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Wikipedia:Soft redirect

A soft redirect is a replacement for the usual "hard" redirect and is used where the destination is a Wikimedia sister project (see ), another language Wikimedia site, or in rare cases another website (e.g. targets). They may also be used for local targets in some cases (e.g. WP:AN/K). Soft redirects differ in that they leave the reader on the redirect page, requiring them to click through to the redirected link as opposed to automatically taking them there.

Unlike normal redirects, a soft redirect does not use special code or functionality of the wiki software. All they consist of is a notification to users, showing the destination to another site to obtain the information they were seeking.

The technique is particularly likely to be used when redirecting users across Wikimedia sister projects—for example Gather is a soft redirect to Gather. Normal redirects would be undesirable in these circumstances, and hard interwiki redirects are disabled per these reasons that they could not be easily edited without hand-crafting the correct URL, since clicking on a link to the redirect page would take you straight to the redirect's target and there would be no "Redirected from foo" message to click, so it would be difficult to return to the redirect page itself; there would also be infinite-loop security considerations.

Another situation where soft redirects are used is when the intended target is a special page, and the system automatically "softens" attempted hard redirects to special pages. For example, List of tags redirects to Special:Tags.

Soft redirects to non-English language editions of Wikipedia should be avoided because they are generally unhelpful to English-language readers. Instead, editors should link to the alternate language Wikipedia directly with one of various forms of interlanguage links.

Soft redirects are intended mostly for external use, where hard redirects will not function. For internal use in general, hard redirects should be used instead.

Category soft redirects
In English Wikipedia, categories with the Category redirect template are also called "soft redirects", due to their similarity to interwiki soft redirects. See Categories for discussion for the policy.

Do not put redirect categorization templates on soft redirects (R category with possibilities and Wikidata redirect are exceptions).

Templates
The following templates are used to create a soft redirect link:
 * Soft redirect for all soft redirects except those below:
 * Category redirect for category redirects
 * Portal soft redirect for soft redirects from the portal namespace
 * Commons redirect for Commons redirects
 * Wikibooks redirect for Wikibooks redirects
 * Wikidata redirect for Wikidata redirects
 * Wikiquote redirect for Wikiquote redirects
 * Wikisource redirect for Wikisource redirects
 * Wikispecies redirect for Wikispecies redirects
 * Wikivoyage redirect for Wikivoyage redirects
 * Wiktionary redirect for Wiktionary redirects

Categories to add for cross-namespace soft redirects
Soft redirects to targets outside Wikipedia (e.g. to meta.wikimedia.org) do not require any categories to be added manually.

For soft redirects that go from Wikipedia's mainspace to targets outside Wikipedia or to targets in any other Wikipedia namespace, add Category:Unprintworthy redirects to mark them unsuitable for any printable version of Wikipedia.

For any soft redirect that goes from one Wikipedia namespace to another Wikipedia namespace, add the relevant category placing it within the appropriate sub-category of Category:Cross-namespace redirects, i.e. describing it by the target namespace:
 * Category:Redirects to user namespace, for a soft redirect to a user space page (but not to a user talk page). Note: by its name, template R to user namespace would seem appropriate to use, and indeed that template would apply the "Redirects to user namespace" category, but that template's instructions indicate it should not be used for soft redirects (at least in part because it would display inappropriate/confusing information for editors/readers following the soft redirect), so manually apply the category, instead.
 * Category:Redirects to talk pages, for a soft redirect to any talk page, whether the talk page is that of a user, or of a category, or of a template, or of a mainspace article, etc. Note: Likewise, R to talk page would seem appropriate, but that template is also not be used on soft redirects.
 * Category:Redirects to category space
 * Category:Redirects to help namespace
 * Category:Redirects to the main namespace
 * Category:Redirects to portal space
 * Category:Redirects to project space
 * Category:Redirects to template namespace

Deletion
For purposes of administration, particularly deletion, soft redirects are subject to the same administration processes as regular redirects, and should not be handled by processes that are intended for articles. For deletion this means that soft redirects are subject to R2 – R4 speedy deletion criteria, and are not subject to A1 – A10 speedy deletion criteria. For more deliberative deletion, soft redirects should be handled through Redirects for discussion, and are not subject to either Proposed deletion or Articles for deletion. They are also specifically subject to G8 deletion if their target does not exist, as this has replaced the old R1 criterion.

title: Wikipedia:Soft redirect


text:
User:Kzzl/Tizzholes

"Nonsense" slang for working people. As Kzzl amasses more and more nonsense vocabulary, he may consider changing the term "nonsense".
 * this once spontaneously created nonsense word could have been echoing the word prole. it does place "tizzh" and "pr" in funny cateogries.

category:nonsense slang

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

title: User:Kzzl/Tizzholes


text:
Call Me Madam

Call Me Madam is a Broadway musical written by Howard Lindsay and Russel Crouse, with music and lyrics by Irving Berlin.

The musical is a satire on politics and foreign policy that spoofs postwar America's penchant for lending billions of dollars to needy countries. It centers on Sally Adams, a well-meaning but ill-informed socialite widow, who is appointed United States Ambassador to the fictional European country of "Lichtenburg". Signs in Lichtenburg are written in German, and inhabitants wear traditional Bavarian costume. While there, she charms the local gentry, especially Cosmo Constantine, while her press attaché Kenneth Gibson falls in love with Princess Maria of Lichtenburg.

Background
The lead character is based on Washington, D.C. hostess and Democratic Party fundraiser Perle Mesta, who was appointed Ambassador to Luxembourg in 1949. The Playbill distributed at each performance humorously noted that "neither the character of Mrs. Sally Adams nor Miss Ethel Merman resemble any person living or dead."

In 1949, Merman and her family were vacationing at the Hotel Colorado in Glenwood Springs with Howard Lindsay and his wife, Dorothy Stickney. Watching Merman at poolside, while he was reading a magazine article about Mesta, Lindsay was struck by how typically "American" Merman was, and immediately envisioned her portraying a colorful character similar to the newly-appointed ambassador. When he proposed the idea to Merman, who had little interest in either society or political news, she responded, "Who's Perle Mesta?"

Although Merman had announced she was interested in playing a dramatic role in her next project, Lindsay and Russel Crouse approached Irving Berlin and began working on the book for Call Me Madam when Berlin expressed interest in composing the score. Berlin's last production, Miss Liberty, had failed to recoup its investment, and he was determined to repeat the success he had had with Annie Get Your Gun. The three collaborators agreed they needed to treat their subject with care, to avoid any legal action by Mesta. As the work progressed, Merman conceded she would be willing to sing two or three songs, but eventually accepted the fact she was going to star in a full-scale musical comedy, instead of the drama she preferred.

Producer Leland Hayward budgeted the production at $250,000. In exchange for the original cast recording and television broadcast rights, he arranged to have it financed 100% by RCA Records and NBC, with the two sharing 35% of the net earnings. In order to increase the profits, Hayward decided to charge an all-time high of $7.20 for orchestra seats.

Hayward hired George Abbott to direct, and Abbott and casting director Harold Prince auditioned thousands of actors for the twenty speaking roles and twenty-nine chorus members. Raoul Pene du Bois was hired to design sets and costumes, while the wardrobe worn by Merman was the responsibility of Mainbocher.

Once the script was completed, everyone agreed that, while it seemed originally little more than standard situation comedy material—although as the years have transpired, many musical aficionados rate it much higher—it was a perfect vehicle for Merman, and that Berlin's score, raised to its pinnacle by Merman, was tuneful and memorable. Berlin wrote "Something to Dance About" to give the second act a lively opening. When the star requested a duet with Russell Nype playing her lovestruck press attaché, Berlin responded by writing the counterpoint tune "You're Just in Love" and it ultimately became a showstopper at every performance.

Synopsis
Sally Adams, a wealthy widow from Oklahoma, lives in Washington, D.C., where she is known as "the hostess with the mostest," famed for throwing the best parties in town. Despite her complete lack of experience, she is tapped as ambassador to the tiniest country in Europe, the Grand Duchy of Lichtenburg. The young press attaché Kenneth Gibson accompanies her as her aide. Sally is disappointed to find that Lichtenburg's foreign minister, Cosmo Constantine, is a formal and standoffish person who refuses to accept America's offer of foreign aid. She hatches a plot to get Cosmo promoted to the office of Prime Minister, thinking that he can be replaced by a foreign minister more open to her American manners and way of thinking. Meanwhile, Kenneth meets the Princess Maria, daughter of the Duke and Duchess. Her parents are planning to marry her to a wealthy suitor whose fortune will help the Duchy financially. Despite the fact that she is forbidden to speak to commoners, the Princess and Kenneth fall in love.

Cosmo learns of Sally's plans for him and resigns his position, opening the way for the country's first general election in twenty years. Sally openly campaigns for Cosmo to become Prime Minister, and is recalled to Washington for interfering in another country's internal affairs. However, the spirit of democracy has awakened in Lichtenburg: Cosmo is elected Prime Minister and the Duke and Duchess grant permission for Maria and Kenneth to marry.

Productions
Directed by George Abbott and choreographed by Jerome Robbins, the musical premiered at the Shubert Theatre in New Haven, Connecticut on September 11, 1950. Reviews were mixed—Variety said it "inspires warm applause rather than cheer"—and Berlin wrote two new songs to bolster the sagging second act. It opened in Boston on September 19, and while The Boston Record thought it offered "only an occasional flash of inspirational fire", it played to standing-room-only audiences throughout the run. With a record advance sale of $2 million, the Broadway production opened on October 12 at the Imperial Theatre, where it ran for 644 performances and grossed more than $4 million. In addition to Merman and Nype, the cast included Paul Lukas, Pat Harrington, Sr., Galina Talva, Lilia Skala, Tommy Rall and Richard Eastham. Brooks Atkinson of The New York Times thought it offered one of Berlin's "most enchanting scores: fresh, light, and beguiling, and fitted to lyrics that fall out of it with grace and humor", and the New York Post called Merman "indescribably soul-satisfying", "a comedienne of rare skill", and "one of the joys of the world." She remained with the show for the entire run and appeared in the limited four-week engagement staged to celebrate the reopening of the National Theatre in Washington, D.C.

Apart from playing Rose in the first national tour of Gypsy, the role of Sally Adams in Call Me Madam would be the only stage role which Ethel Merman would reprise after originating it on Broadway. In July 1965 Merman would headline a revival by the Valley Music Theater in which Richard Eastham and Russell Nype also reprised their Broadway roles. The production played an encore engagement—without Nype—in Houston that October. Merman, Eastham and Nype again reprised their Broadway roles for a 1967 summer stock tour of Call Me Madam.

The national tour of Call Me Madam was headlined by Elaine Stritch; Merman's understudy during the show's Broadway run, Stritch had never had occasion to perform as Sally Adams at the Imperial, her debut in the role being at a matinee performance during the show's May 1952 Washington D.C. engagement. Subsequent to engagements at the Nixon Theater in Pittsburgh and the Hanna Theatre in Cleveland—with respective openings on June 2 and 9, 1952—the Call Me Madam national tour opened at the Philharmonic Auditorium June 23, 1952, with further engagements in nine other cities—including Chicago and Detroit—the finale being an engagement at the Iroquois Park Amphitheater in Louisville in August 1953. Throughout most of the tour Stritch's leading man was Kent Smith, as Cosmo Constantine, although Dick Smart would take over the role before the tour's end. The cast of the national tour also included Pat Harrington, Sr. and Jay Velie reprising their Broadway roles. Stritch would reprise the role of Sally Adams in two regional theatrical productions, headlining Call Me Madam for St. Louis Municipal Opera Theatre in 1954—with Russell Nype reprising his Broadway role—and for the Valley Forge Music Fair in 1956.

Call Me Madam returned to the New York stage for the first time since its original Broadway run via the New York City Center Encores! semi-staged concert version—with Tyne Daly headlining a cast including Walter Charles as Cosmo Constantine, Lewis Cleale as Kenneth and Melissa Errico as Princess Maria. Presented in February 1995 as the inaugural production of Encores! second season, Call Me Madam was lauded as the company's first hit production. Encores! would present a fully-staged production of Call Me Madam in February 2019, with Carmen Cusack headlining a cast which included Darrell Hammond as Grand Duke Otto, Carol Kane as Grand Duchess Sophie, Stanley Wayne Mathis as Senator Borckbank, Randy Rainbow as Sebastian Sebastian, and Lauren Worsham as Princess Maria.

Call Me Madam had its premiere regional theatrical engagement at the Dallas State Fair in August 1952: with Joan Blondell headlining and Russell Nype reprising his Broadway role, the cast also included William LeMassena as Pemberton Maxwell, Michael Pollock as Sebastian Sebastian and Gene Raymond as Cosmo Constantine. In 1959 Constance Bennett would headline a production of Call Me Madam, featuring Wilbur Evans as Cosmo Constantine, which played engagements at the Camden County Music Fair and at the Storrowtown Music Fair. Also in 1959 Penny Singleton would headline a 1959 production by the St. Louis Municipal Opera Theatre in which both Russell Nype and Pat Harrington, Sr. reprised their Broadway roles. Wilbur Evans would reprise the role of Cosmo Constantine in a 1963 production headlined by Martha Raye which played engagements at the Valley Forge Music Fair and at the Storrowtown Music Fair, with Kenneth Gibson being played by James Kirkwood. Margaret Whiting, who headlined a 1961 production of Call Me Madam which played engagements in Boston and New Jersey, would in 1966 headline the play's Melody Top summer stock production in Milwaukee which featured Tommy Sands as Kenneth Gibson.

Jo Anne Worley, who headlined the 1987 Pasadena Convention Center production of Call Me Madam, would also headline a semi-staged concert version mounted in 2001 at the Auditorium Theatre (Chicago) with Malcolm Gets as Kenneth Gibson and Fred Willard. Leslie Uggams would headline a revival of Call Me Madam mounted at the Paper Mill Playhouse, Millburn, New Jersey, in April–May 1996: the additional cast included J. B. Adams as Henry Gibson/ Grand Duke Otto, Mark Baker as Pemberton Maxwell, and Vanessa Dorman as Princess Maria. In September 2000 Call Me Madam was mounted at the UCLA Freud Playhouse with Karen Morrow headlining a cast which included Robert Mandan as Pemberton Maxwell, Michael Nouri as Cosmo Constantine, Hugh Panaro as Kenneth Gibson, and Michael Tucci as Congressman Wilkins.

Other regional productions of Call Me Madam have been headlined by Maxene Andrews (Coachlight Dinner Theater East Windsor CT / 1976), Klea Blackhurst (42nd Street Moon San Francisco / 2009), Kim Criswell with Catherine Brunell as Princess Maria and David Hess as Cosmo Constantine (Goodspeed Musicals Middlesex County CT / 2004), Ruta Lee (Casa Mañana Fort Worth / 1978), and Helen Reddy with Monte Markham as Cosmo Constantine (Sacramento Civic Light Opera/ 1986).

Call Me Madam opened in the West End at the London Coliseum on March 15, 1952, for a run of 486 performances: Billie Worth headlined a cast which included Anton Walbrook as Cosmo Constantine and Shani Wallis—in her first major stage role—as Princess Maria. Noele Gordon—who had understudied Worth during the Coliseum run of Call Me Madam—headlined the production's British touring edition in 1953. A 78 rpm cast recording of this production was released, on the Columbia Records label, (D.B. 3067), in 1952, with Billie Worth and Arthur Lowe, called ' Vocal Gems from Call me Madam'.

In 1983 Gordon headlined a West End revival, whose cast also included Jeremy Hawk as Pemberton Maxwell and Basil Hoskins as Cosmo Constantine: opening March 14, 1983, the production was afforded a seven-week run at the Victoria Palace.

Call Me Madam has since had two evident London fringe productions, the first at Upstairs at The Gatehouse in the summer of 2009 with Thom Southerland directing a cast which included Beverley Klein as Sally Adams, Chris Love as Kenneth Gibson, Kate Nelson as Princess Maria, and Gido Schimanski as Cosmo Constantine. Subsequently, the Union Theatre, London would mount Call Me Madam in the fall of 2012: staged and directed by Michael Strassen, the production—headlined by Lucy Williamson leading as cast which included Gavin Kerr, Leo Miles and Natalie Lipin—received five nominations at the Off West End Awards and was named as one of the productions when the Union won Best Fringe at The Stage Awards in 2013 alongside The Globe (Best Theatre).

Call Me Madam began its inaugural Australian engagement on September 5, 1953, at Her Majesty's Theatre, Melbourne: with Evie Hayes headlining a cast which also included David Cahill as Hugo Tantinnin and Alec Kellaway as Congressman Wilkins, the production would play subsequent engagement in Brisbane and Sydney. Revived in 1985 at the Canberra Theatre with June Bronhill headlining and David Branson featured as Cosmo Constantine, Call Me Madam would in 2000 be mounted at the Arts Centre Melbourne with Geraldine Turner headlining a cast which included Rachael Beck as Princess Maria, Reg Gorman as Congressman Wilkins, and Spencer McLaren as Kenneth Gibson.

Film adaptation
A 1953 20th Century Fox film adaptation stars Ethel Merman, George Sanders, Donald O'Connor, Billy DeWolfe, Charles Dingle, and Vera-Ellen.

Musical numbers

 * Act I
 * "Mrs. Sally Adams" – Company
 * "The Hostess With the Mostes' on the Ball" – Sally
 * "Washington Square Dance" – Sally and Company
 * "Lichtenburg" – Cosmo and Singers
 * "Can You Use Any Money Today?" – Sally
 * "Marrying For Love" – Cosmo and Sally
 * "The Ocarina" – Princess Maria and Company
 * "It's a Lovely Day Today" – Kenneth and Princess Maria
 * "The Best Thing for You (Would Be Me)" – Sally and Cosmo

 * Act II
 * "Lichtenburg" (Reprise) – Cosmo and Singers
 * "Something To Dance About" – Sally and Company
 * "Once Upon a Time Today" – Kenneth
 * "They Like Ike" – Congressman Wilkins, Senator Gallagher, and Senator Brockbank
 * "You're Just in Love" – Sally and Kenneth
 * "The Best Thing for You (Would Be Me)" (Reprise) – Sally and Cosmo
 * "It's a Lovely Day Today" (Reprise) – Kenneth and Princess Maria
 * "Mrs. Sally Adams" (Reprise) – Company
 * "Finale" – Sally and Company

Recordings
In a highly unusual situation, two LP albums of the score were released. The recording rights had been granted to RCA Victor, which had invested in the show, but Merman was under contract to Decca Records, which refused to allow her to record the original cast album. Decca issued a 10-inch LP featuring Merman singing some of her songs, accompanied by arranger-conductor Gordon Jenkins and His Orchestra and Chorus, with vocalizing by Dick Haymes (who joined Merman in the show's biggest hit, "You're Just in Love", their single reaching Billboard magazine's number 30 for a week) and Eileen Wilson (who sang "It's a Lovely Day Today" with Haymes). RCA Victor went ahead with the original cast album, replacing Merman with Dinah Shore.

Merman was called back into the Decca studios to record additional songs from the show, and the label quickly re-released the album as a 12-inch LP, under the title Ethel Merman: 12 Songs from Call Me Madam. The Victor album sold reasonably well, attaining the sixth spot on the Billboard popular album charts, but the LP was out of print from 1956 until RCA Red Seal reissued it briefly in 1977. Peaking at number two on Billboard's popular album charts, Merman's Decca recording, which would appear on MCA Records beginning in 1973, stayed steadily in print until the end of the LP era. Merman's Madam album was most recently available on a Decca Broadway CD, which also features Merman singing four Cole Porter tunes from the stage score of Panama Hattie (1940).

A recording of the 1952 London West End production was released of 12 numbers from the show, as Columbia 33SX 1002 ('Vocal Gems from Jack Hylton's production by artists of the original London presentation'), with Billie Worth, Anton Walbrook, Jeff Warren and Shani Wallis in the principal roles, conducted by Cyril Ornadel, and was later reissued on the Sepia label.

Merman also is heard on the film soundtrack album (with Donald O'Connor and George Sanders), issued in 1953 as a 10-inch album, also on the Decca label. Scoring fifth position on Billboard 's popular albums charts when first released, the soundtrack, taken out of print in 1957, was reissued in 1981 by Stet Records on a 12-inch LP which also contained songs from the film scores of Guys and Dolls (1955) and I'll Cry Tomorrow (1955). The Merman soundtrack has not been legally issued on CD.

A 1995 Broadway concert cast album, featuring Tyne Daly, Lewis Cleale, Christopher Durang, Ken Page, and Melissa Errico, is available on the DRG label.

Promotional appearances
On the premiere episode of NBC Radio's The Big Show on November 5, 1950, original Broadway cast members Ethel Merman, Paul Lukas, and Russell Nype appeared in the first half-hour (of the hour-and-a-half program) and performed songs from the score in order of their appearance in the production, while host Tallulah Bankhead filled in story notes between songs (although accidentally missing one story cue). Merman sang "The Hostess With the Mostes' on the Ball," then Lukas sang "Lichtenburg," then Merman sang "Can You Use Any Money Today?" and "The Best Thing for You (Would Be Me)". Finally, Merman sang "You're Just in Love" with Nype.

In political culture
Known as "Madam Speaker", when United Kingdom's Betty Boothroyd was assigned the chair of Deputy Speaker (1987–1992), backbencher Peter Pike asked her: "What do we call you?" and drawing from her show business years, Boothroyd replied: "Call me Madam."

title: Call Me Madam


title: Category:1220


text:
User:SirJective/Image description pages without image entries

These are cur entries of images without an entry in the image table. Most of them have no image.

See also User:SirJective/Image problems for other lists.

I used an SQL-Statement like this in Special:Asksql of my local dump (august 8)

SELECT concat('|-\n|Image:',cur_title,'\n| ',cur_text, ' \n|User:',cur_user_text,'\n|') as data FROM cur LEFT JOIN image ON (img_name = cur_title) WHERE cur_namespace = 6 AND img_name IS NULL ORDER BY cur_user_text, cur_title LIMIT 200;

Well, I manually inserted the linebreaks. This way was the best I found to use the MediaWiki table markup instead of HTML.

You may use the last table field ("comment") for comments on the state (user informed etc.) or delete done entries from this list.

The table is sorted by the last user who edited the image description page. This is not always the one who uploaded the image.


title: Category:1220s


text:
The Dancing Years

The Dancing Years is a musical with book and music by Ivor Novello and lyrics by Christopher Hassall, set in Vienna, from 1911 until 1938. It follows a Jewish composer and his love for two women of different social classes, with an ending set against the background of Nazi persecution.

The piece opened in early 1939 in London's West End, starring Novello in an expensive, spectacular production, with several scene changes and a large cast. When theatres in London closed at the start of the Second World War, the show went on tour in Britain for the next three years. Censorship originally prevented the inclusion of the Nazi element, but by the time The Dancing Years reopened at the Adelphi Theatre in 1942 it had been reinstated.

Synopsis
In 1911, Rudi Kleber, a penniless young Jewish composer, plays the piano at an Austrian country inn, where he has been friends since childhood with the innkeeper's daughter, Grete; they pledge to marry someday. Maria Zeitler, an operetta star, arrives with her older admirer and patron, Prince Charles Metterling. She and Rudi fall in love, and she becomes his mistress; he composes successful operettas for her. Three years later, Grete returns from England. She has become a dancer, and Rudi swiftly includes her in his production. Maria is jealous, fearing Rudi is in love with Grete, even though Grete has a boyfriend, Franzl. Maria overhears Rudi proposing to Grete in jest and does not wait to hear Grete laughingly reject him. Pregnant and believing Rudi will never marry her, Maria returns to Vienna and immediately marries Prince Charles.

Maria's child, Otto, is brought up to believe he is Metterling's son. A dozen years later, Maria introduces Otto to Rudi. Rudi and Maria discover that they are still love with each other, and Maria is unhappy in her marriage, but Rudi realizes he must not break up her marriage for the sake of their son.

Another decade passes. In 1938 Rudi is arrested by the Nazis for helping Jews to escape Austria, but Maria uses her husband's connections to help him. She assures him that their son opposes the Nazis and tells him that he will be remembered for making "the whole world dance".

Productions
The musical was first produced at London's Theatre Royal, Drury Lane on 23 March 1939, directed by Novello's frequent collaborator Leontine Sagan. Novello starred opposite Mary Ellis. It closed at the start of the Second World War in September 1939 after 187 performances. After a three-year provincial tour, the show reopened at the Adelphi Theatre on 14 March 1942, running there until July 1944, for a total of 969 performances. It was the most popular show of the war and earned an estimated £1,000,000. After this, the show toured extensively in Britain and was revived numerous times, including in London, and was adapted for film and television. The 1968 West End revival starred June Bronhill.

The Australian production opened in Melbourne at His Majesty's Theatre in June 1946. The cast included Max Oldaker as Rudi, Elizabeth Gaye as Grete and Viola Wilson as Maria.

Original and 1942 casts

 * Rudi Kleber – Ivor Novello (both casts)
 * Maria Ziegler – Mary Ellis; Muriel Barron
 * Grete Schone – Roma Beaumont (both casts)
 * Cacilie Kurt – Olive Gilbert (both casts)
 * Franzl – Peter Graves (both casts)
 * Prince Charles Metterling – Anthony Nicholla; Victor Bogetti
 * Minnie Rayner

Songs

 * Waltz of My Heart
 * Wings of Sleep
 * My Life Belongs to You
 * Three Ballet Tunes
 * I Can Give You the Starlight
 * My Dearest Dear
 * Primrose
 * Leap Year Waltz
 * Lorelei

Adaptations
The musical was turned into a popular film in 1950. The film cuts some songs and all of Act 3. Televised productions were aired by United Kingdom channels BBC in 1959, and ITV in 1979.

title: The Dancing Years


text:
Genevieve

Genevieve (Sainte Geneviève; Genovefa; also called Genovefa and Genofeva; c. 419/422 AD – 502/512 AD) was a consecrated virgin, and is the patron saint of Paris in the Catholic and Orthodox traditions. Her feast day is on 3 January.

Recognized for her religious devotion at a young age, she met Germanus of Auxerre and Lupus of Troyes when she was a child and dedicated herself to a virginal life. Miracles and healings began to happen around her early on and she became known for changing the weather. She moved from Nanterre, her hometown, to Paris, after her parents died and became known for her piety, healings, and miracles, although the residents of Paris resented her and would have killed her if not for Germanus' interventions. Her prayers saved Paris from being destroyed by the Huns under Attila in 451 and other wars; her organisation of the city's women was called a "prayer marathon" and Genevieve's "most famous feat". She was involved in two major construction projects in Paris, a basilica in the honour of Saint Denis of Paris in 475 and the Basilica of the Holy Apostles, dedicated to Saint Peter and Saint Paul, in c. 500.

Genevieve performed miracles both before and after her death. She was recognized as the patron saint of Paris in the 14th century. She was "a favorite of both the humblest residents and of the Bourbon family, and was equally venerated by Erasmus and revolutionary fishwives" and was considered "a cultural symbol which Parisians shared, appropriated, negotiated, and used according to specific communal assumptions and traditions".

Genevieve was publicly invoked during emergencies related to the needs and expectations of the residents of Paris 153 times between 885 and October 1791, ranging from spontaneous and less-ritualized invocations and processions with her reliquary during the Middle Ages to highly ritualized ones said before her unveiled reliquary in the years leading up to the French Revolution. As times and conditions changed in Paris, so did the ways in which Genevieve was invoked and processed. As new calamities threatened the city and new intercessions to her were needed, new associations, images, and metaphors were required. Her cult remained popular throughout the history of Paris, although her cult has never returned to its pre-Revolutionary popularity and unifying status.

Early life
Genevieve was born c. 419 or 422 in Nanterre, France, a small village almost 7 km west of Paris, to Severus and Gerontia, who were of German or possibly Frankish origins. A candle is one of her most common attributes. Sometimes she is depicted with the devil, who is said to have blown out her candle when she prayed at night.

Genevieve appears in the Martyrology of Jerome; her vita appeared many centuries after her death, although hagiographer Donald Attwater states that her vita claims to be written by a contemporary of Genevieve and "Its authenticity and value are the subject of much discussion". According to historian Moshe Sluhovsky, the Vita of Sainte Geneviève was written shortly after her death, in the late 500s and was based upon the vita of Martin of Tours. In 1310, the first French edition of her vita was published; in 1367, the first French translation was published. As David Farmer states, "little can be known about her with certainty, but her cult has flourished on civil and national pride".

Even though popular tradition represents Genevieve's parents as poor peasants, their names, which were common amongst the Gallo-Roman aristocracy, are considered evidence that she was born into the Gallic upper class. She was recognised for her religious devotion from an early age. When Genevieve was seven years old (c. 429), Germanus of Auxerre and Lupus of Troyes stopped at Nanterre on their way to Britain from Gaul to put an end to the Pelagian heresy. Germanus saw Genevieve in a crowd of villagers who gathered to meet and obtain Germanus' and Lupus' blessing and observed her thoughtfulness and piety. After speaking to her and encouraging her "to persevere in the path of virtue", Germanus interviewed her parents and told them that she would "be great before the face of the Lord" and that by her example, lead and teach many consecrated virgins. As Sluhovsky states, "Miracles marking the young girl as a bride of Christ followed". Genevieve told Germanus that she wanted to follow God; according to her vita, Germanus confirmed her desire to become a consecrated virgin, plucked a coin from the ground, and instructed her to have a necklace made from it to remind her about their meeting. According to the Catholic Encyclopedia, Germanus gave Genevieve a medal engraved with a cross and instructed her to wear it instead of pearls and gold jewelry to help her to remember her commitment to Christ. The Catholic Encyclopedia also states that since there were no convents near Navarre, she "remained at home, leading an innocent, prayerful life"; according to historian Jo Ann McNamara, Germanus inspired Genevieve to dedicate her life and virginity to God's service, which was not limited to an established rule or a monastic lifestyle. It is unknown when Genevieve received the consecration of virgins; some sources state that she received her veil from Pope Gregory I, while others state that she, along with two companions, received them from the Bishop of Paris when she was 15 years old. Sluhovsky states that Genevieve was consecrated c. 437.

Genevieve's vita relates a story about her mother being struck blind after violently preventing Genevieve from attending church on a feast day. After almost two years, Genevieve realised that she was the reason for her mother's blindness; after her mother asked her to retrieve water for her from a nearby well, she restored her mother's sight with it. According to Sluhovsky, the miracle confirmed Genevieve's sanctity and her family later allowed her to be brought with two girls before a bishop to be consecrated as virgins. The bishop blessed her before the other girls even though she was the youngest. Sluhovsky calls her mother's healing the first water-related miracle associated with Genevieve, who was invoked to protect Paris from floods centuries after her death. The Navarre well was a popular site of veneration well into the 15th century. By the 16th century, many miracles occurred at the site and it was one of the major pilgrimage sites in the Ile-de-France.

In the 1700s, an annual pilgrimage to Navarre was celebrated the first Sunday after Easter and many of the well's visitors were members of the French royal family. For example, Anne of Austria had a "special devotion" to Genevieve and would make yearly pilgrimages on January 3, Genevieve's feast day, to the well in Navarre and to pray for the birth of a male heir. After Anne's son was born, she visited Navarre to thank Genevieve and in 1642, donated the cornerstone for a new seminary there. According to Sluhovsky, other fountains and springs were associated with Genevieve and were attributed with healing powers, including for high fevers, into the early modern period. In 1599, the Swiss physician and writer Thomas Platter recorded a possibly earlier water miracle: when Genevieve was still in school, a bridge appeared over a ditch filled with water, and then disappeared after she crossed it. Platter argued that this miracle was the reason the residents of Paris ascribed Genevieve with the power to change the weather.

Later life and death
After her parents' deaths, Genevieve went to live with her godmother in Paris, devoting herself to prayer and charitable works. She became severely paralysed and almost died; after she recovered, she reported that she had seen visions of heaven. In Paris, she became admired for her piety and devotion to works of charity, and practiced fasting, "severe corporal austerities", and the mortification of the flesh, which included abstaining from meat and breaking her fast only twice a week. She fasted, between the ages of 15 to 50, from Sunday to Thursday and from Thursday to Sunday; her diet consisted of beans and barley bread, and she never drank alcohol. After she turned 50 and by order of her bishops, she added fish and milk to her diet. She devoutly kept vigil each Saturday night, "following the teaching of the Lord concerning the servant who awaited the master's return from a wedding".

Genevieve's neighbours, "filled with jealousy and envy", accused her in 445 or 446 of being a hypocrite and imposter, and that her visions and prophecies were frauds. Sluhovsky states that Genevieve "received the divine gift of reading people's thoughts", which displeased many residents of Paris. Sluhovsky also states that opposition to her occurred because she threatened the male hierarchy in Paris, so she needed patronage and recognition from established male authorities, which she received from Germanius, Simeon Stylites, and Clovis I. Her enemies plotted to drown her, but Germanus visited Paris again and defended her, although the attacks continued. The bishop of Paris appointed her to care for other consecrated virgins; "by her instruction and example she led them to a high degree of sanctity". Shortly before the Huns' 451 attack of Paris, Genevieve prophesied that the city would be spared, but that those who fled Paris would be killed. Genevieve and Germanus' archdeacon persuaded the people of Paris that she "was not a prophetess of doom" and convinced the women that instead of joining their husbands and abandoning their homes, to pray and do acts of penance to spare the city. It is claimed that the intercession of Genevieve's prayers caused Attila's army to go to Orléans instead. According to her vita, Genevieve persuaded the women of Paris to undertake a series of fasts, prayers, and vigils "in order to ward off the threatening disaster, as Esther and Judith had done in the past". McNamara, who translated Genevieve's vita, calls it a "prayer marathon" and Genevieve's "most famous feat". Genevieve also persuaded the men to not remove their goods from Paris. The city's residents were again angered by her prophesies, and as Sluhovsky put it, "possibly by her disruption of gender hierarchies"; they again plotted to kill her, but she was saved by Germanus' intervention; a messenger was sent to bring her eucharistic loaves shortly after his death, which prevented the residents from carrying out their plan against Genevieve. Years later, Genevieve "distinguished herself by her charity and self-sacrifice" during the defeat of Paris by Merowig in 480 and was able to influence him and his successors, Childeric and Clovis I, to be lenient towards the city's residents. According to Farmer, Genevieve made an agreement with soldiers during the siege of Paris to obtain provisions, which were transported by river from Arcis and Troyes. Her vita reports that Clovis, who venerated her, often pardoned criminals he had put in prison at Genevieve's request, even if they were guilty; Attawater states that Genevieve asked Clovis to free prisoners and be lenient to lawbreakers. According to Farmer, she "won Childeric's respect". He ordered the Paris gates closed so that Genevieve could not rescue prisoners he wanted to execute, but after Genevieve was informed of his plans, she opened the gates by touching them, without a key; she then met with Childeric and persuaded him not to execute the prisoners. She led a convoy, and "proved herself capable of leading a paramilitary operation which necessitated crossing enemy lines", through the blockade of Paris up the Seine from Troyes to bring food to the starving citizens. On her return home, Genevieve's prayers saved the eleven ships that carried her, her companions, and the grain for the residents of Paris. Back in Paris, she gave food to the poor first.

Genevieve was also involved in two major construction projects in Paris. She had a strong devotion to Saint Denis of Paris, the city's first bishop, and wanted to build a basilica in his honour in 475, even though the local priests had few resources. She told them to go to the bridge of Paris, where they found an abandoned lime kiln, which provided the building materials for the basilica. After praying all night, one of the priests promised to raise the funds needed to hire workers, and carpenters donated their time to gather wood and other resources. When the workers ran out of water to drink, Genevieve prayed and made the sign of the cross over a vessel, and water was miraculously provided. The basilica was later called the Priory of Saint Denis de Strata. Genevieve collaborated with Clothilde, the wife of Clovis I, to bring about his conversion to Christianity; shortly before her death, Genevieve convinced him to build the Basilica of the Holy Apostles, dedicated to Saint Peter and Saint Paul, which was completed after the year 500. After Genevieve's death, in recognition of her part in Clovis' conversion, Clothilde was able to honour her grave.

Genevieve's vita states that "she passed over in ripe old age, full of virtue"; she died at the age of 82. After her death, she was enshrined in the Basilica of the Holy Apostles, which she helped build. She was buried next to members of Clovis' family and she was considered a protector of the royal family. Miracles started occurring at the basilica immediately following her internment there; her vita records the earliest ones. Her entombment at the basilica helped Genevieve gain prestige; soon after her death, her tomb became a pilgrimage site. Genevieve's vita states, about the basilica, "A triple portico adjoins the church, with pictures of Patriarchs and Prophets, Martyrs and Confessors to the faith in ancient times from pages of history books". Healings took place at her shrine after Genevieve's death; oil that was kept in the Abbey of Saint Genevieve, which was built early in the 6th century, was reported to heal blindness as late as the 9th century. Additional miracles experienced by pilgrims to her shrine were recorded into the 14th century. Similar to the miracles that occurred during Genevieve's lifetime, there were reports of miracles such as the healing of eye disease, paralysis, the plague, and high fever.

Miracles
According to McNamara, during the Franks' many sieges of Paris, Genevieve had to convince them "that she and her God were allies worth having". McNamara also states that Genevieve "aligned with the poor and the conquered against unharnessed secular power". McNamara believes, however, that her status as a woman with no official status or political power "rendered her innocuous in the context of secular power" and reports that Genevieve inspired the Franks to respect the Gallic saints and provided evidence to the rulers on both sides that God responded to her prayers. McNamara goes on to state, "Power, as expressed through miracles, protected Childeric and his successors from the possibility that whatever mercy and indulgence they showed towards the saints and to the poor they championed might be construed as a sign of weakness unbecoming a warrior". Sluhovsky states that miraculous healings, which included restoring sight to the blind, healing women of paralysis, and expelling demons from the possessed, occurred both during Genevieve's lifetime and after her death,. According to the Catholic Encyclopedia, Genevieve had frequent visions of heavenly saints and angels. She also performed miracles in Paris and throughout the Ile-de-France, which included exorcising demons, healing the blind, resurrecting the dead, rescuing prisoners, and helping a consecrated virgin escape her fiancé. Genevieve's vita reports that she rekindled a candle after it went out on the way from her cell to the Basilica of Saint-Denis; the virgins with her were frightened, so she asked to hold the candle and it immediately lit up again. When she arrived at the basilica, the candle was consumed by its own fire and after completing her prayers, another candle was lit when she touched it and people were healed when they procured fragments of her candle. Later stories about this event report that a demon was trying to extinguish the candle and that an angel protected her. According to Sluhovsky, the residents of Paris were familiar with this story because an angel, looking over her right shoulder, and a demon, looking over her left shoulder, were featured with her in the most common iconographic representations of Genevieve, including in several late medieval and early modern drawings, miniatures, and engravings. The image also appeared in the earliest surviving statues and miniatures of her, including her statue at the Louvre, created in the 13th century, and a miniature at her abbey.

Genevieve's vita states that when a woman stole Genevieve's shoes, the woman was struck blind when she arrived at her home; someone led her back to Genevieve, who healed her after she asked for her forgiveness. Her vita also reports that Genevieve was able to discern that a young woman was lying about her chastity and that "she restored vision, strength, and life to various people". Genevieve also healed a nine-year-old girl who lived in Lyon and healed, by the laying on of her hands, a young girl who had not been able to walk for two years. Genevieve resurrected a four-year-old boy, the son of a woman she had healed of demon possession, who had fallen into a well and drowned. The boy was baptised on Easter and was subsequently called Cellomerus because he "had recovered his life in [Genevieve's] cell". Also during Easter, she healed a blind woman with prayers and with the sign of the cross. She healed a man from Meaux who had a withered hand and arm; she prayed for him, touched his arm and joints, and made the sign of the cross over him; he was restored to health in 30 minutes. She released twelve people who lived in Paris of demon possession; she ordered them to go to the Basilica of Saint-Denis and healed them after making the sign of the cross over each of them. Genevieve was asked to heal the wife of a tribune of paralysis, which was done with prayer and the sign of the cross. While in Troyes, many people were brought to her for healing, including a sick child who was healed after drinking water she had blessed, as well as a blind man, whom the writer of her vita reports had been punished for working on Sunday. Her vita also reports that many people, including those suffering from demon possession, had been healed after tearing off parts of her garments. She healed a city official, who had been deaf for four years, by touching his ears while making the sign of the cross over them. Her vita describes miracles that happened in Orléans through her intercessions, including raising the daughter of a family's matriarch from the dead and healing a man who became ill because he refused to forgive his servant. Genevieve then visited Tours, "braving many perils on the River Loure"; she was greeted there by a crowd of people possessed by demons, whom she healed, with prayers and the sign of the cross, in the Basilica of Saint Martin. Some victims reported that Genevieve's fingers "blazed up one by one with celestial fire" while healing them. She also healed three women of demon possession privately, in their homes, and at the request of their husbands. Genevieve's vita reports that in Tours, "everyone honored her in her comings and goings". Her vita also reports that near Genevieve's home, she was able to spot and remove a demon from the opening of a water vessel.

The parents of a young boy brought her their son, whom she healed of blindness, deafness, and paralysis by making the sign of the cross and rubbing oil on him. Her prayers protected a harvest near Meaux from a whirlwind during a rainstorm; neither the reapers nor the crops were touched by any water. Another time, while traveling by ship on the Seine, her prayers saved the ship; her vita makes the connection between this and the miracle of Christ calming the storm in the Gospels. Genevieve would often use oil to anoint and heal the sick. Her vita reports that on one occasion, she sent for a vessel with oil that was supposed to have been blessed by a bishop, but after she prayed for an hour, the vessel was miraculously filled with oil and she was able to heal someone from demon possession.

Influence
By the 14th century, Genevieve was recognized as the patron saint and a protector of Paris, which Sluhovsky finds remarkable because she was a woman. Sluhovsky called Genevieve's cult, which lasted over 1,000 years, "a success story" and said, "It was a process of expanding patronage—from monastery to neighborhood, to city, to the entire kingdom. Throughout, however, the saint managed to maintain her intimate friendship with the people of Paris". According to Shuhovsky, "[Genevieve] became a favorite of both the humblest residents and of the Bourbon family, and was equally venerated by Erasmus and revolutionary fishwives". Sluhovsky considers Genevieve "a cultural symbol which Parisians shared, appropriated, negotiated, and used according to specific communal assumptions and traditions".

Complex images and attributions of Genevieve were created over a period of over 700 years, in liturgical writings, in editions of her Vita, in iconography, and in textual metaphors that were motivated by changing social, political, and religious conditions. Despite a wide variety of changes throughout the history of Paris and despite the numerous choices its residents had for possible intercessors, Genevieve was chosen as the city's patron saint. According to Sluhovsky, Genevieve successfully maintained her place in what he called "the hierarchy of the sacred in Paris" throughout the city's history. The placement of her shrine, for example, remained static, despite the changes that occurred throughout the city's history. Her public cult connected segments of French society and the urban and rural parts of France by bringing peasants into the city and by motivating urban residents to pray to her for successful crops and harvests outside Paris. Two churches in England, where five convents celebrated her feast, were dedicated to her during the Middle Ages, and her cult also spread to Southwest Germany.

Invocations and processions
Genevieve was publicly invoked during emergencies related to the needs and expectations of the residents of Paris 153 times between 885 and October 1791. They ranged from spontaneous and less-ritualized invocations and processions with her reliquary during the Middle Ages to highly ritualized ones said before her unveiled reliquary in the years leading up to the French Revolution. The reasons for the invocations also changed, from protection against floods to prayers for military victories, against a variety of meteorological occurrences, and for a steady food supply into Paris. Over 70 emergency invocations of Genevieve were processions with her reliquary from her shrine to Notre-Dame Cathedral. By the 18th century, the public rituals invoking Genevieve "were motivated not so much by concern for the well-being of the city at large, but for the well-being of the royal family".

Genevieve's relics were involved in 120 public invocations between 1500 and 1793, with over one-third occurring during the 18th century, which art historian Hannah Williams found surprising because "superstitious spirituality, with miracle-working objects and cults of saints, sits uneasily with our idea of the eighteenth century as the 'age of reason'". As Williams states, Genevieve's relics were "intimately tied to the city's history" and were called upon by the residents of Paris during times of crisis, "their faith rewarded with Saint Geneviève's long and impressive record of miracles". In 2016, Williams conducted an art-historical study of Genevieve's miracles, following four objects—her relics, two paintings, and Saint Genevieve's Church—across four events in the history of Paris, in order to demonstrate how their "use, reuse, transformations and appropriations reveal not religious decline, but shifting devotional practices and changing relationships with religious ideas and institutions" in Paris and throughout France. Williams also sought to demonstrate, using Genevieve's objects, the inseparability of religion from 18th-century Paris life.Sluhovsky states that as times changed in Paris, the way in which she was invoked also changed. As new calamities threatened the city and new intercessions to her were needed, new readings of her vita provided the associations, images, and metaphors required. As Sluhovsky says, "Geneviève was remade to fit new expectations". Sluhovsky also states that Genevieve remained relevant for her followers because "she was made and remade by them" and because her roles, which changed throughout the centuries, were designed with different meanings, functions, and attributes. For example, Sluhovsky reports that the French government controlled and used Genevieve's relics for religio-political purposes, invoking her intervention in wars and sieges throughout the 14th and 15th centuries. Her image was changed into a military protector of France and "a warrior in the service of Paris", but points out that this change did not replace other images of Genevieve, but was "one of the extension of [her] roles".

Scholar Maria Warner states that Genevieve "benefited from the extension of taxonomy of female types" like Joan of Arc; Sluhovsky adds that it was part of the new image of the female warrior that connected her with contemporary concerns, which increased in popularity during the 16th century, when "France was preoccupied with military affairs". This preoccupation included, during the 16th century, 17 public rituals "to implore God for the victory of the Catholic Church" over Protestantism and the successful military operations associated with it. Sluhovsky states that Genevieve's image as a warrior and protector occurred at the same time when women like Catherine de' Medici and Anne of Austria gained more political power in France. Although Genevieve was attributed with male qualities that were usually given to bishops and military leaders, the residents of Paris were aware of the fact that their patron saint was a woman. For example, her reliquary and relics were not allowed to leave her shrine unless they were accompanied, escorted, and protected by a male, Saint Marcel. Her works and miracles, such as food supply and charitable works, were associated with feminine activities, Anne of Austria invoked Genevieve for her fertility, and most of her followers were women.

Artistic representations
The most notable artistic representations of Genevieve, which continued traditions from the late Middle Ages, were created between the 17th and 19th centuries, including the frescoes of Pierre Puvis de Chavannes in the Panthéon. Several iconographic images depicting Genevieve's water-based miracles were created during the Middle Ages, including a small bas-relief as part of her effigy in the portal of Notre-Dame, which also depicted the well in Navarre where Genevieve retrieved the water that healed her mother. A statue in the Abbey of Saint Genevieve, in the shape of a fountain, depicted her holding a candle with water flowing from the tip. Another small statue, erected inside the abbey's shrine, near the altar, depicted her with the emblem of Paris at her feet, and holding a key to heaven and a scepter.

Genevieve is portrayed protecting Paris from a flood in a Parisian Book of Hours published in the late 1400s and her image as a fountain is included in hymnals also published in the 1400s. In the early 1400s, a mystery play was composed by her canon called the Miracles De Sainte Genevieve; it related 14 episodes in her life, including her defence of Paris, and compared her to Joan of Arc. In 1512, the poet Pierre du Pont wrote a votive poem in honour of Genevieve, which was dedicated to Phillippe Cousin, who was the abbot of Saint Genevieve Abbey. It was the first work to portray Genevieve as a shepherdess, like Joan of Arc, which even though it contradicted Genevieve's family history and was historically inaccurate, became immediately popular in her literary and iconographic depictions. Other images created at the end of the 1600s include a large-size painting of Genevieve, which portrayed her surrounded by a flock of sheep, and an engraving by Léonard Gaultier, which included traditional medieval images of her, as well as the newer image of her as a shepherdess and warrior. By the mid-1600s, the image of Genevieve as shepherdess also appeared in the Catholic liturgy. In 1652, a book of hymns dedicated to Genevieve was published by Antoine Godeau, a poet and the bishop of Venice, that invoked water-based images, metaphors, and associations connected with Genevieve. In 1913, the early 20th-century writer, Charles Péguy, wrote a series of poems referring to 15th-century French saint Joan of Arc as a reincarnation of Genevieve. French sculptor Paul Landowski created a statue of Genevieve in 1928, which honoured her protection of Paris during World War I, at the Pont de la Tournelle.

Early Middle Ages
Many of Genevieve's activities during the Middle Ages were similar to contemporary Gallo-Roman bishops. For example, the author of her vita compares her to Martin of Tours, who saved Worms, and Aignan of Orléans, who organised the defense of Orléans, also like Genevieve, against the Huns. She has also been compared to Leo I, who rescued Rome from Attila the same year that she diverted Attila from Paris. She also participated in the consolidation of Clovis' power and in the defeat of Arianism, and her active life in Paris occurred at the same time the city's influence was increasing. Like other female saints, she "had to assume male characteristics in order to gain influence and to resolve the contradictions between her gender and her prominence". In her vita, Germanus advised Genevieve to "act manfully", and she was compared to Judith and Esther, Biblical figures who also crossed gender boundaries.

By the eighth century, a hospice for pilgrims was built next to the Basilica of the Holy Apostles; by the ninth century, the basilica was known as Saint Genevieve's Abbey. A small canon was formed and a small abbey was built in Genevieve's honor in the early 800s. The community was forced to flee during the Siege of Paris in 845; they brought Genevieve's reliquary with them and hid them in Athis, Draveil, and Marizy, although they were returned to Paris in 862. According to Sluhovsky, miracles occurred at all three sites and increased her fame throughout the Ile-de-France. In 885, the residents of Paris invoked the intercession of Genevieve and other saints when Paris was besieged by the Normans; she was credited with the city's success in repelling them. Sluhovsky states that it "affirmed her role as a divine intercessor". It was also the first time that she was invocated for the city as a whole, not just for individuals who visited her shrine, and established a tradition of public invocations of Genevieve. According to Sluhovsky, the later 800s to the eleventh century was a time of rebuilding after the destruction of the abbey by the Normans, but it was also a time of growing popularity for Genevieve. Liturgical texts and hymns were written in her honor during this period.In the winter of 834, heavy rains deluged Paris; the city's bishop encouraged the residents to fast and do penance. The only dry church where prayers could be conducted was Genevieve's abbey, where the only dry area was floor around her deathbed, which was kept in the abbey. The waters of the Seine receded immediately. The miracle was compared to Moses' parting of the Red Sea in the Bible and her reliquary was compared to the Ark of the Covenant, which, according to Sluhovsky, authenticated Genevieve's power. Sluhovsky states that Genevieve's connection with water-related miracles, images, and objects were established after the invocations to her interventions were successful and were "not self-evident, but rather a result of a culminative process of successful miracles ... and propagation of the saint's role by her guardians". Most of the sources that document Genevieve's water-based miracles and interventions were composed and complied at her abbey, during a period in which water disasters most threatened Paris. Historian Anne Lombard-Jourdan states that Genevieve was substituted for and assigned the attributes of Leucothea, the Greek marine goddess whose name might be the origin of the name of Paris.

In 997, Robert I of France donated a new altar to the basilica and Genevieve's reliquary was moved from the crypt to the new altar. Robert the Pius became the basilica's patron in exchange for their prayers for him and for the stability of France, an arrangement that was renewed under Henry I and Louis VI. At first, the members of St. Genevieve's abbey followed the Rule of Chrodegang, which emphasized living in community, although cloistering and poverty were not mandatory, and obedience to the rule was lax; for example, her secular canons were able to keep the funds they received. The community was reformed by Pope Eugene II beginning in 1147.

High Middle Ages
Genevieve was called one of the most venerated saints of the early eleventh century. As Farmer states, Genevieve's shrine "was carried in procession in times of disaster" during the Middle Ages and the citizens of Paris have "invoked her in times of national crisis" many times. In 1129, during an epidemic of ergot poisoning, which Farmer called her most famous cure, was stayed after Genevieve's relics were carried in a public procession from her reliquary to Notre-Dame Cathedral. The city's bishop called for the procession only after everything else had been tried, including prayers to the Virgin Mary. Genevieve's prestige increased and a third feast day honouring her was set at November 26, in a special liturgy celebrated by the entire country. All but three of the ill who gathered at the cathedral were healed. According to Sluhovsky, this was the first time a procession with Genevieve's reliquary took place. By the late 15th century and until 1993, the event was commemorated annually in the churches in Paris. According to Sluhovsky, the procession was "purely clerical" and served to connect St. Genevieve's Abbey and Notre-Dame. In the early 1130s, a rumor, was circulated that Genevieve's head "was no longer attached to her body and was no longer in the possession of her abbey", which would have threatened both the religious and secular authority of the abbey and basilica. After an examination was conducted on January 10 by order of Louis VII, the rumor was disproven and the date was established as the feast day of the Revelation of Genevieve's reliquary. At the end of the twelfth century, Genevieve's basilica was rebuilt by Danish nobles to compensate for its destruction by their ancestors.

In December 1206, Genevieve was called upon to protect the city from a flood; another procession was organised and her relics were, like in 1129-1130, paraded into Paris and relics from other churches were escorted with hers. Her body was brought from the abbey to Notre-Dame, a Mass was said, and then she was returned to the abbey. The Seine receded and even though the relics and the participants in the procession crossed the Petit Pont twice and the bridge's foundations were weakened from the threatening flood waters, it did not collapse until the reliquary was returned and no one was injured. According to Sluhovsky, by the second half of the 1200s and continuing into the early 16th century, a tradition of invoking Genevieve to protect Paris from floods was established, often as a last resort, when the prayers to other saints were ineffective. Genevieve's prestige, along with the power and prosperity of her community, increased through the Middle Ages. Processions were conducted annually throughout the High Middle Ages, four times per year: 3 January, her feast day; the third Sunday in Lent; on Palm Sunday; and on the Eve of the Ascension. Like most processions of the time, the processions started at Notre-Dame and ended at the appropriate religious sites, in this case, at Saint Genevieve's Abbey. One of the yearly processions conducted in Genevieve's honor occurred on the final day of the Rogation Days, an important three-day procession during the harvest season. The procession ended at St. Genevieve's Abbey and connected Genevieve to Marcel of France, another saint that had saved Paris from both a dragon and from agricultural ruin. Its purpose was both agricultural and geographical, blessing the harvest and the urban space of Paris. The procession that occurred on Genevieve's feast day was reserved only for clerics of her abbey and of Notre-Dame, without the participation of the laity, unlike most processions of the time. In 1447, Guillaume Chartier, the bishop of Paris, declared January 3 a public holiday; it was later approved by the Parliament of Paris and Genevieve was honoured in all churches in Paris.

Genevieve's abbey was fortified and included within the city's new walls in 1210, and a new parish church, the Saint-Étienne-du-Mont, was constructed near by. Rental fees were paid to the abbey by its parishioners, which increased the abbey's power and financial success. A new reliquary was built at the Étienne church beginning in 1230, and Genevieve's bones were translated there in 1242, the anniversary of her first translation during the first Norman attack of Paris. Genevieve was not the only saint who had lived in Paris and who was invoked with rituals and processions, but as Sluhovsky states, "from the twelfth century on she acquired a unique position among Parisian saints".

Late Middle Ages
In 1303, the earliest known confraternity in Genevieve's honour was formed in the Church of the Holy Innocents in Paris. Other confraternities and occupational and devotional groups were founded in Nanterre during the early modern period. In the 17th century, two confraternities existed in the Saint-Étienne-du-Mont; the second one included both men and women and had over 400 members between 1605 and 1640. Genevieve was also honoured in parishes throughout France. In 1412, King Charles VI approved the establishment of the Confraternity of the Bearers of the Reliquary of Saint Genevieve, perhaps as a way to consolidate his support in Paris and in the 1400s, a Ceremonial of Saint Genevieve, one of the oldest documents of its type, was published. It was a compilation of descriptions and instructions of all liturgical and semi-liturgical events conducted in the Abbey of St. Genevieve.

In 1525, a lay confraternity, established at Saint Genevieve's Abbey in 1412, obtained permission from the convent's abbot to share with its canons the ability to carry Genevieve's reliquary during public processions. As a result, the confraternity changed its name to the Company of the Bearers of Reliquary of Sainte Geneviève and processions became its most important task. By 1545, Genevieve's canons gave up their rights to carry her reliquary, for unclear reasons, and only the lay members of her confraternities did so. According to Sluhovsky, who called it a "laicization" of the ritual, the change happened at the same time that Genevieve's invocations were becoming major civic ceremonies. Also according to Sluhovsky, who describes the regulations and practices of the Company of the Bearers of Reliquary of Sainte Geneviève up until the 18th century, members had to financially support its activities, including payments to the abbey for its clerics to perform Masses for them. As of the late 20th century, the Company was still in existence in Paris and continued to carry Genevieve's reliquary in an annual procession held during her octave. The processions, conducted by the elderly male members and assisted by its female members, occurred inside the Church of Saint-Étienne-du-Mont, where a small reliquary that was created during the 19th century, after the larger one was destroyed during the French Revolution, and which still exists.

Influence during the 16th century
Beginning in 1535 and through 1652, appeals to Genevieve "were always highly politicized" and included attempts to both impose and oppose royal authority. On January 21, 1535, Genevieve's reliquary took part in "a major supplicatory procession" to invoke God against the Protestants in France. It was one of the largest and most spectacular religious processions that occurred in Paris and was ordered by King Francis I. According to Sluhovsky, the reliquary of Genevieve, the Eucharist, and the king's presence symbolised the urban, the Catholic, and the national identities of the French, all of which "joined together to undo the harm of fragmentation and discord, symbolised by Protestantism". Sluhovsky also states that the procession presented new relationships between the identities and symbols, as demonstrated in the new route of the procession, which started at Notre-Dame, paused at the royal church of Saint-Germain-l'Auxerrois near the Louvre, and ended back at Notre-Dame. It was the first time a procession marched in the commercial section of the Paris, connecting the royal church, the royal palace of the Louvre, and Notre-Dame; it was the first time that Genevieve's reliquary crossed the Seine to the Right Bank and made a statement that the city's unity depended upon royal authority. In 1535, Genevieve's cult became connected to the cult of Corpus Christi, which was included in what Sluhovsky called the "royal religion of early modern French absolutism" because the throne appropriated and changed it to support its authority and power in France. Sluhovsky goes on to say, "By parading the reliquary of the patron saint on a route which led from the royal parish to the cathedral, and by employing Sainte Geneviève to honor her superiors, a new balance of political powers in the city derive not from the patronage of Sainte Geneviève but from the powers of the Host and the king". In the summer of 1549, Genevieve's reliquary was involved in a royal supplicatory procession, which crossed the Seine to the Saint-Paul-Saint-Louis and then to Notre-Dame; it included the burning of heretics. In 1551, 1568, and 1582, her reliquary processed from the Sainte-Chapelle to Notre-Dame instead of from her abbey, where it was used during royal invocations against the Protestants. As Sluhovsky states, "The redrawing of the Catholic space of Paris strengthened royal authority in the urban space, a royal authority that demanded clear demonstrations of compliance and humility from the city, just as it demanded and obtained them from Sainte Geneviève". These processions broke the tradition of bringing the reliquary and relics of Saint Marcel to Genevieve's abbey before processing to Notre-Dame; instead, it required that her reliquary "humbled itself" to honour the Eucharist and the king. It was also the first time her reliquary was not the most prestigious part in a public ritual.

In 1562, two processions were held to cleanse Paris from the heresy of Protestantism. The first procession ended at Saint Genevieve's Abbey and in the second, Genevieve's reliquary was carried by 20 barefoot laymen wearing flowers on their heads and was received with enthusiasm from the public. Sluhovsky considered the processions as a reaffirmation of the Eucharist and of Genevieve's part in how the Catholic authorities in Paris handled the divisions caused by the French Wars of Religion, between Catholics and the Huguenot Protestants. In 1589, processions were held and Genevieve was invoked in well-organised responses to conflict between King Henry III, the House of Guise, and the Catholic League. It was the first time that the public invoked Genevieve against the king. As Sluhovsky states, "the Feast of Saint Genevieve became a feast of hatred and division, not of harmony and peace". Sluhovosky also states that for the first time, invocations of Genevieve changed from demonstrations of loyalty to public demonstrations of revolt and disloyalty to the king. In 1591, the royal army besieged Paris; an attack on the army, led by Chevalier d'Aumale, was planned to occur on Genevieve's feast day. Prayers were made at her shrine as the fighting happened, but the attack failed and D'Aumale was killed. Sluhovsky reported that the failure decreased the city's devotion toward Genevieve; he called their accusations against her "not unfounded". Two more supplicatory processions occurred in 1594, but it also failed; Sluhovsky states that they demonstrated the "authorities' inability to control the public cult of Sainte Geneviève".

During the 1560s and 1570s and throughout the latter half of the 16th century, Genevieve was invoked for assistance during famines and food shortages, both in Paris and its outlying areas. Her invocations against water-based disasters, which influenced the country's crop yields, began to include "all sorts of agricultural and meteorological exigencies". As Sluhovsky stated, Genevieve "gradually became the patron saint of subsistence, the supplier of grain to the city". Beginning in the late 1500s, most of the processions with her reliquary occurred during the spring and early summer harvest months; in the previous centuries they occurred during the fall and winter, when the Seine was likely to flood. The response to all the major climate disasters of the 17th and 18th centuries were public invocations of Genevieve's interventions. Sluhovsky called this image of Genevieve "the nurturing patron" and considered it a feminization of her image at a time when women's roles were changing and becoming more restrictive, and when several canons took her as their patron saint, including novices to the Carmelite order in Paris. Genevieve's connection with charity, caring for the poor, and food relief, which continued to occur during the late 1600s, were based upon events during her life and was also expressed with processions of her reliquary and reports of her distribution of food to the poor in 1665. Other processions included one in 1556, in response to a drought throughout France, when peasants organized a procession to numerous shrines throughout Paris, including Genevieve's, when they were joined by city residents "in spontaneous public invocations of the patron".

Influence during the 17th century
In 1619, François de La Rochefoucauld, a cardinal and confidant of Richelieu, was appointed abbot of Saint Genevieve's Abbey, which became the new headquarters of the Congregation of France and the center of monastic reform; by 1650, one-third of all monastic communities in France were included in the congregation. In 1649, when Paris was again engaged in open rebellion against the king, Genevieve appeared to Anne of Austria, the mother of King Louis XIV, in a vision after Anne invoked her for peace and the protection of the Paris people, even though many had just rebelled against her. The vision gave a different interpretation of a miracle that had occurred during Genevieve's lifetime; another depiction of another vision of the same miracle was distributed using the printing press, the first time it was used to recruit Genevieve "into oppositional political propaganda". Both visions used Genevieve's prestige to "articulate contemporary public opinions and sentiments". In 1652, additional entreatments and processions were called in response to the Fronde and the food shortages it caused. According to Sluhovsky, traditional veneration of Genevieve had "given way to manipulation" and after 1652, "all public invocations would be confronted with wide public cynicism and skepticism". By the 17th century, public invocations of Genevieve, even though their liturgies remained the same, changed from clerical affairs to secular public celebrations. Sluhovsky calls the clerical-based processions "ordinary" and the later popular entreatments and processions of the saint "extraordinary". Ordinary processions honoured Genevieve, legitimised her "unique position in the hierarchy of the sacred in Paris", established the route, between Notre-Dame and her shrine, of the processions, and solidified the "reciprocal relationship" between the cathedral and the shrine. Ordinary processions were based on the calendar and were marches from city to the shrine outside the city, while extraordinary processions and invocations were called during emergencies and were carried into Paris, for the city. At first, extraordinary processions were religious events and controlled by the clergy, but by 1631, Paris' secular authorities ordered and planned them. As Sluhovsky states, "Religious and secular bodies now shared the responsibility of organizing invocations, determining their dates, mobilizing the city, and guarding the reliquaries". Sluhovsky goes on to state that the new, extraordinary processions and invocations were a combination of Masses and celebrations of urban pride, and focused on processions to and from Genevieve's shrine. The later processions, according to Sluhovsky, turned into urban moveable feasts and emphasised the growing power of the city's elites and government officials. He states, "The religious austerity that characterized the invocations of the thirteenth century and of late medieval Paris, with its emphasis on penance and contrition, was replaced by the contradictory expressions of supplication and triumphalism". Theologians and preachers criticised the new forms for becoming spectacles, called for a return to older models, and speculated that Genevieve would no longer grant the people's invocations because they no longer made their requests to her sincerely.

In the early 17th century, many religious ceremonies were secularized, which required a remaking of Genevieve's cult. The Bourbons appropriated and incorporated it into their royal rites, ending traditional forms of her veneration, creating new ones, and provided her with the new role of protecting the royal family. According to Sluhovsky, these changes also "distanced humble Parisian believers from direct communication with their saint". Despite this, however, Genevieve maintained her prominence and her followers' loyalty to her did not decline. In 1764, in what Sluhovsky calls "the most significant event in the history of royal involvement with the cult of Sainte Geneviève", King Louis XV began construction of a new church, which later became the Panthéon, in her honour, ending over 200 years of royal patronage of her and financial support of her abbey and churches.

For example, Anne of Austria not only financially supported Saint Genevieve's Abbey, she also supported the small church dedicated to Genevieve in Nanterre, where Anne made yearly pilgrimages and founded a seminary there in 1642. In 1658, Genevieve was invoked to heal Anne; no procession was called, but Genevieve's reliquary was removed, and Anne recovered from her illness. Two years later, however, Anne fell ill again and a similar ceremony was held, but it did not work this time and Anne died during the invocation. Genevieve's reliquary was removed 50 more times in the next 100 years, 33 times for the health of members of the French royal family. According to Sluhovsky, by the 17th century, "The shepherdess from Nanterre that Parisians had invoked a thousand years as a humble neighbor became ... a royal courtier". Saint Genevieve's Church began to be rebuilt in 1746 because it had decayed; as Farmer states, it "was secularized at the Revolution and was called the Panthéon, a burial place for the worthies of France".

In 1694, for example, Paris was in the middle of a severe economic crisis, with poor harvests, bad weather, threats of starvation, and an ongoing war, so the residents of Paris and the Ile-de-France invoked Genevieve'a intervention. Spontaneous processions and pilgrimages to Saint Genevieve's abbey started in early May, before an official proclamation allowed both clerics and lay people to participate. At first, invocations were made at the abbey, but it was not enough to improve the weather, so a public procession was called for on May 27. According to Sluhovsky, the poor, who were most affected by the food shortage, were allowed to participate to serve "social and political goals". Sluhovsky states, "By mobilizing the 'deserving poor' to invoke the saint, the organizers made God and the saint accountable for the food shortage, thus preventing the poor from holding the authorities themselves responsible". Also according to Sluhovsky, "The procession led to the expected results". Rain began immediately after the procession began, saving the country's crops, and other miracles occurred, including a victory against Spain, healings from paralysis, and the decrease in the price of wheat. The government of Paris commissioned a painting commemorating the event by Nicolas de Largillière. According to Sluhovsky, "An entire day of communal mobilization replaced the austere early morning processions of the late Middle Ages". The event was criticised, despite its popularity, for changing the processions into secular events.

18th century and French Revolution
In 1725, Genevieve was invoked amidst religious and political conflict, which as Sluhovsky states, "had an impact on the ability of lay Parisians to maintain their traditional forms of devotion". Sluhovsky adds that the emotions the royal appropriation of Genevieve caused during the 1720s to the 1750s were motivated by Paris' deep attachment to Catholicism. In 1744, King Louis XV became ill in Lorraine during the War of the Austrian Succession; he invoked Genevieve, was healed, and made a pilgrimage to her shrine. The abbot and canons showed the king the church, which was deteriorated, and the king pledged to finance its renovation, which totaled over 25,000 livres. The construction was completed in 1764, when Louis XV laid the church's cornerstone. The project was criticised for being too expensive and unnecessary, and for the misuse of funds that could have been used for public relief. Sluhovsky called the building project the "beginning of one of the most important transformations of the cult since the construction of the original basilica in the sixth century". Genevieve was continued to be invoked by the royals throughout the 1700s, but the citizens of Paris often opposed and ridiculed them. The opposition of the royal appropriation of Genevieve occurred at the same time Protestants and Paris elites, including Voltaire, began to criticise Catholic practices such as the cult of the saints. The appropriation of Genevieve by the monarchy did not decrease the people's devotion to her during this time, even when processions stopped and invocations to her were made for the royal family during the late 18th century. She regularly appeared in the popular religious literature of the time. By the late 18th century, lay devotion to her was no longer controlled by municipal or royal authorities. During the French Revolution, she was used "against the very same establishments which in previous centuries had been intimately connected with [her] cult". In July 1789, Saint Genevieve's Church was used to celebrate the Revolution, although the Revolutionary authorities eventually ended her cult. Genevieve's shrine and relics were mostly destroyed during the French Revolution, but as Farmer states, "this by no means finished her cult in France". In April 1791, after the death of Mirabeau, the early French Revolutionary leader, the French government secularised the Church of Saint Genevieve and turned it into a national monument and shrine honouring him. It ended an over 1,000-year period in which the building served as the center of Genevieve's cult, as well as the religious traditions centering on her processions. Also in 1791, the ashes of Voltaire were transferred to the church, which was renamed the Panthéon. Despite the secularisation the transfer implied, Voltaire had a devotion to Genevieve and was proud of his grandfather's membership in the Company of the Bearers of Reliquary of Sainte Geneviève. On his deathbed, Voltaire renewed his devotion to her. According to Sluhovsky, the building "became a temple of the new deities of the Enlightenment" and "a temple of civic liberty". He also called it "a turning point in the history of the monument"; the same time Voltaire's remains were transferred, Genevieve's remains were moved out of the church and into another part of the abbey. A year later, in 1792, after the monarchy's fall, Saint Genevieve's Abbey was secularised and confiscated, and despite the protests of hundreds of nearby residents, her remains were transferred again, to the Saint-Étienne-du-Mont. Sluhovsky reports that Paris residents opposed the secularisation of Genevieve's shrine. In 1793, at the beginning of the Reign of Terror, her reliquary was brought to the Hôtel des Monnaies and dismantled; the funds collected were put into the government's treasury. According to Sluhovsky, Genevieve's bones were put on trial, found guilty of collaborating with the royal authorities, and condemned to be publicly burned at the Place de Greve. Her ashes were then thrown into the Seine.

Post-Revolution to modern age
In 1803, after the end of the Revolution, Genevieve's cult was revived by Napoleon at the Saint-Étienne-du-Mont. New fragments of her relics were brought to Paris from other churches and a new reliquary was built. In 1806, Napoleon ordered that the Panthéon be returned to its original purpose. In 1822, Louis XXVIII founded a new Church of Saint Genevieve on the grounds of the Panthéon and she was reinstated as the patron saint of Paris. In 1831. A portion of Genevieve's stone tomb currently resides in a large casket in the church; a smaller reliquary contains the bones of one finger. Louis Phillippe I reinstated the building to a secular temple and Genevieve's relics were sent to Notre-Dame, but Napoleon III reinstated it as a church in 1851. Genevieve's relics, which survived the Revolution and were stored in churches outside of Paris, are stored in a reliquary at the Saint-Étienne-du-Mont, in her chapel.

According to Sluhovsky, Genevieve's cult experienced renewed popularity when she represented Catholic opposition to Republicanism. She was invoked to save France during World War I and a procession carrying her relics occurred to prevent the German occupation of France during World War II. Also according to Sluhovsky, although Genevieve remains as the patron saint of Paris, her cult has never returned to its pre-Revolutionary popularity and unifying status.

title: Genevieve


text:
Jack Glasscock

John Wesley Glasscock (July 22, 1857 – February 24, 1947) was an American shortstop in Major League Baseball who played for several teams from 1879 to 1895. Nicknamed "Pebbly Jack", he was the top player at his position in the 1880s during the sport's bare-handed era. He led the National League in fielding percentage seven times and in assists six times; he was the only shortstop to lead in fielding percentage and total chances in a season three different times until Luis Aparicio matched him. Ozzie Smith eventually surpassed Glasscock's marks in the 1980s; Glasscock also led the NL in double plays four times and in putouts twice. He won the 1890 batting title with a .336 average for the New York Giants and led the league in hits twice; in his final season he became the sixth major league player to make 2,000 hits. He was the first player to appear in over 600 games as a shortstop, and ended his career with major league records for games (1,628), putouts (2,821), assists (5,630), total chances (9,283), double plays (620) and fielding percentage (.910) at the position. When he retired he ranked fifth in major league history in games (1,736) and at bats (7,030), seventh in total bases (2,630) and eighth in doubles (313).

Early life
Jack Glasscock was born in Wheeling, West Virginia (then Virginia), to Thomas Glasscock (born 1830) and the former Julia Collette (born 1833), and dropped out of school in fourth grade to pursue his father's trade of carpentry. Nicknamed "Pebbly Jack" for his habit of scrutinizing the infield for small stones, typically pocketing them, the practice helped him to avoid the bad-hop ground balls which more regularly afflicted other infielders; fielding averages of the era rarely exceeded .900 among shortstops. He played for the local Standard club in 1876, the Champion City club of Springfield, Ohio, in 1877, and the Pittsburgh Allegheny Base Ball Club of the International Association in 1878, the latter at third base. After Allegheny folded, he finished the season with Cleveland Blues.

Major league career
He broke into the National League with that club in 1879, the first West Virginian in the majors, playing 80 games. After playing second and third bases as a rookie, he switched to shortstop permanently in 1880 with Fred Dunlap taking over at second. In 1881 he led the NL in putouts (105), assists (274) and fielding average (.911) for the first time. Over five seasons with the team he gradually improved his hitting, and in 1882 he was among the league's top ten players in home runs (4), doubles (27), slugging average (.450) and total bases (161) while also leading the league in assists (311) and tying Sadie Houck's major league record of 40 double plays, set the previous year; Frank Fennelly set a new major league mark with 46 for the 1885 Cincinnati Red Stockings in the American Association. In 1883, batting third, Glasscock led the team in runs batted in, and paced the NL in fielding again with a .922 average. In mid-1884 he jumped to the Cincinnati Outlaw Reds of the Union Association during that league's only season of play and batted .419 in 38 games. He returned to the NL with the St. Louis Maroons for the next two years, becoming team captain. In 1885 he set an NL record for assists (397), breaking Arthur Irwin's 1880 mark of 339, and led the league in fielding average (.917); he also moved ahead of Davy Force to become the major league career leader in games at shortstop. In 1886 he hit .325 and was fifth in the league in doubles and sixth in hits, also breaking his own NL record with 43 double plays and again leading the NL in assists (392) and fielding (.906). The Maroons moved to Indianapolis and became the Indianapolis Hoosiers before the 1887, and Glasscock continued his solid output in Indianapolis with a .294 average that year. He also set new major league records for assists (493) and double plays (58), topping Fennelly's totals of 485 and 54 with the previous year's Red Stockings. Ollie Beard broke his major league assists mark with 537 for the 1889 Red Stockings, and Bob Allen set a new NL mark with 500 for the 1890 Philadelphia Phillies. Glasscock led the league in fielding (.901) again in 1888, and would later break his own NL double play record with 60 in 1889, though Beard set a new major league mark with 63 the same year; Allen broke the NL mark with 68 in 1890.

1889 marked Glasscock's top all-around season as he batted .352 – second in the NL behind Dan Brouthers, and the best average by a major league shortstop prior to 1893, when the pitching distance was increased to 60 ft – and led the league in hits (205). He was second in doubles (40, behind King Kelly) and total bases (272, behind Jimmy Ryan), and was fifth in the league with a career-high 128 runs. Furthermore, he led the league in every defensive category (246 putouts, 478 assists, 60 double plays, .915 average). His 246 putouts set a new NL record, breaking John Montgomery Ward's 1887 major league record of 226 (Herman Long had 335 for the 1889 American Association Kansas City Cowboys); Bob Allen would also break this record just a year later. Glasscock hit for the cycle on August 8 of that year; he also managed the team for the last half of the season, posting a 34–32 record. Early in the year, he discovered 17-year-old future Hall of Famer Amos Rusie pitching for a local semi-pro team, and the young hurler was promptly acquired for Indianapolis.

When the Hoosiers folded after the 1889 season, his contract – as well as Rusie's – was awarded to the Giants to replace Ward, who was leading many of the sport's top players in a shift to the Players' League for the 1890 season. Glasscock had been intending to switch leagues as well but was expelled from the Brotherhood of Professional Base Ball Players after signing his 1890 contract with Indianapolis. He won the 1890 batting championship by eleven points over Billy Hamilton, going 6-for-6 on September 27; he also became the second player to lead the NL in hits two years in a row (joining Brouthers), and was second in doubles to Sam Thompson and fifth in total bases. His offensive totals dropped off in later seasons, partially as a result of an 1891 hand injury. When the American Association merged with the NL prior to the 1892 season, Glasscock shifted to the St. Louis Browns (the team now known as the Cardinals), hitting .241 and .267 in two full seasons; he also managed the team for the first four games of the 1892 season, going 1–3. In June 1893 he was traded to the Pittsburgh Pirates, and he hit .341 over the remainder of the year, finishing with a .320 average and also with 100 RBI for the first time. The team finished only five games out of first place, the closest he would come to a league title during his major league career. He batted .280 in his last full season in 1894, leading the NL in fielding for the last time with a .933 average, and ended his major league career in 1895, splitting the year between the Louisville Colonels and the Washington Senators.

Glasscock left the major leagues with a .290 career batting average, 2,040 hits, 27 home runs, 1163 runs, 825 runs batted in and 98 triples. His batting average was nearly thirty points higher than the league average of the time, and he ranked eighth all-time in hits when he retired. He was one of the most difficult players of the 19th century to strike out, doing so just once in every 33 at bats. He played a notable role in the advancement of defensive tactics, being one of the first shortstops to use signals indicating which infielder would cover second base on steal attempts, and also one of the first to back up throws to the second baseman. Germany Smith broke his records for career assists and total chances in 1897, and his mark for games at shortstop in 1898. Herman Long broke his record for putouts in 1898, and his mark for double plays in 1900. Tommy Corcoran bettered his career fielding percentage by the end of the 19th century. Despite his talents, he received only 2.6% of the vote on his first and only ballot on the National Baseball Hall of Fame and Museum in 1936.

Later life
Glasscock returned to Wheeling and played on a minor league team run by Ed Barrow, winning the first pennant of his career; he remained in the minor leagues as a first baseman until 1901, winning an 1896 batting title with a .431 average. After his baseball career ended, he returned to carpentry. He died in Wheeling from a stroke at age 89 in 1947 and is buried in Wheeling's Greenwood Cemetery.

title: Jack Glasscock


text:
Z-level programming language

Z-level Programming Language is an array programming language designed to replace C and C++ programming languages in engineering and scientific applications. Because its design goal was to obtain cross-platform high performance, ZPL programs run fast on both sequential and parallel computers. Highly-parallel ZPL programs are simple and easy to write because it exclusively uses implicit parallelism.

Originally called Orca C, ZPL was designed and implemented during 1993–1995 by the Orca Project of the Computer Science and Engineering Department at the University of Washington.

Details
ZPL uses the array abstraction to implement a data parallel programming model. This is the reason why ZPL achieves such good performance: having no parallel directives or other forms of explicit parallelism, ZPL exploits the operational trait that when aggregate computations are described in terms of arrays, many scalar operations must be (implicitly) performed to implement the array operations. This implied computation can be automatically allotted to different processors to achieve concurrency: Parallelism arises from the semantics of the array operations.

ZPL is translated into a conventional abstract syntax tree representation on which program analysis and program optimizations are performed. ANSI C code is generated as the object code. This C program (which is machine independent because it implements certain operations in abstract form) is then compiled using the native C compiler on the target machine with custom libraries optimized to the specific platform.

The creators of ZPL were: Brad Chamberlain, Sung-Eun Choi, E Christopher Lewis, Calvin Lin, Jason Secosky, Larry Snyder, and W. Derrick Weathersby with assistance from Ruth Anderson, A.J. Bernheim, Marios Dikaiakos, George Forman, and Kurt Partridge.

title: Z-level programming language


text: File:Jack Glasscock Baseball Card.jpg

title: File:Jack Glasscock Baseball Card.jpg