of Arts in history from Brown University in 2001.

Federal judicial service
On July 14, 2003, Lettow was appointed a judge of the United States Court of Federal Claims. He was confirmed by the United States Senate, and entered on duty on July 22, 2003. He assumed senior status on July 13, 2018.

Personal life
Lettow maintains an interest in academic research on historical topics, particularly in the Tudor-Stuart period in England and the corresponding colonial period in the United States. He also sustains an interest in agriculture and farming. He is married and resides in the Washington, D.C. metropolitan areas. He and his wife have four children.

See also
 List of law clerks of the Supreme Court of the United States (Chief Justice)

References

External links

 United States Court of Federal Claims page on Charles F. Lettow
 Presidential Nomination: Charles Frederick Lettow

1941 births
Living people
Brown University alumni
Iowa State University alumni
Judges of the United States Court of Federal Claims
Law clerks of the Supreme Court of the United States
People associated with Cleary Gottlieb Steen & Hamilton
People from Iowa Falls, Iowa
Stanford Law School alumni
United States Article I federal judges appointed by George W. Bush
21st-century American judges

Charles F. Lettow


Mount Owen is in the Tasman District of the South Island of New Zealand. It stands at 1875 metres (6150 feet) above sea level and is part of the Marino Mountains.

There are a number of caves in the marble karst areas on the flanks of the mountain, including New Zealand's longest cave system, Bulmer Cavern, which run for 64 kilometres.  Mount Owen lies within Kahurangi National Park. The Hope Saddle crosses its eastern flank.

Mount Owen featured briefly in the first of The Lord of the Rings film trilogy, The Fellowship of the Ring. When the characters led by Aragorn leave Moria they emerge onto a rocky plateau. This was filmed on the slopes of Mount Owen.

Mount Owen is best accessed via Granity Pass. This generally involves a two-day tramp staying overnight at Granity Pass Hut. It is possible to climb it in winter but care is needed over the karst area due to snow hiding sink holes.

References

External links
Caving areas in New Zealand

Mountains of the Tasman District
Kahurangi National Park

Mount Owen (New Zealand)


William Augustus Muhlenberg (September 16, 1796April 8, 1877) was an Episcopal clergyman and educator. Muhlenberg is considered the father of church schools in the United States. An early exponent of the Social Gospel, he founded St. Luke's Hospital in New York City. Muhlenberg was also an early leader of the liturgical movement in Anglican Christianity. His model schools on Long Island had a significant impact on the history of American education. Muhlenberg left his work in secondary education in 1845.

Biography
Muhlenberg was born in Philadelphia, Pennsylvania, on September 16, 1796. He was a great grandson of Henry Melchior Muhlenberg (1711–1787, known as the father of Lutheranism in America) and a grandson of Frederick Muhlenberg (1750–1801), a member of the First and Second Continental Congresses and Speaker of the House of Representatives. Muhlenberg was educated at the Philadelphia Academy and the Grammar School of the University of Pennsylvania, graduating from the university in 1815. In 1817 he was ordained a deacon in the Protestant Episcopal Church, becoming assistant to Bishop William White (1748–1836) in the rectorship of Christ Church, St. Peter's and St. James' in Philadelphia. At this time Muhlenberg was influenced by his older friend, Jackson Kemper (1789–1870), who became the first Missionary Bishop of the Protestant Episcopal Church in 1835.

In 1820, Muhlenberg was ordained a priest, and until 1826 he was rector of St. James' Church in Lancaster. Largely due to his efforts, Lancaster was the second public-school district created in the state. His interest in church music (particularly hymns) prompted his 1821 pamphlet, A Plea for Christian Hymns, and he compiled Church Poetry in 1823 for his parish. That year Muhlenberg was appointed by the General Convention to its committee on psalms and hymns. Its collection (approved in 1826) contained several of Muhlenberg's compositions, including I Would Not Live Alway, Shout the Glad Tidings and Saviour, Who Thy Flock Art Feeding.

Church-school movement
From 1826 to 1845, Muhlenberg was rector of St. George's in Flushing, Queens. In 1828 he became "Principal" of the "Church Institute" in Flushing, where he initiated a unique and highly successful method for the education of boys.  In 1836, the cornerstone was laid for a new educational enterprise a mile north of Flushing.  This more ambitious initiative was named St. Paul's College and Grammar School.  (College Point in present-day Queens County NY is where Muhlenberg's school was situated.)  Richard Upjohn designed a magnificent main building.  The foundations for the building were completed by 1837 and the edifice of pink stone and white marble began to rise on the hill above Long Island Sound. It was not only the unfortunate financial Panic of 1837 but the party squabbling within the Episcopal Church that prevented Muhlenberg from collecting on the pledges to capitalize and endow St. Paul's. Without adequate endowment, the state legislature denied Muhlenberg's request for a collegiate charter, which meant that St. Paul's could not legally grant the degree of Bachelor of Arts.  The ruination of St. Paul's left a lasting wound in Muhlenberg's heart.  One of the greatest educators in American history—admired by even public school promoters—departed Long Island for good in 1847. The property was sold a few years later. But Muhlenberg's philosophy and practice of education had already been handed over to younger men who made a monumental contribution to the history of American education (see John Kerfoot, James Lloyd Breck, and Henry Augustus Coit).

Educational principles
Muhlenberg rejected "vague, spiritualized Christianity." His schools blended home, school and church. These Episcopalian communities considered literature, the sciences, and moral education equally in order to mold Christian character rather than pursuing academic excellence alone. Muhlenberg defined character as not only moral goodness, but also the qualities, skills and attitudes favoring effectiveness in the world (for example, to manage a challenging course of study).  Academic excellence would inevitably follow.

His schools were Christian families, with Christ as the head, and by church school he meant a part of the Body of Christ in which divine grace (God's help) was present for the believer. Muhlenberg and his successors considered the school as the scholastic church. A practical Christian, his Christianity was more practice than theology. Echoing John Henry Newman, Muhlenberg believed that "Christianity can not be inculcated in the abstract."  One of the least sectarian religious leaders of his generation, he realized that unless a religious school teaches a particular religion it would become secular or splinter into factions. A lasting, healthy religious tolerance in a community is enabled by a religious center (or established discipline) from which hospitality and tolerance radiate to the community.

Muhlenberg's experience in public schools from 1818 to 1826 impressed him with the importance of Christian education, and he wanted the Flushing school to build Christian character with denominational instruction. In his 1828 pamphlet The Application of Christianity to Education, he assumed that a moral education would be based on Christianity because of his belief that God revealed himself in a particular way through Jesus Christ. Muhlenberg was confident that through the Bible, humans can glimpse the will of God and a moral education is based on knowledge of that will. A classical scholar familiar with moral goodness in the pagan world, to him the Gospel and Christianity were true and the best education would incorporate them. To Muhlenberg, virtue was synonymous with Christ.

According to his 1828 pamphlet, "The Law of God is the law of the school" as a pattern or blueprint. Muhlenberg strongly discouraged public comparison of weaker to stronger students, and rarely administered corporal punishment; both distinguished him from most contemporary American educators.

The schools at Flushing and College Point were happy, busy scholastic brotherhoods. James Lloyd Breck (1818–1876) spent five years on Long Island with  Muhlenberg and his staff. Although considered an ordinary student, he entered the University of Pennsylvania as a third-year student and graduated magna cum laude the following year. After divinity school, Breck went west and founded three seminaries (including Nashotah House Episcopal Seminary in Wisconsin), four boarding schools, three colleges and twenty parochial schools (including Shattuck-St. Mary's School in Faribault, Minnesota). Well-versed in the spread of Christianity during Late Antiquity, he was a missionary among the Mississippi Chippewa in the North Woods of Minnesota and established Muhlenberg-type schools for Ojibwe students.

For Muhlenberg, education was holistic and comprehensive. His application of Christianity to education resembled the aims of Horace Mann (1796–1859) and Thomas Arnold's work at Rugby School beginning in 1828. Foreshadowing John Dewey, Muhlenberg wrote: "Some great minds are slow in developing, the acorn gives little promise of the oak" and "The head should not be furnished at the expense of the heart." He and his scholastic heirs did not allow religion to usurp academic rigor and high scholastic standards: "Religion should never be held to account for inferior scholarship." According to Henry Coit (1830–1895), a disciple of Muhlenberg, "A high aim is better than a low one."

Impact on American education
Muhlenberg's Flushing Institute and St. Paul's College failed due to inability to weather the 1837 financial crisis in the United States. However, his pedagogical vision was transported to other regions by his protégés. In 1842 he helped found Saint James School in St. James, Maryland, with his assistant at St. Paul's College and Grammar School, John Barrett Kerfoot, who later became the first bishop of Pittsburgh and founded Trinity Hall School for Boys (1879) using Muhlenberg's principles.  For his work in education, Kerfoot received an honorary doctorate from Cambridge University. Henry Augustus Coit (1830–1895), a former student of Muhlenberg and Kerfoot, was the founding rector of St. Paul's School in Concord, New Hampshire (1856). Kerfoot's nephew was the founding headmaster of St. Mark's School in Southborough, Massachusetts (1865). Endicott Peabody (1857–1944) founded Groton School in 1884; acknowledging Muhlenberg's influence, he kept his portrait in his study and referred to Groton as a "church school". The founders of St. George's School in Rhode Island (1896) also cited Muhlenberg as an educational pioneer, and he influenced the 1839 founding of the Episcopal High School in Alexandria, Virginia. Muhlenberg consulted with EHS founding headmaster William Nelson Pendleton, and sent acolyte Milo Mahan (who taught at St. Paul's in College Point) at the request of the Bishop of Virginia. Historian James McLachlan noted the Muhlenberg schools' uniqueness in American Boarding Schools: A History (1970).

Religious beliefs
Muhlenberg's religion can be difficult to describe.  His mature religion may be described as Anglican Christianity with an American accent.  He was claimed by different parties within his denomination—the High Church, the Evangelical, the Low Church—but proceeded in his own way.  In some respects, he was an early example of what came to be called the Broad Church. He opposed the "novelties" of Roman Catholicism and dogmatic Protestantism, affirming the Scriptures and church teaching before the 11th-century East–West Schism. Muhlenberg echoed the 17th-century Anglican bishop John Cosin who wrote that his Anglican church was "Protestant and Reformed ... according to the Ancient Catholic Church." His position was also similar to Edward Bouverie Pusey (1800–1882), an Oxford professor and a leader of the 19th-century revival movement in the Church of England. Muhlenberg was influenced by the Oxford Movement, William White (1748–1836), John Keble, John Henry Newman, Pusey, Richard Hooker (1554–1600) and the Christian tolerance of Jeremy Taylor (1613–1667). As a youth, Muhlenberg worked to become quite familiar with the Fifteen Sermons and Analogy of Religion of Bishop Joseph Butler (1692–1752).

Born a Lutheran, Muhlenberg converted to the Protestant Episcopal Church as a boy. Trained in Philadelphia by William White and prepared for ordination by Jackson Kemper, he began to call his religion "Evangelical and Catholic" in the late-1840s and published a newspaper of that name in the 1850s.  By "evangelical," Muhlenberg meant personal devotion to Jesus Christ, dedication to the Scriptures as the Word of God, and the responsibility to live and share the Gospel.  "Evangelical" connoted what is spontaneous and Spirit-led about Christianity.  By "Catholic," Muhlenberg meant the "bones" of the Faith:  tradition, creeds, liturgy, and sacraments.  Newman's eight-volume Parochial and Plain Sermons parallel many of Muhlenberg's views. Muhlenberg  worshiped Christ without sentimentality, believing that Jesus lived in his schools, his parish church, and in St. Luke's Hospital, New York, where he  ministered to the sick and dying.  When he created St. Johnland on Long Island late in his life, he would say that the primary study in the educational programs there was "Jesus."

The history of persons and of institutions is a diachronic phenomenon; time does not stand still and everything changes. Muhlenberg's faith and practice developed over the decades.  He was a born reformer and did effect reforms in the PECUSA.  He inspired many High Churchmen and those who came to be called "Anglo-Catholics," but he was neither a High Churchman nor an Anglo-Catholic.  He was well known as an innovator of divine worship but was never a true "ritualist."  The ritualism he introduced in his school chapels had one purpose:  to impress upon the minds of his boys the great doctrines of Christianity.  The concept worked to good effect.  It was as much a Lockean as an Anglo-Catholic idea:  He wanted to give vivid impressions to young minds.  Muhlenberg was neither particularly romantic nor conservative or reactionary.  Although several of Muhlenberg's former students and followers became Anglo-Catholics, he was dismayed when Newman converted to Roman Catholicism in 1845. Unthreatened by Darwinism, Muhlenberg was interested in modern ideas.  He wrote patriotic poems and was the first Episcopal priest to hold a weekly Eucharist and daily offices. In 1853, he submitted a resolution to the General Convention of the Episcopal Church which became known as the Muhlenberg Memorial. The resolution calling for open-mindedness and the freedom of parish clergy to be responsive to parishioner needs, especially concerning Sunday-morning worship. Some of Muhlenberg's papers and articles were published in two volumes from 1875 to 1877 as Evangelical Catholic Papers by Anne Ayres, who also wrote his official biography from papers he saved for her (she honored his request and destroyed most of his papers after his death).

Later years

In 1845, Muhlenberg moved to New York City. The following year he became rector of the Church of the Holy Communion, a rent-free church built by his sister Mary A. Rogers. Muhlenberg founded the first American order of Protestant Episcopal deaconesses, the Sisterhood of the Church of the Holy Communion, between 1845 and 1852. His work with the sisterhood led to the 1850 establishment of St. Luke's Hospital, for which his congregation made offerings each St. Luke's Day beginning in 1847. In 1866, Muhlenberg founded the Church Industrial Community of St. Johnland on Long Island. He bought  with  of shorefront on Long Island Sound near Kings Park as a home for young, crippled children and the elderly. A moderate rent was charged for the cottages. Muhlenberg died on April 8, 1877, in St. Luke's Hospital, and is buried in the St. Johnland cemetery.

Muhlenberg is honored with a feast day on the liturgical calendar of the U.S. Episcopal Church on April 8, his death day. His reputation as an educator has been partially overshadowed by his extracurricular achievements after his move to New York City.

See also

 Abbeville (Lancaster, Pennsylvania)
 Johann Konrad Wilhelm Löhe
New York Free Circulating Library:  The Muhlenberg Branch was named in his memory.

Further reading
 Ayres, Anne. The Life and Work of William Augustus Muhlenberg. New York: Thomas Wittaker, 1889.
 Hein, David and Gardner Shattuck. "Muhlenberg" in The Episcopalians. Westport CT: Praeger, 2004.
 Prehn, W.L. "Episcopal Schools:  History & Mission" in Carper and Hunt, eds., Handbook of Faith-Based Schools in the United States (June 2012).
 Prehn, Walter Lawrence III. "Social Vision, Character, and Academic Excellence in Nineteenth-Century America:  William Augustus Muhlenberg and the Church School Movement, 1828-1877" (Ph.D dissertation, University of Virginia, 2005): University of Michigan online access.
 Prichard, Robert. A History of the Episcopal Church (Harrisburg, PA: Morehouse Pub., 1999).
 Richards, Samuel J. "A Forgotten Muhlenberg School: Trinity Hall in Washington, Pennsylvania." Pennsylvania History: A Journal of Mid-Atlantic Studies 87, no. 2 (2020): 247–78. DOI: 10.5325/pennhistory.87.2.0247
 Skardon, Alvin. Church Leader in the Cities:  William Augustus Muhlenberg. Philadelphia: University Press of Pennsylvania, 1971.

References

External links

The Life and Work of William Augustus Muhlenberg by Anne Ayres (Project Canterbury)
Some American Churchmen by Frederic Cook Morehouse Chapter VIII. William Augustus Muhlenberg
Muhlenberg, William August (Schaff-Herzog Encyclopedia of Religious Knowledge)
William Augustus Mühlenberg 1796–1877 (The Cyber Hymnal)
  Life of the Right Reverend John Barrett Kerfoot, D.D. L.L.D., First Bishop of Pittsburgh, by Hall Harrison, M.A., Vol. 1, pp. 46–48, published by James Pott & Co., New York 1886 (Google Books)

1796 births
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William Augustus Muhlenberg


Louis Joseph Rochelli (January 11, 1919 – October 23, 1992) was a  Major League Baseball second baseman who appeared in five games for the Brooklyn Dodgers in 1944.  The 25-year-old rookie was a native of Staunton, Illinois.

Rochelli is one of many ballplayers who only appeared in the major leagues during World War II. He played in five consecutive games (August 25-August 29) for the Dodgers, four against the New York Giants at the Polo Grounds and one against the Philadelphia Blue Jays at Ebbets Field. He went 3-for-17 (.176) with 2 walks, a triple, and 2 runs batted in. He handled 27 of 28 chances successfully for a .964 fielding percentage.

Rochelli managed in the Dodgers farm system from 1947–1958, primarily with the Great Falls Electrics of the Pioneer League.

He died at the age of 73 in Victoria, Texas.

External links

Retrosheet

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Lou Rochelli


Johannes Wilsing (8 September 1856 – 23 December 1943) was a German astronomer.

He was born in Berlin, where he was educated in addition to Göttingen.  In 1880 he was awarded his Ph.D. from Humboldt-Universität of Berlin with a dissertation titled, Über den Einfluss von Luftdruck und Wärme auf die Pendelbewegung (On the influence of air pressure and heat on the movement of a pendulum).

In 1881 he joined the Astrophysical Observatory Potsdam (AOP) as an assistant, and would remain there until he retired. His early career was spent on solar studies, including observations of sunspots and derivations of the rotation period. In 1897 he measured the parallax of 61 Cygni, a relatively nearby star.

He became an observer at the AOP in 1898, and the following year he collaborated with Julius Scheiner in an unsuccessful attempt to  measure the radio emission from the Sun. The same year he attempted to interpret the spectrum of novae. He performed extensive work on the luminosity, colors, and diameters of stars.

He retired in 1921 and died in Potsdam. The crater Wilsing on the Moon is named after him.

External links
 Johannes Wilsing
 Mathematics genealogy project

1856 births
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Johannes Wilsing


John William Johnstone Jr. (November 20, 1945 – September 26, 2020) was an American professional baseball player and television sports announcer. He played in Major League Baseball as an outfielder from 1966 to 1985 for the California Angels, Chicago White Sox, Oakland Athletics, Philadelphia Phillies, New York Yankees, San Diego Padres, Los Angeles Dodgers, and Chicago Cubs.

Johnstone was a member of two World Series teams with the Yankees in 1978 and the Dodgers in 1981. He was known as a versatile outfielder with a good sense of humor, known for keeping clubhouses loose with pranks and gimmicks. He later served as a radio color commentator for the Yankees (1989–1990) and Phillies (1992–1993), and wrote books about his career.

Early life
Johnstone was born on November 20, 1945, in Manchester, Connecticut, to John William Sr., an accountant, and Audrey (Whebell) Johnstone. The family moved to Southern California when Johnstone was a child. He attended Edgewood High School, where he excelled at baseball, basketball and football.

Baseball career
Johnstone was signed as an amateur free agent by the Los Angeles Angels, in 1963. He made his major-league debut in July 1966.

As an Angel, Johnstone preserved Clyde Wright's no-hitter against the Athletics in the seventh inning by catching a Reggie Jackson fly ball, 400 feet from home plate, in straightaway center field, just in front of the outfield wall (July 3, 1970). After a campaign in which he batted .238 with 39 runs batted in (RBI) and 11 home runs, Johnstone was traded along with Tom Egan and Tom Bradley from the Angels to the White Sox for Ken Berry, Syd O'Brien, and Billy Wynne, on November 30, 1970.

As a Phillie, Johnstone went 7-for-9 in the 1976 National League Championship Series (NLCS), against the Cincinnati Reds; however, the Reds swept the series. He and Bobby Brown were sent from the Phillies to the Yankees for Rawly Eastwick on the day before the trade deadline on June 14, 1978.

As a Dodger, Johnstone hit a pinch-hit, two-run home run in Game Four of the 1981 World Series, against the New York Yankees (the home run rallying the Dodgers from a 6–3 deficit to win 8–7). The victory also enabled the Dodgers to tie the Series at two games each; Los Angeles won the next two games, to win it all.

Clubhouse prankster
Johnstone pulled off a number of infamous pranks during his playing days, including placing a soggy brownie inside Steve Garvey's first base mitt, setting teammates' cleats on fire (known as "hot-footing"), cutting out the crotch area of Rick Sutcliffe's underwear, and locking Dodger manager Tommy Lasorda in his office during spring training. Johnstone also nailed teammates' spikes to the floor, and once replaced the celebrity photos in manager Lasorda's office with pictures of himself, Reuss, and Don Stanhouse.

In a 1981 game against Pittsburgh, Johnstone and teammate Jerry Reuss dressed up as groundskeepers to drag the Dodger Stadium infield in the fifth inning of a game. Afterwards, Lasorda yelled at them and sent Johnstone to pinch-hit the next inning as a punishment; however, Johnstone ended up hitting a home run. During the Dodgers' 1982 spring training, Johnstone locked Lasorda inside his motel room by tying his doorknob to a palm tree.

Once, during pre-game warm-ups, Johnstone climbed atop the Dodger dugout and, in full uniform, walked through the field boxes at Dodger Stadium to the concession stand and got a hot dog. Another time, he bolted from a taxicab on the gridlocked Golden State Freeway during a pregame traffic jam and began running in uniform toward the Stadium Way exit. Johnstone also once dressed up in Lasorda's uniform (with padding underneath) and ran out to the mound to talk to the pitcher while carrying Lasorda's book and a can of Slim Fast.

As a baseball announcer, Johnstone once covered a microphone with a scent of stale eggs then proceeded to interview Dave "Smoke" Stewart, Mickey Hatcher, and other players. While faking a pause for commercials during a TV interview with Yankee players Deion Sanders and Mel Hall, Johnstone tricked them into uncovering a restaurant bread basket containing a snake; both players jumped from their seats, provoking laughter all around.

Johnstone's 1984 Fleer baseball card #495 shows him wearing a Budweiser Brockabrella, an umbrella hat for which Lou Brock was a spokesman; Johnstone claimed the photo was not pre-planned and that Budweiser rewarded him with a case of complimentary beer each summer.

Journalism career
Johnstone hosted blooper TV show The Lighter Side of Sports in the late 1980s. He worked as radio color commentator for the Yankees games on WABC (1989–1990) and the Phillies games on WPHT (1992–1993).

He also co-wrote three books with sports columnist Rick Talley—Temporary Insanity, Over the Edge, and Some of My Best Friends Are Crazy—in which he described many of the pranks, along with other aspects of his career.

Entertainment roles
Johnstone appeared in the movie The Naked Gun as a member of the Seattle Mariners in a game against the California Angels. Although he was a left-handed hitter throughout his career, Johnstone bats right-handed in the movie.

After the Dodgers' 1981 World Series victory, Johnstone and Dodger teammates Rick Monday (with whom he shared a birthday, service in the Marines, and stints with the A's, Cubs, and Dodgers), Jerry Reuss, and Steve Yeager appeared on Solid Gold and sang their own rendition of Queen's hit, We Are the Champions.

Death
Johnstone died from complications of COVID-19 at a nursing home in Granada Hills, California, on September 26, 2020, during the COVID-19 pandemic; he was 74 years old. According to his daughter, Mary Jayne Sarah Johnstone, he had suffered from dementia in recent years.

Career statistics

In the postseason, covering 14 games (one NLDS, four NLCS, two World Series) Johnstone batted .476 (10-for-21), with two runs scored, one double, one triple, one home run, and five runs batted in (RBI).

Film appearances
Body Slam (1986) - Booth Announcer
The Naked Gun: From the Files of Police Squad! (1988) - Seattle First Up

References

External links

Jay Johnstone at SABR (Baseball BioProject)

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Jay Johnstone