IN: Jay Hanna "Dizzy" Dean (January 16, 1910 - July 17, 1974), also known as Jerome Herman Dean, was an American professional baseball player. He played in Major League Baseball as a pitcher for the St. Louis Cardinals, Chicago Cubs and the St. Louis Browns. A brash and colorful personality, Dean was the last National League pitcher to win 30 games in one season.

While pitching for the NL in the 1937 All-Star Game, Dean faced Earl Averill of the American League Cleveland Indians. Averill hit a line drive back at the mound, hitting Dean on the foot. Told that his big toe was fractured, Dean responded, "Fractured, hell, the damn thing's broken!" Coming back too soon from the injury, Dean changed his pitching motion to avoid landing as hard on his sore toe enough to affect his mechanics. As a result, he hurt his arm, losing his great fastball. By 1938, Dean's arm was largely gone. Chicago Cubs scout Clarence "Pants" Rowland was tasked with the unenviable job of obeying owner P. K. Wrigley's direct order to buy a washed-up Dizzy Dean's contract at any cost. Rowland signed the ragged righty for $185,000, one of the most expensive loss-leader contracts in baseball history. Dean helped the Cubs win the 1938 National League pennant. The Cubs had been in third place, six games behind the first place Pittsburgh Pirates led by Pie Traynor. By September 27, with one week left in the season, the Cubs had battled back to within a game and a half game of the Pirates in the National League standings as the two teams met for a crucial three-game series. Dean pitched the opening game of the series and with an ailing arm, relied more on his experience and grit to defeat the Pirates by a score of 2 to 1. Dean would later call it the greatest outing of his career. The victory cut the Pirates' lead to a half game and, set the stage for one of baseball's most memorable moments when in the next game of the series, Cubs player-manager, Gabby Hartnett, hit his famous "Homer in the Gloamin'" to put the Cubs into first place. The Cubs clinched the pennant three days later. Dean pitched gamely in Game 2 of the 1938 World Series before losing to the New York Yankees in what became known as "Ol' Diz's Last Stand." Dean made a one-game comeback on September 28, 1947. After retiring as a player, the still-popular Dean was hired as a broadcaster by the perennially cash-poor Browns to drum up some badly needed publicity. After broadcasting several poor pitching performances in a row, he grew frustrated, saying on the air, "Doggone it, I can pitch better than nine out of the ten guys on this staff!" The wives of the Browns pitchers complained, and management, needing to sell tickets somehow, took him up on his offer and had him pitch the last game of the season. At age 37, Dean pitched four innings, allowing no runs, and rapped a single in his only at-bat. Rounding first base, he pulled his hamstring. Returning to the broadcast booth at the end of the game, he said, "I said I can pitch better than nine of the ten guys on the staff, and I can. But I'm done. Talking's my game now, and I'm just glad that muscle I pulled wasn't in my throat." In the 1950s, he appeared in guest starring roles on Faye Emerson's Wonderful Town on CBS and on The Guy Mitchell Show on ABC.

How did this effect him?

OUT: Dean pitched the opening game of the series and with an ailing arm,

IN: Carroll Baker was born and raised in Johnstown, Pennsylvania, in a Roman Catholic family, the daughter of Edith Gertrude (nee Duffy) and William Watson Baker, a traveling salesman. She is of Polish descent, which has given rise to a rumor that her birth name was Karolina Piekarski. However, this currently cannot be substantiated by known records. Baker's parents separated when she was eight years old, and she moved with her mother and younger sister, Virginia, to Turtle Creek, Pennsylvania.

Baker separated from her second husband, Jack Garfein, in 1967, and moved to Europe with her two children to pursue a career there after struggling to find work in Hollywood. Eventually settling in Rome, Italy, Baker became fluent in Italian and spent the next several years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to play the lead role in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi. Many of these films feature her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at the time. Baker became a favorite of Umberto Lenzi, with her best-known role being in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said: "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and got blacklisted, has been around. She may not be an actress, but she can act. In The Carpetbaggers, there was a nice wholesome vulgarity to her performance. She is not intrinsically as bad as she appears in Paranoia. I think maybe she was saying the hell with it and having a good time." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, though they afforded Baker--who had left Hollywood in debt and with two children to support-- an income, as well as fame abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying: "I think I made more films [there] than I made in Hollywood, but the mentality is different. What they think is wonderful is not what we might ... it was marvelous for me because it really brought me back to life, and it gave me a whole new outlook. It's wonderful to know about a different world." She followed her roles in Lenzi's films with a leading role in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than a sleekly predatory sorceress".

Did she do anything else after that one?

OUT:
sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance,