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Talk:Dungeons & Dragons (TV series)

Final Episode Hoax
There was a hox spread in the internet about the last episode. It says it's revealed all of them were actually in hell, after died in an accident at the first episode, insde the tunnel. Any space for that? —Preceding unsigned comment added by 200.152.98.37 (talk) 08:36, 9 June 2010 (UTC)

This was indeed a hoax https://www.cbr.com/dungeons-dragons-tv-show-end-with-death/ According to this website https://annex.fandom.com/wiki/Dungeons_%26_Dragons_(TV_series) The noncannical Balders gate II claims the Kids were destoyred by Tiamat — Preceding unsigned comment added by 50.5.88.201 (talk) 16:31, 14 May 2019 (UTC)

Other Appearances
Mention of Tiamat in Baldur's Gate, appearance of Venger in a CD liner... I've removed these on the assumption that they're a bit off-topic for character descriptions. Would it be more appropriate for there to be some kind of "Other Appearances" section, where the characters' various pop-culture appearances could be listed? 222.153.224.126 11:40, 15 July 2005 (UTC)

 * Considering Tiamat is a D&D monster, and the basis for the character on the show, it seems irrelevant to mention other appearances.Bwanderson (talk) 22:17, 29 April 2008 (UTC)

violence
Was this series really so violent? I have seen the show and the frickin cavalier does not even have a sword. All he is good for is running in the way to block an attack. Also, the ranger never uses his arrows for anything but to keep people back (because he is a terrible shot, perhaps). Seriously this series emulates nothing like a real party because every episode, and indeed the whole show, is one big long "run away" scenario.

Cast photo
I'm completely baffled by the notation "Clockwise (from bottom L-R)". Clockwise would progress from right to left across the bottom. Can someone who recognizes these people please rewrite this as something more conventional, like row-wise? Thanks! -- Ventura 21:09, 2004 Dec 14 (UTC)

perhaps the following will make it more clear to you:

1 Is the starting point

+ > + ^      | |       | |       V 1 < +

does this help clear it up for you? The way it was done on the original site in rows was even more confusing than this. Alkivar 01:52, 15 Dec 2004 (UTC)

Episode Guide
The episode guide is reproduced with permission from Zak's realm, I emailed for permission and recieved it. Lesley has no problems with the content being used because as she said "its basically a rewrite of the episode guide description from the DVD case". See also my post at Copyright_problems. ALKIVAR ™ 22:07, 12 Jan 2005 (UTC)

2002
When they re-aired the show in 2002, every ad emphasized Presto and his magic abilities. It was never explicity stated but I'm almost certain that it was re-aired solely as an attempt to cash in on Harry Potter (I think another movie was coming out around then). I don't really know if that's worth including so I'll leave that to a smarter persons discretion RentACop 03:41, 7 September 2005 (UTC)

I think your right they did have one clip that showed Presto actually preforming magiic that didnt backfire on him!

Final episode links
These links are now 404ing. Do we have any alternatives? -- Mewcenary 07:19, 8 October 2005 (UTC)
 * Done. Luis Dantas 00:31, 26 December 2005 (UTC)

Last episode
According to tv.com "The Winds Of Darkness" and not "Cave of the Fairie Dragons" is the last aired episode? --Maggu 10:23, 10 May 2006 (UTC)
 * TV.com is very frequently wrong as it is in this case.  ALKIVAR ™[[Image:Radioactive.svg|18px|]] 05:56, 11 May 2006 (UTC)
 * Sure, but apparently all the fan sites linked from the page are wrong as well, since nobody seem to agree -- with each other, Wikipedia or tv.com -- on the order of the episodes. So, I got to wonder, where does the information listed on the page come from? Old VCR recordings in the home of one or more Wikipedia editors? --Maggu 10:56, 11 May 2006 (UTC)
 * And if the air dates listed by tv.com are wrong, what are the correct air dates? --Maggu 11:37, 11 May 2006 (UTC)

This cartoon database gives the orginal order of epsiodes: https://www.bcdb.com/cartoons/Other_Studios/M/Marvel_Productions/Dungeons_Dragons/more2.html Indeed Cave of the Fairie Dragons is logically the last episode with Dungeonmaster speakinbg the last words of the series: How Home is a refletion of the heart which you are beginning to understand... — Preceding unsigned comment added by 50.5.88.201 (talk) 16:15, 14 May 2019 (UTC)

"Requiem"
"Currently, a fan of the show is trying to use some of the original characters voice to make the final episode according to the UK DVD set." According to the packaging, the US DVD set contains a radio-play version of "Requiem" featuring one of the original voice actors. Gildir 01:23, 15 December 2006 (UTC)

 * Reportedly had "Requiem" been made there would have been another season made of "D & D"-although alternatively that would have depended on weather or not the series would have renewed or not! {Epsiode not made and series not renewed!}. Although episodes broken down into 3 seasons-13 episodes {Season 1}; and only 8 episodes {Season 2}; and 6 episodes {Season 3} {Last epsiodes together barely add up to  to equal  number of first season episodes!} —Preceding unsigned comment added by 134.53.145.191 (talk) 16:10, 28 September 2008 (UTC)
 * HAd a 4th season been made it would have shown the kids entering the portal to get home; however they end up in another world with  a female Dungeonmaster as their guide! Also ironic is that most guides of the series Show the "Winds of Darkness" as the last shown epsiodes,, the really last epsidoe was "Cave of the Fairy Dragons" in which the kids almost get home to have give their chances up again to save the Fairy Dragons..it has Dungeonmaster telling at the end the Kids are really closer to home than they realize since going home is part of part of one heart {Feelings) Some how this made a more satisfoctory {for me} cliffhanger of the series then "Requiem" which shows kids dividing against themsleves {half following Hank and the other Half following Eric{!} and it eric who releases Vengers locked goodness...and then the old cliffhanger....!!! — Preceding unsigned comment added by 50.5.188.123 (talk • contribs)

 * I own the US DVD. Requiem is on there as a bunch of script scans and voice overs. (Includung the original Diana voice)TeigeRyan (talk) 04:12, 10 September 2009 (UTC)

 * A version of "Requiem" was made by fans with an alteration - all the kids but Presto return home.--174.99.238.22 (talk) 20:20, 3 March 2022 (UTC)
 * So in the fan version after all their adventures..Presto stays in the realm!!! I just perosnally glad I only read "Requirm" and have not to see this fan version,,,!!! — Preceding unsigned comment added by 50.5.188.123 (talk • contribs)

Inspiration for Venger character?
Venger resembles the Evil Genius in Time Bandits quite a bit, especially the scene near the end of that film when a curved, hornlike thing comes out of the Evil Genius' head. I've been looking but haven't found a screencap of that scene.

Dragonlance
I removed the WikiProject Dragonlance template as this does not occur in the Dragonlance universe. The only link to it that I am aware of is Tiamat, which was a dragon god found in many settings. —The preceding unsigned comment was added by Slavlin (talk • contribs).

 * Tiamat does not appear in Dragonlance, instead she is renamed Takisis. Bahamut is renamed Paladine. So no. No connection to Dragonlance. Omega2064 (talk) 04:24, 20 October 2013 (UTC)

Dungeon Master is not Venger's father
When DM calls Venger "his son" in the Dragon's Graveyard episode, it was meant to imply that Venger was DM's mental creation and not that DM was Venger's physical father. Some please change the unfortunate mistake under the Verger secton this wiki page —The preceding unsigned comment was added by Hippolytus (talk • contribs).
 * Really it's POV as to how the line is interpreted. If someone can cite a source which explicitly says what the intention of the line was, then it can be changed. Also in "Requiem", which was intended to tie up all the loose ends, also reveals that Venger is DM's son.--NeilEvans 17:53, 6 March 2007 (UTC)
 * It it still really vague what the line means. Also consider that in the script for "Requiem" in the last scene when DM calls Venger "my son" he also calls the kids "my children".  Basically I think it can be interpreted either way, but I perfer to think that DM is speaking metaphorically.  Isn't it more sublime, more beautiful, more mysterious to think of all the fantasy depicted in the cartoon as the projection of the the Dungeon Master's mind.  In a way, now I know I'm writing in a obscure manner, but in a way, don't you think that this is what D & D is all about, the boundless fantasy that is possible within one person's imagination, made real by assuming the DM's avatar? —The preceding unsigned comment was added by Hippolytus (talk • contribs).
 * You make my head hurt. Venger is DM's physical son. In Requiem, Venger calls him Father. DM calls everyone children, yes, but Venger would hardly call someone who is not his father by that style. Howa0082 21:21, 2 November 2007 (UTC)
 * "Requiem" is quite direct in this matter: "Dungeon Master: Thank you, my young pupils.  You have done the one thing it was not in my power to do -- you have returned my son to me.  Eric (looking at Dungeon Master):  You're Venger's Father?  Presto: There is not a big family resemblance."  These passage make it clear that Venger was DM's biological son.  That said the rest of the ending makes little sense as the people of Helix relate they knew of Merlin's death 1,000 years ago meaning they are the decedents of the original people brought to the Realm and to the current people Earth would be as alien as the Realm was to their ancestors so why would they or any of the other groups go back through the portals that formed?--BruceGrubb (talk) 09:27, 15 September 2008 (UTC)

Not vague at all. Watch the BCI dvd release of the show. I watched the episode with and without commentary. The writers/producers talk about that same line on the show. They referenced star-wars "Darth vader and luke skywalker." Majinsnake (talk) 10:00, 25 May 2016 (UTC)

Pen & Paper
The Dungeons & Dragons game is famously an RPG; why does the article repeatedly refer to it as a "Pen & Paper" game? Minaker 05:33, 2 November 2007 (UTC)
 * Be..cause you use paper and pens to play, in addition to dice? Howa0082 21:15, 2 November 2007 (UTC)
 * Doesn't matter; both the official term and the common-use term for this type of game is RPG, not "pen & paper." Minaker 10:04, 7 November 2007 (UTC)
 * This states "[t]he term is also used to distinguish role-playing games from role-playing video games, although role-playing games do not necessarily use either pencils or paper." The pen and paper moniker applies, as a way to differentiate it from Final Fantasy. Most people won't make that mistake anyway, but Wiki aims to be as clear as possible, right? Howa0082 13:51, 7 November 2007 (UTC)

Right, but by that logic, how does one distinguish this from board games, also, according to the article you mention, referred to as "paper and pencil" games? Or tic-tac-toe, or crossword puzzles for that matter? Most people won't make that mistake anyway, but Wiki aims to be as clear as possible, right? This doesn't clarify anything. I must again point out that the term "role-playing game" and its abbreviation, RPG, are MUCH more commonly used when referring to the game. Heck, I've been playing for years, and I've never heard it referred to as a "pen and paper game." I could refer you to any of their published material, or just to http://www.wizards.com/default.asp?x=dnd/welcome, the official website, which refers to it as a "role-playing game," but nowhere with the terms "paper and pencil" or "pen & paper." If Wiki aims to be as clear as possible, then this is a pretty lousy decision. Minaker 11:54, 12 November 2007 (UTC)

 * It is a common usage to cal the P&P as well, which stand for Pencil and Paper. The constitution of the RPG club I belong to even uses that convention to be clear.  Yes, RPG is common.  Yes, P&P is not as common.  But yes, both are used.TeigeRyan (talk) 04:16, 10 September 2009 (UTC)

Article assessment
I've assessed this article for WP:TV as requested here. I have rated this article as start class because of the lack of important sections like critical response, production etc. and as mid importance because it is a controversial and fairly well known/influential television series. These categories are subjective and may be reviewed by any member of WP:TV who feels confident to do so. Please note that a more formal assessment by other editors is required to achieve good article or featured article status. I used criteria from the television wikiproject guidelines here, article about TV series guidelines here and the assessment guidelines here.--Opark 77 10:07, 12 November 2007 (UTC)

"Differences" section
This is completely unsourced, and is obviously based on first-hand comparison. This isn't an acceptable way to derive material on WP, and it should be re-written, referenced or removed. If there are no reasonable objections I'll re-tag the section as WP:OR. Chris Cunningham (not at work) - talk 13:55, 15 March 2008 (UTC)

 * This is a good point, I feel now. I'm not sure if I had voiced an opinion to thumperward here before about it (I could swear I did), but now I think that section should go. I mean, obviously, a cartoon isn't going to be faithful to a friggin' tabletop RPG played with dice and character sheets. Having a "differences" section is kinda bullshit. Howa0082 (talk) 00:19, 5 April 2008 (UTC)

Images
Perhaps a single image of all the kids would be better. A larger, cropped version of the DVD cover image would suffice wonderfully, I imagine. Howa0082 (talk) 00:10, 5 April 2008 (UTC)

Relevance of Fandom re: characters?
OK, got something here that bugs me. In Sheila's character profile it says:

"In the series' fandom, she and Hank are frequently hinted to have a relationship [4]. Her actual relationship with Hank is unclear; several times they appear to be dating, but Hank shows no negative reaction to her relationship with Solars and Kareena, which appear more than friendly. It is possible that he only sees her as a sister."

Further down in the Venger section it says:

"The main antagonist and Dungeon Master's son (as revealed in the episode "The Dragon's Graveyard" and again in the lost episode "Requiem") as well as Sheila's love interest Kareena's brother"

I'm deleting the fannish crap. A. It's irrelevant to the show and this article because B. it's all based on FAN speculation. How on earth does anyone think an early 80's cartoon FOR KIDS would have had a girl with a female "love interest"??? The show was already under enough fire from conservative groups for being based on D&D! They would *NEVER* have tried to put a gay character in the show.Bwanderson (talk) 22:24, 29 April 2008 (UTC)

 * Good eye. I'm surprised no one caught that nonsense before now. I am very disappointed in myself, me! I'm going to go stand in a corner and feel bad, now. Howa0082 (talk) 22:47, 29 April 2008 (UTC)

 * I don't know, while I agree the section isn't necessary, I think the intent of the comment was "Sheila's love interest, the brother of Kareena" i.e. it's not Kareena that's the love interest, but her brother. As written it's ambiguous. ChrTh (talk) 02:10, 13 August 2009 (UTC)

The theme song in Brazil
I removed the reference to Brazil because the original article says in Brazil "the lyrics are altered". I dont know what that means, because over here the show kept the original instrumental tune and had no song performed by a local performer. —Preceding unsigned comment added by 187.7.29.208 (talk) 01:49, 17 February 2010 (UTC)

http://www.kryschenns-fortress.com (source #4) is dead
http://www.kryschenns-fortress.com (source #4) is dead

any other sources for that info? Wickedjacob (talk) 18:53, 6 October 2010 (UTC)

Nevermind. Found it on archive.org and updated links. We're all going to be in a lot of trouble if THAT site ever went down. Wickedjacob (talk) 18:59, 6 October 2010 (UTC)
 * Indeed! 204.153.84.10 (talk) 19:28, 6 October 2010 (UTC)

Broadcast history
The series was also aired in Israel, Children Channel in the early 90's. — Preceding unsigned comment added by 84.108.50.96 (talk) 17:07, 14 January 2012 (UTC)

Character ages
Where was the info found mentioning the ages of Diana, Hank and Presto? As far as i know, none of the characters ages are mentioned in the series Mr Morden76 (talk) 18:31, 4 June 2013 (UTC)
 * If it's not sourced, we can remove it. 129.33.19.254 (talk) 21:36, 4 June 2013 (UTC)

 * Ages are only mentioned in the DVD booklet and are not "cannon" since in the series aside from Bobby's birthday there is no actual statement of any of the characters ages I believe. Someone just made up ages for the booklet. Omega2064 (talk) 04:30, 20 October 2013 (UTC)
 * If they are listed in the booklets, doesn´t make that them canon?93.128.85.59 (talk) 18:46, 31 August 2014 (UTC)

Changes on the DVD version.
I'd like to list the differences from the original broadcast version and the DVD version. I know some music has been replaced. but does anyone know the reason why or who composed the original scores and the replacements?

Also I am told that the FOX version had some changes as well? A new opening sequence and edits to shorten the episodes? Can anyone conform these?

Lastly the article does not mention that the French version of the opening is done with a lyrics song. Omega2064 (talk) 12:08, 22 October 2013 (UTC)

It probably has to do with copyright.

http://brandedinthe80s.com/6605/review-of-the-mill-creek-dungeons-and-dragons-the-complete-series-on-dvd Majinsnake (talk) 09:55, 25 May 2016 (UTC)

About Venger
The manner in which Venger turns from good to evil and his power level are very much like that of a Death Knight. It might be interesting if not trivial to find and cite what D&D monster, Venger classifies as. Deltasim (talk) 21:01, 27 October 2015 (UTC)
 * I was always under the impression that he was a demon of sorts. DonIago (talk) 04:29, 28 October 2015 (UTC)
 * The Animated Series Handbook describes Venger as a "half-fiend human sorcerer"--BruceGrubb (talk) 12:29, 27 May 2016 (UTC)

This sentence makes no sense whatsoever
Here it is: "A final un-produced episode would have served as a conclusion as well as a re-imagining had the series been picked up for a fourth season."

How could a final episode serve both as a conclusion (ala "no more episodes") AND a re-imagining for a fourth season (ala "more episodes")? — Preceding unsigned comment added by 107.10.137.74 (talk) 02:38, 13 March 2016 (UTC)

 * The same way the last episode of Sailor Moon ("Usagi's Eternal Wish: A Brand New Life") concluded that story arc but allowed for Pretty Soldier R to be made, "Requiem"  ended with the total redemption of Venger (concluding the Venger as "force of Evil" story arc) and leaving it to the six kids if they wanted to return home or stay in the Realm to oppose other evils.--BruceGrubb (talk) 11:54, 27 May 2016 (UTC)

Kareena: Venger's Sister / Dungeon Master's Daughter
http://www.dungeonsdragonscartoon.com/2009/08/citadel-of-shadow.html

In this episode, Kareena is introduced as Venger's sister. It was said in the show that Venger is Dungeon Master's son because he calls him my son. Kareena would be Dungeon Master's Daughter. I believe it should be mentioned on the main page.

Majinsnake (talk) 09:40, 25 May 2016 (UTC)
 * It's not a very significant detail. 73.168.15.161 (talk) 11:23, 25 May 2016 (UTC)

 * Actually the unmade episode script "Requiem" makes this very significant:

 * Dungeon Master: Thank you, my young pupils. You have done the one thing it was not in my power to do -- you have returned my son to me.
 * Eric (to Dungeon Master): You're Venger's father?--BruceGrubb (talk) 12:02, 27 May 2016 (UTC)

Unsourced information
Below information was tagged for needing sources long-term. Feel free to reinsert with appropriate references. DonIago (talk) 14:58, 9 May 2017 (UTC)

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title: Talk:Dungeons & Dragons (TV series)


text:
User talk:Taylorsimpson

Please don't vandalize Wikipedia. Thanks. Test in Sandbox. [[User:Meelar|Meelar (talk)]] 21:10, Dec 14, 2004 (UTC)

Sorry Meelar!

In general we do not link to blogs from articles. - SimonP 21:26, Dec 14, 2004 (UTC)

But those links are for transhumanist's blogs --Taylorsimpson 21:27, 14 Dec 2004 (UTC)

Are those transhumanists' blogs essentially to one wanting a greater understanding of transhumanism? No. It would be like if I linked every Orlando Bloom fansite to the Orlando Bloom article. Useless. -- user:zanimum

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

title: User talk:Taylorsimpson


text:
Wikipedia:Articles for deletion/Maxi Mounds (0th nomination)

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result of the debate was - kept

Maxi Mounds
Just another porn star; just another badly written article. Sure, a lot of google hits, but internet searches are slightly weighted in favor of women who show off their large breasts. If her claim to notability is that she's had large pieces of inorganic material implanted into her (and smaller pieces of organic material inserted into her, repeatedly), well, get in line. I'm tempted to think articles like this are included solely for the external links. -R. fiend 21:11, 14 Dec 2004 (UTC)
 * Keep. Looks like a well-written stub to me. Sorry, R. fiend, but your fake boobs will only be written about when you get this popular too. If she's on the Internet Movie Database, I don't see why she shouldn't appear here too. There is no accounting for taste—and we should not account for taste. [[User:GeorgeStepanek|GeorgeStepanek\talk ]] 21:30, 14 Dec 2004 (UTC)
 * I see your point, but getting on IMDb is a lot easier than you may think. I have several friends who have their own listings, and I certainly wouldn't expect them to be in wikipedia. And look at this guy, for instance. Not really WP material. Sure Maxi Mounds might be, but I think the "good enough for IMDb is good enough for us" logic is flawed. -R. fiend 22:34, 14 Dec 2004 (UTC)
 * Keep, better her than Sollog. Wyss 22:57, 14 Dec 2004 (UTC)
 * Keep, just another pron star. [[User:GRider|GRider\talk]] 23:38, 14 Dec 2004 (UTC)
 * As much as I dislike the fact that women can get this famous for augmenting their breasts to disgusting unnatural sizes and getting paid for sex (it's legal if you film it and distribute copies for profit), she does seem to be notable, if only barely so. Tentative keep. [[User:Livajo|Ливай | ☺]] 23:44, 14 Dec 2004 (UTC)
 * Ouch. I personally find it really disgusting, but she appears notable, in my view. Keep.--JuntungWu 01:02, 15 Dec 2004 (UTC)
 * Porn is an enormous business, making up a large percentage of Internet hits. Its performers have a wide notoriety. A modern encyclopaedia that did not cover them in full would be deficient. Keep pornstars if they meet the same criteria as actors in straight films. Dr Zen 01:09, 15 Dec 2004 (UTC)
 * Come on people! If you want to keep the article, great, but come up with a little better reasoning here. Appears on IMDb...better than Sollog (sure he's a complete charlatan ass, but at least his article says something other than "has big tits")...any encyclopedia that doesn't have an article on every person who's ever fucked on a guy on film is worthless... Jesus! Maybe if they meet the same criteria as regular actors they should be kept, but how many actors who have never appeared in a theatrical release (hee hee, "release") or on TV (one time guest on Jenny Jones doesn't count) get an article? No one's even started a discussion on her IMDb page. As Geogre says below, this isn't Jenna Jameson here. And is anyone slightly concerned that thousands of links to porn sites might possibly discredit wikipedia? -R. fiend 06:43, 15 Dec 2004 (UTC)
 * Delete: Encyclopedias cover encyclopedic content. Who's Who is separate from Britanica.  IMDB is separate from Wikipedia, which is not striving to be the set of all sets.  While Maxi Mounds is on the edge of substantial stardom, she is at this point famous for something that she is not something she does.  It is not an achievement to be 7' tall.  As I've said before, Jenna Jameson is one thing, but including every woman who gets paid to have sex on camera is chasing the horizon.  Geogre 01:27, 15 Dec 2004 (UTC)
 * By your argument we should delete Robert Pershing Wadlow. Are you going to add the VfD notice? [[User:GeorgeStepanek|GeorgeStepanek\talk ]] 20:48, 15 Dec 2004 (UTC)
 * Indeed, if it weren't for that pesky 3rd paragraph in the article, eh? You figure that Maxi Mounds is at the same level of fame?  She's going to the White House?  She's bouncing children on her knee for photo opportunities?  Notice that other people with acromegaly don't have articles and that they didn't give it to themselves. Geogre 04:40, 16 Dec 2004 (UTC)
 * No, she is bouncing other items. (Sorry, couldn't resist that.) [[User:GeorgeStepanek|GeorgeStepanek\talk ]] 20:32, 16 Dec 2004 (UTC)
 * Delete, imdb is a good indicator in most cases. This is not one of them (or two of them, depending on how you see these things) --fvw *  01:54, 2004 Dec 15 (UTC)
 * Keep: DCEdwards1966 04:18, Dec 15, 2004 (UTC)
 * Duh, keep. —[[en:RaD Man|RaD Man (talk)]] 07:04, 15 Dec 2004 (UTC)
 * Duh, delete: not even a notable porn star. --Calton 16:03, 15 Dec 2004 (UTC)
 * Please explain precisely what a "notable porn star" is, and how how you are measuring such a metric. [[User:GRider|GRider\talk]] 20:26, 16 Dec 2004 (UTC)
 * Duh, delete. Wikipedia is not a porn directory; the very fact that there is so much about porn on the net (and on IMDB) shows that Wikipedia doesn't need this (or its porn links). Me, I like porn, but I know better than to read encyclopedias to find it, --jpgordon∇∆∇∆ 16:48, 15 Dec 2004 (UTC)
 * Delete. There are so many porn performers in the world that one must be notable apart from being a porn performer to be encyclopedic.  -- Antaeus Feldspar 20:58, 15 Dec 2004 (UTC)
 * keep' Yuckfoo 07:29, 16 Dec 2004 (UTC)
 * Keep. chocolateboy 10:44, 16 Dec 2004 (UTC)
 * Weak keep. Notable, I think.  --L33tminion | (talk) 21:30, Dec 16, 2004 (UTC)
 * Delete. Wikipedia isn't a porn directory. --BM 19:24, 19 Dec 2004 (UTC)
 * delete doesn't seem notable or famous above other filmed prostitutes. Dunc|☺ 13:54, 20 Dec 2004 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Tomás Ruiz González

Tomás José Ruiz González (born March 23, 1963) is a Mexican politician from the Institutional Revolutionary Party, who most recently served as a state government official in Veracruz under Governor Javier Duarte. He previously served as director of the National Lottery and as president of the New Alliance Party (Nueva Alianza), a position he held from November 28, 2006 to August 28, 2007.

Biography
Tomás Ruiz holds a law degree from the Escuela Libre de Derecho, has a diploma from the Autonomous Technological Institute of Mexico and a Master's from Columbia University. In the late 1980s and 1990s, he held important positions in the Bank of Mexico and the Secretariat of Finance and Public Credit, for which he was twice the Undersecretary of Finance, as well as the first president of the Tax Administration Service (SAT).

In 2000, PAN president Vicente Fox appointed him director general of Banobras. This non-PRI position conflicted with the leadership of his party, and he resigned in 2003 to be nominated by the PRI as candidate for federal deputy of the LIX Legislature of the Mexican Congress. He was a proportional representation deputy elected from the third electoral region and served on a trio of business-related commissions: Finances and Public Credit, Budget and Public Accounts, and Oversight of the Superior Auditor of the Federation.

He worked alongside PRI parliamentary coordinator Elba Esther Gordillo in the Chamber of Deputies when a conflict arose between Gordillo and the president of the PRI, Roberto Madrazo Pintado. He supported a failed fiscal reform measure that would have extended the application of value-added tax to food and medicine products and wound up dividing the PRI parliamentary faction in the Chamber of Deputies. After the dismissal of Gordillo from the PRI, González resigned from the Chamber of Deputies and was replaced by José Luis García Mercado. In 2004, he took the position as head of the National Lottery; in October 2005, he broke ties with the PRI, of which he had been a member for 20 years.

On November 29, 2006, he was elected president of Nueva Alianza, replacing Miguel Ángel Jiménez Godinez. He resigned just nine months later and was replaced by Jorge Kahwagi.

In 2010, Ruiz González's political career was resuscitated when new Governor of Veracruz Javier Duarte appointed him as the state's Secretary of Finance, a position in which he remained until March 2013, when he resigned for "personal reasons" and left the department in a severe cash crisis. He rejoined the PRI in July 2012. Two years after leaving the state government, Duarte put Ruiz back in his cabinet, this time as state secretary of infrastructure and public works.

In July 2016, one local PAN politician said that Ruiz had "disappeared" from the state of Veracruz, a year after awarding a concession for an underwater tunnel in Coatzacoalcos that was still not complete.

title: Tomás Ruiz González


text:
Lord Clarence Paget

Admiral Lord Clarence Edward Paget (17 June 1811 – 22 March 1895) was a British naval officer, politician, and sculptor.

Naval career
Born the younger son of the 1st Marquess of Anglesey, Paget in 1827 like many younger sons of nobility entered the Royal Navy as a midshipman on the second-rate ship-of-the-line HMS Asia (1824) and took part in the Battle of Navarino in 1827. Promoted to commander in 1834, he took charge of HMS Pearl (1828) and, promoted to captain in 1839, he commanded the first-rate ship-of-the-line HMS Howe (1815) and then the fifth-rate frigate HMS Aigle (1801).

Paget attempted to enter Parliament as a Liberal for Southampton in 1837, but was returned as a member for Sandwich in 1847, retaining the seat until July 1852.

Paget served as secretary to the Master-General of the Ordnance from 1846 to 1853. He commanded the second-rate ship-of-the-line HMS Princess Royal (1853) in the expedition to the Baltic in 1854 during the Crimean War (1854–1856). Again Member of Parliament for Southampton from March 1857, he was appointed Secretary to the Admiralty in June 1859 but accepted the Chiltern Hundreds (i.e., resigned) in March 1866. He was promoted to vice admiral in 1865 and was Commander-in Chief, Mediterranean Fleet from 1866 to 1869.

Paget retired in 1876. He died in 1895 at the age of 83.

Family
In 1852 Paget married Martha Stuart, the youngest daughter of Admiral Sir Robert Waller Otway, Bt.

title: Lord Clarence Paget


text:
Silvia Pinal

Silvia Pinal Hidalgo (born 12 September 1931)  is a Mexican actress. She began her career in the theater, venturing into cinema in 1949. She is one of Mexico's greatest female stars, one of the last surviving major stars from the Golden Age of Mexican cinema and part of the Golden Age of Hollywood for her film Shark! (1969). Her work in film and popularity in her native country led Pinal to work in Europe (Spain and Italy). Pinal achieved international recognition by starring in a famous film trilogy directed by Luis Buñuel: Viridiana (1961), El ángel exterminador (1962) and Simón del Desierto (1965).

In addition to her film career, Pinal was a pioneer in Mexican musical theatre, ventured into television, and held political office.

Early life
Silvia Pinal Hidalgo was born in Guaymas, Sonora, Mexico. Her parents were María Luisa Hidalgo Aguilar and Moisés Pasquel. Pasquel was an orchestra conductor at the Mexican radio station XEW. Pinal's mother became pregnant by Pasquel when she was 15 years old. Her father did not acknowledge Silvia as his child, and Pinal did not know him until she was 11 years old. Her biological father sired three more sons: Eugenio, Moisés, and Virginia. However, Pinal never spent time with the Pasquel family. Pinal spent her first years behind the counter of a seafood restaurant near the XEW, where her mother worked. When she was five years old, her mother married Luis G. Pinal, whom they called "El Caballero Pinal" ("Sir Pinal"), a journalist, military man, and politician twenty years her senior. Pinal subsequently adopted Silvia as his daughter, and in later interviews, she described Pinal as her only father. Pinal also had three daughters from a previous marriage: Mercedes, Beatriz, and Eugenia.

Sr. Pinal held several public positions in Mexico, including the municipal president of Tequisquiapan, Querétaro. The family lived in several cities in Mexico, including Querétaro, Acapulco, Monterrey, Chilpancingo, Cuernavaca and Puebla, before finally settling in Mexico City.

Pinal has had an interest in show business since she was a child. In addition to film and music, she liked to write and recite poems. She studied first at Pestalozzi College in Cuernavaca and then at the Washington Institute in Mexico City. Despite her artistic aspirations, her father cautioned her to look for "something useful," so she learned to type. At age 14, she began working as a secretary at Kodak.

Pinal went to study opera and began preparing by taking classes, first with a private teacher and then with Professor Reyes Retana. Her first step toward fame occurred when she was invited to participate in a beauty pageant. In this contest, Pinal obtained the title of Student Princess of Mexico. At her coronation, she met the actors Rubén Rojo and Manolo Fábregas, with whom she became close friends. While studying bel canto, Pinal went to work as a secretary in the pharmaceutical laboratories of Carlos Stein. At the music academy, Pinal auditioned for a role in the opera La Traviata. However, the audition was a failure. A teacher encouraged her to take acting courses at the Instituto Nacional de Bellas Artes where she was a classmate of figures such as Carlos Pellicer, Salvador Novo and Xavier Villaurrutia. She debuted as an extra in a performance of A Midsummer Night's Dream by William Shakespeare.

Beginning
Pinal continued working in the advertising department of a pharmaceutical products firm. Knowing that she was studying acting, her boss allowed her to participate in recording radio comedies in the XEQ. She debuted in the comedy Dos pesos la Tejada.

At the radio station, Pinal met publicists inviting her to join an experimental company. With that company, she debuted in the play Los Caprichos de Goya. The director of this work was the Cuban-Mexican actor and director Rafael Banquells, with whom Pinal began an employment relationship and a close friendship that led to romance. Banquells got Carlos Laverne to allow them to use the Ideal Theater of Mexico City for their productions. Laverne chose Pinal to participate in a montage with the company of the Ideal Theater, directed by the Spanish actress Isabelita Blanch. The work was called Nuestra Natacha. Pinal acted in numerous works for this company. Her first star work was Un sueño de cristal.

Film
Just fifteen days after she debuted in the theater, Pinal made her debut in the cinema with a brief role in Bamba (1949), starring Carmen Montejo and directed by Miguel Contreras Torres. Contreras Torres had seen her work at the Ideal Theatre and invited her to participate in the project. Contreras Torres was a demanding, strict director who made Pinal suffer for her inexperience. Eventually, that same year, she performed in the film El pecado de Laura, directed by Julián Soler and starring Meche Barba. In that film, she worked for the first time in cinema with Rafael Banquells, who had become her husband. Immediately, she made another small role in the movie Escuela para casadas, by Miguel Zacarías. Pinal met and worked with the famous actor and singer Pedro Infante in the film La mujer que yo perdí for the first time. The actor and comedian Cantinflas (her wedding godfather) chose Pinal as his co-star in The Doorman (1950), which was a massive step for the new, young actress. But her first solid step towards popularity was her participation in the comedy El rey del barrio (1949), where she formed a tremendous comedic pair with Germán Valdés "Tin-Tán", directed by Gilberto Martínez Solares. Pinal and Tin Tán acted together in two more films: La Marca del zorrillo (1950) and Me Traes de un ala  (1952). Pinal participated in minor roles in several more films.

Pinal's first significant award was a Silver Ariel as a supporting actress for her performance in the film Un rincón cerca del cielo (1952), where she worked again with Pedro Infante. In 1952, she performed with Joaquín Pardavé in the comedies Doña Mariquita de mi corazón] and El casto Susano.

In 1953, Pinal signed a contract with the FILMEX studios of Gregorio Walerstein, who gave her her first starring roles in the films Reventa de esclavas (1953) and Yo soy muy macho (1953). In that same year, she did her first musical work with the film Mis tres viudas alegres, where she shared credits with Lilia del Valle and the Cuban rumba Amalia Aguilar. The film's success led the three actresses to star, that same year, in the comedy Las cariñosas. That same year, she acted with Libertad Lamarque in Si volvieras a mí.

Pinal achieved success and recognition in 1954 after participating in the film Un extraño en la escalera, directed by Tulio Demicheli, and starring opposite Arturo de Córdova. De Córdova wanted as his co-stars the Italian actress Gina Lollobrigida or the Cuban rumba Rosa Carmina because he distrusted Pinal due to her youth. With the support of the producer Gregorio Walerstein, Pinal made a change of image, highlighting her sex appeal, which helped her to be approved by De Cordova for the film. The film was filmed in Havana, Cuba, and was a remarkable blockbuster, consecrating Pinal as an A-list film actress.

Another director who knew how to make the most of Pinal's histrionic abilities was Alberto Gout. Under Gout's direction, Pinal made the film La sospechosa (1954). Another great movie in which Pinal participated is Historia de un abrigo de mink (1954), an episodic film wherein Pinal co-starred with actresses María Elena Marqués, Columba Domínguez and Irasema Dilián. With Tito Davison as director, Pinal also filmed the Mexican-Spanish-Chilean co-production Cabo de Hornos (1955), along with the actor Jorge Mistral. Pinal worked again with Pedro Infante as his co-star in the famous comedy El inocente (1955).

Pinal starred in several films by Tulio Demicheli. Among the most outstanding is Locura pasional (1955), which would bring her first Silver Ariel award as best actress. The second was thanks to her role in the film La dulce enemiga (1957), directed by Tito Davison. In 1956, Pinal starred in the film Una cita de amor (1956), where she worked for the first and only time under the direction of the director Emilio Fernández.

The popularity and success of Pinal in Mexico opened the doors for her to work in Europe, following the advice of Tulio Demicheli. Her first work in the Old World was in the Spanish-Mexican co-production Las locuras de Bárbara (1958), directed by Demicheli and from the hand of Demicheli, Silvia starred in the Spanish musical film Charleston.

Given the success of her films in Europe, Pinal was invited to work in Italy, where she also served as producer of the film Uomini e Nobiluomini (1959), in which she co-starred with Vittorio de Sica and Elke Sommer.

Under the direction of José María Forqué, Pinal starred in the Spanish film Maribel y la extraña familia (1960). In 1961, she filmed the Spanish musical film Adiós, Mimí Pompom, along with Fernando Fernán Gómez.

Pinal achieved international acclaim through a trilogy of films that marked the end of the Mexican era of the Spanish filmmaker Luis Buñuel. Pinal had her first contact with Buñuel through Mexican actor Ernesto Alonso, with the firm intention of starring in the film version of the novel Tristana. However, the tiny commercial success of Buñuel's films prevented the producers from financing the project, which ended up collapsing (Buñuel shot the film years later in Spain with Catherine Deneuve).

Years later, Pinal, with the help of her second husband, producer Gustavo Alatriste, looked for Buñuel in Spain and convinced him to film Viridiana (1961). This, without a doubt, is her most famous film. She was co-starred by Francisco Rabal and Fernando Rey and was the winner of the Palme d'Or at the prestigious Cannes Film Festival. Despite the success and prestige enjoyed by the film, it was rejected by the Spanish censorship board and the Vatican at the time, who described the film as blasphemous. The Spanish government ordered its destruction. The film was saved through the intervention of Pinal, who fled with a copy to Mexico. The Vatican censorship also resonated in Mexico, but with the help of Salvador Novo, the film had a limited release.

Her second film with Buñuel was El ángel exterminador (1962), in which Pinal starred with a choral cast. The film also received critical acclaim worldwide. In 2004, the New York Times recognized it among the best films ever.

Her third and last project with Buñuel was Simón del desierto (1964). The film, misrepresented as a medium-length feature, was initially conceived as an episodic film. Pinal and Gustavo Alatriste looked for Federico Fellini to direct a second episode, but Fellini accepted only on the condition that his wife, Giulietta Masina, star in it. They then sought out Jules Dassin, who likewise took the project only on the condition that his wife, Melina Mercouri, star; Pinal also rejected this condition. The idea was that Pinal should star in all the episodes, so Buñuel ended up filming the project himself. In the film, Pinal also made the first nude appearance in her career, an act still rare in Mexican cinema and the first nude scene in Buñuel's films.

Pinal was also on the verge of starring with Buñuel in the film Diary of a Chambermaid in France. She learned French and was willing to receive no salary for her role. However, French producer Serge Silberman ended up choosing Jeanne Moreau. Even so, Pinal (along with Lilia Prado), the actress with whom Buñuel most frequently worked, made three classic films. Pinal was also going to shoot with Buñuel in Spain on Divinas palabras, but there were problems obtaining a copyright for the film. Years later, Pinal finally shot the movie in Mexico with another director.

After her work with Buñuel, Pinal returned to the cinema with the comedy Buenas noches, Año Nuevo (1965), where she co-starred with Ricardo Montalbán. In 1966 she made the mythical film La Soldadera, directed by José Bolaños and inspired by the Mexican Revolution events. That same year, she participated in the Mexican-Brazilian co-production Juego Peligroso, directed by Luis Alcoriza and based on a script by Gabriel García Márquez. She also appeared in the Franco-Italian-Mexican co-production La bataille de San Sebastian, along with Anthony Quinn and Charles Bronson. In 1967 Pinal appeared in Shark!, with Burt Reynolds and directed by Samuel Fuller, making this the only Hollywood production in which Pinal appeared. Pinal achieved a massive blockbuster with the film María Isabel (1968), based on a popular cartoon by Yolanda Vargas Dulché.

Between the late 1960s and early 1970s, Pinal mostly made comedy films directed by René Cardona Jr. In 1976, Pinal starred in Las mariposas disecadas, a thriller of psychological suspense. In 1977 she finally starred in the controversial movie Divinas palabras (1977), directed by Juan Ibáñez, a movie where she had an integral nude scene.

At the end of the '70s and the beginning of the '80s, Pinal shot some films in Spain, Italy, and Argentina as part of a project by Televisa to unify the Spanish and Latin American markets.

After ten years of absence from the cinema, Pinal returned in 1992 with the tape Modelo Antiguo, directed by Raúl Araiza. The decline of Mexican cinema and the activity of Pinal on television and other media (such as politics) had made her practically withdraw from the big screen. In recent years, her film appearances have been limited to films Ya no los hacen como antes (2002) and a brief special appearance in Tercera llamada (2013).

Stage
Pinal made her theatrical debut at the Instituto Nacional de Bellas Artes. Eventually, she did experimental plays, then worked at the Ideal Theater in Mexico City.

Outside of this company, in 1950, she participated in the play Celos del aire with Manolo Fábregas and Carmen Montejo. That same year she represented Doña Inés in Don Juan Tenorio, co-starring with Jorge Mistral. The most outstanding plays from her early theatrical career are The Madwoman of Chaillot, co-starring Prudencia Griffel, and El cuadrante de la Soledad, by José Revueltas, with sets by the artist Diego Rivera. In 1954, Pinal participated in the play La Sed with Ernesto Alonso and the Argentinean actor Pedro López Lagar. In 1955 she obtained recognition in the theater scene in the cast of Anna Christie, along with Wolf Ruvinskis. In 1957 Pinal staged the play Desnúdate, Lucrecia, in Chile, with Jorge Mistral, who eventually became a star of Mexican cinema.

In 1958, Pinal was responsible for producing in Mexico the first Musical comedy, Bells Are Ringing, directed by Luis de Llano Palmer. For this work, Pinal received an offer from Judy Holliday's manager to work on Broadway, but Pinal refused to leave her career in Mexico.

In 1964 she made the Mexican version of the musical Irma La Douce, alongside Julio Alemán and directed by Enrique Rambal. José Luis Ibáñez ended up becoming her head theater director. Under his direction, Pinal starred in the work Vidas privadas. One of her most notable works in musical comedy was the Mexican version of Mame, a successful Broadway musical. Thanks to her success, Pinal starred in three productions (1972, 1985, and 1989). In 1976 she also starred in the Mexican version of the musical Annie Get Your Gun.

In 1977, to commemorate her twenty-five-year career anniversary, Pinal set up a cabaret show entitled ¡Felicidades Silvia!. The show was presented with great success, first at the nightclub El Patio and then at the Teatro de la Ciudad in Mexico City.

In 1978, she starred in the musical Plaza Suite. Her daughter Viridiana's death truncated the theatrical project Agnes of God, in which both starred in 1982. In 1983, Pinal starred in and produced the Mexican montage of the work La señorita de Tacna, based on the work of Mario Vargas Llosa. In 1985, while serving as First Lady of the state of Tlaxcala, Pinal remodeled the Xicohténcatl Theater, which reopened with the production The Memories of the Divine Sarah. In 1986, Pinal starred in Anna Karenina, which, despite its success, was not to her liking; the production only reached 100 performances.

In 1988, in association with Margarita López Portillo, Pinal acquired the Cine Estadio, located in Colonia Roma in Mexico City, transforming it into a theatrical venue, the Silvia Pinal Theater, a space dedicated mainly to musical comedy. Here, Pinal was free to set up her productions. The theater was opened in 1989 with the third production of the musical Mame, with Pinal at the head of the cast.

In 1992, Pinal acquired the former Cine Versailles, located in Colonia Juárez in Mexico City, and turned it into her second theater, the Diego Rivera Theater. This theater opened in 1991 with the production Lettice and Lovage.

In 1996, Pinal returned to musical theater with the second Mexican version of Hello, Dolly!, opposite Ignacio López Tarso. Pinal's last work in theater was Gypsy (1998), starring alongside her daughter, singer Alejandra Guzmán.

As a producer, she was responsible for making the Mexican versions of the musicals A Chorus Line (1989), Cats (1991) and La Cage aux Folles (1992). Unfortunately, several problems caused Pinal to close the Silvia Pinal Theater, which ceased production in 2000 and became a religious temple.

Pinal returned to the theater in 2002 with the play Debiera haber obispas. In more recent times she has participated in productions such as Adorables enemigas (2008) and Amor, dolor y lo que puesto (2012). In 2014, the Diego Rivera Theater changed its name to become the new Silvia Pinal Theatre.

Television
Pinal dabbled in television since its appearance in Mexico in the early 1950s. In 1952, she participated in a television show titled Con los brazos abiertos. Eventually, she participated in numerous telecasts by Luis de Llano Palmer, where Pinal introduced playback on Mexican television.

Pinal staged her comic-musical show on Televisa, Los Especiales de Silvia Pinal in the mid-sixties. When Silvia married the actor and singer Enrique Guzmán, both produced and starred in the variety show Silvia y Enrique (a comedy-musical program in the style of The Sonny & Cher Comedy Hour), which ran for four years (1968–1972) with great success. Once separated from Guzmán, Silvia continued her variety show titled ¡Ahora Silvia!!.

In 1985, she became a producer and presenter of the Mujer, casos de la vida real TV show. Initially, the show was created to respond to cases and needs of the public and focused on locating victims of the 1985 earthquake in Mexico City. Over time, the show evolved to present current issues in daily life, including domestic violence, legal issues, and public health. This production was a success and lasted more than 20 years, broadcasting in Mexico, Spain, Italy, and several countries in Latin America. The program was canceled in 2007.

In 1968, Pinal debuted in telenovelas with the historical telenovela Los Caudillos, inspired by the Mexican War of Independence. Ernesto Alonso produced the telenovela. Her second foray into the genre was with the telenovela ¿Quién? (1973), produced by Guillermo Diazayas and based on a cartoon by Yolanda Vargas Dulché.

Eventually, Pinal decided to produce her telenovelas; her first hit was Mañana es primavera (1982), the last acting work of her daughter Viridiana before her death. In 1985 she also produced and starred in Eclipse.

Her latest works in television have been as a special guest star in various telenovelas and television series. The most relevant ones are Carita de ángel (2000), in which she eventually replaced actress Libertad Lamarque, whose death left her character unfinished in this melodrama,  Fuego en la sangre (2008), Soy tu dueña (2010) and Mi marido tiene familia (2017). In 2009, Pinal participated in a chapter of the series Mujeres asesinas.

In addition to the telenovelas mentioned above, Pinal produced the melodramas Cuando los hijos van (1983) and Tiempo de Amar (1987).

Politics
Pinal became involved in politics after her fourth marriage with the politician Tulio Hernández Gómez, governor of the State of Tlaxcala. Between 1981 and 1987, Pinal was the First Lady of that state. Eventually, she became a member of the Institutional Revolutionary Party and was elected its federal deputy in 1991. Later, she became a senator and member of the Assembly of Representatives of the Federal District. In these positions, Pinal had some achievements. Among the most outstanding were her achievements in Cinematographic Law to protect the rights of interpreters, her work on the Law of Condominiums and the Law of Tourism, tasks in favor of ecology, her promotion of the dissemination of theater books, and her fight against the Ministry of Finance to lower taxes on the theater.

Since the 1950s, Pinal has actively participated in trade union movements of the actors of her country. She was part of the group "Rosa Mexicano", founded by Dolores del Río. Between 1988 and 1995, Pinal became a leader of the National Association of Interpreters (A.N.D.I.) of Mexico.

Pinal had legal problems in 2000 due to conflicts with her management as the Association of Theater Producers (Protea) leader in the early 1990s. For this reason, the actress lived in Miami, Florida, for some time. After eleven months, the actress was declared innocent and returned to her country.

Between 2010 and 2014, Pinal served as General Secretary of the Screen Actors Guild of México (ANDA).

To protect older actors, she became the founder of the Asociación Rafael Banquells, in charge of providing non-profit help to interpreters. As president of the association, Pinal delivers the Bravo Awards for highlights in music, film, theater, radio, television, dubbing and commercial realization during the year. The awards have been given annually since 1991.

Personal life

Pinal has been married four times. Her first marriage was to actor and director Rafael Banquells, her first formal boyfriend, in 1947. She acknowledges that her marriage at such an early age was partly to escape her repressive father: "I changed my father for a softer one that stimulated me in my career." The couple divorced in 1952, a year after the birth of their daughter, Sylvia Pasquel, who later had an outstanding career as an actress.

Her second marriage was to the businessman and film producer Gustavo Alatriste. Pinal has revealed on numerous occasions that Alatriste was the love of her life, a husband with whom she could have stayed forever. Pinal met Alatriste at a meeting at Ernesto Alonso's house when he was about to divorce actress Ariadne Welter. It was thanks to Alatriste that Pinal was able to make her film projects with Luis Buñuel. The marriage ended in 1967 due to Alatriste's infidelities and business problems between the couple. From her relationship with Alatriste, she had a daughter, actress Viridiana Alatriste (1963-1982). Unfortunately, Viridiana died tragically in a car accident in Mexico City in 1982 at the age of 19.

Her third marriage was to the famous rock and roll singer and idol Enrique Guzmán. Pinal and Guzmán met when he was a guest on Pinal's television show ¡Ahora Silvia! They were married in 1967 despite some public resistance, as Pinal was 11 years older than her husband. Their marriage lasted nine years. They worked together and had two children: the famous singer Alejandra Guzmán (born in 1968) and the musician and composer Luis Enrique Guzmán (born in 1970).

Her last marriage was to Tlaxcala's politician and then governor, Tulio Hernández Gómez. The couple married in 1982. It was through Hernández that Pinal entered the world of politics. Pinal and Hernandez divorced in 1995.

In addition to her marriages, at various times in her life, Pinal had multiple romances. In 1954, when filming Un extraño en la escalera, Pinal fell in love with her co-star, Arturo de Córdova. Other romances were with the Mexican businessman Emilio Azcárraga Milmo, the Egyptian actor Omar Sharif and the American businessman Conrad Nicholson Hilton, Jr.

With time, Pinal has become the head of one of Latin America's most famous artistic dynasties. Her daughters Sylvia and Viridiana followed in her footsteps as actresses. Alejandra, her youngest daughter, is one of Mexico's most popular singers. Alejandra's daughter Frida Sofía is also a model living in Miami, Florida. In addition, her granddaughter Stephanie Salas (daughter of Sylvia) has also forged a career as an actress and singer. Stephanie's daughters, Michelle Salas, and Camila Valero are both models and actresses.

Awards and honors

 * In 1954, the beer company Corona created an advertisement that included a song in which they mentioned Pinal next to the Italian divas Gina Lollobrigida, Silvana Mangano and Silvana Pampanini.
 * In 1955, Pinal was immortalized in a portrait by the famous painter Diego Rivera, which occupies a special place in the Pinal residence in Mexico City.
 * In addition to Rivera, Pinal has also been painted by other artists such as Oswaldo Guayasamín, Mario Chávez Marión, Sylvia Pardo, and General Ignacio Beteta Quintana.
 * In 1978, Pinal posed nude for a photo shoot for the Spanish magazine Interviú.
 * In 1982, Pinal was one of the first honorees on the Paseo de las Luminarias in Mexico City; she was honored for her contributions to television, movies and theater. Her third husband, Enrique Guzmán, would be honored the next year, followed by two of her daughters, Sylvia Pasquel in 1993 and Alejandra Guzmán in 2013.
 * Pinal is represented as one of the Seven Muses of Art in a stained glass window of Xicohténcatl Theatre in Tlaxcala.
 * When her daughter Alejandra Guzmán launched her singing career in 1988, she dedicated a controversial song to her mother titled "Bye Mamá" and included it in her debut album.
 * In 2002, Pinal was recognized with a statue in her honor unveiled in Mexico City. Renowned sculptor Ricardo Ponzanelli did the work.
 * In 2006, in Spain, Pinal was awarded the Orden de Isabel la Católica in the grade of Commander for her cultural contribution to the world of cinema.
 * In 2013, Pinal was honored by the Wax Museum of Mexico City, which unveiled a figure in her honor.
 * In 2015, Pinal published her autobiographical book entitled Esta soy yo.
 * In 2016, the Academy of Motion Picture Arts and Sciences of Hollywood chose Pinal as one of its members to recognize her long career and contribution to the international film industry.
 * At some point, Matt Casella, a headhunter for DreamWorks, sought Pinal to make a biographical series about her life. However, the project has yet to materialize.
 * In 2019, Televisa produced a television series based on Pinal's life. The series is titled Silvia Pinal, frente a ti, and Mexican actress Itatí Cantoral portrays Pinal.

Films
• La tercera llamada (2013) Actor's Guild secretary

• Arrietty (2013) as Hara (Mexican Spanish dub) (Voice)

• El Agente 00-P2 (2009) as Mamá Osa (voice)

• Ya no los hacen como antes (2003) as Genoveva Reyer

• Puppy-Go-Round (1996)

• Modelo antiguo (1992) as Carmen Rivadeneira

• Pubis Angelical (1982) as Beatriz

• Dos y dos, cinco (1981) as Julia

• Carlota: Amor es... Veneno (1981) as Carlota Cavendish

• El canto de la cigarra (1980) as Elisa

• El niño de su mamá (1980) as Tina

• Las mariposas disecadas (1978)

• Divinas palabras (1977) as Mari Gaila

• Los cacos (1972)

• ¡Cómo hay gente sinvergüenza! (1972)

• La Güera Xóchitl (1971) as Xóchitl Torres

• Secreto de confesión (1971)

• Bang bang... al hoyo (1971) as Doliente

• Caín, Abel y el otro (1971)

• Los novios (1971) as Irene

• La mujer de oro (1970) as Silvia Torres

• La hermana Trinquete (1970)

• El cuerpazo del delito (1970) as Magda Bustamante/Enriqueta (segment "La insaciable")

• El amor de María Isabel (1970) as María Isabel Sánchez

• El despertar del lobo (1970) as Kim Jones

• Shark! (1969) as Anna

• 24 horas de placer (1969) as Catalina

• María Isabel (1968) as María Isabel Sánchez

• La Bataille de San Sebastian (1968) as Felicia

• La soldadera (1967) as Lázara

• Juego peligroso (1967) as Lena Anderson (segment "Divertimento")

• Estrategia matrimonial (1967)

• Los Cuervos están de luto (1965)

• Simón del desierto (1965) as The Devil

• Buenas noches, año nuevo (1964)

• El ángel exterminador (1962) as Leticia 'La Valkiria'

• Adiós, Mimí Pompón (1961)

• Viridiana (1961) as Viridiana

• Maribel y la extraña familia (1960)

• Charlestón (1959)

• Las locuras de Bárbara (1959)

• Uomini e nobiluomini (1959) as Giovanna

• El hombre que me gusta (1958) as Marta

• Una golfa (1958)

• Una cita de amor (1958)

• Préstame tu cuerpo (1958) as Leonor Rivas Conde/Regina Salsamendi

• ¡Viva el amor! (1958) as Veronica de la Maza

• Desnúdate, Lucrecia (1958)

• Mi desconocida esposa (1958)

• Dios no lo quiera (1957) as Felisa

• Cabo de hornos (1957)

• La Dulce Enemiga (1957) as Lucrecia

• Teatro del crimen (1957)

• La adúltera (1956) as Irene

• El inocente (1956) as Mané

• Locura pasional (1956) as Mabel Mendoza

• La vida tiene tres días (1955) as María Andrade

• Amor en cuatro tiempos (1955) as Silvia

• La sospechosa (1955) as Regina de Alba

• Historia de un abrigo de mink (1955) as Margot

• Pecado mortal (1955) as Soledad Hernández

• Un extraño en la escalera (1955)

• Vendedor de muñecas (1955)

• Si volvieras a mi (1954) as Lidia Kane

• El casto Susano (1954) as Mimí

• Hijas casaderas (1954) as Magdalena

• Reventa de esclavas (1954) as Alicia Sandoval/Isis de Alejandría

• Las cariñosas (1953) as Carmen Santibañes

• Yo soy muy macho (1953) as María Aguirre

• Mis tres viudas alegres (1953) as Silvia

• Doña Mariquita de mi corazón (1953) as Paz Alegre

• Sí... mi vida (1953)

• You've Got Me By the Wing (1953) as Rosita Alba Vírez

• When Children Sin (1952) as Tencha

• Ahora soy rico (1952) as Sonia Iliana

• A Place Near Heaven (1952) as Sonia Iliana

• Por ellas aunque mal paguen (1952)

• Mujer de medianoche (1952)

• La estatua de carne (1951) as Marta

• Recién casados... no molestar (1951) as Gaby

• A Galician Dances the Mambo (1951) as Carmina

• El amor no es negocio (1950) as Malena

• El amor no es ciego (1950)

• Azahares para tu boda (1950) as Tota

• The Mark of the Skunk (1950)

• The Doorman (1950)

• El rey del barrio (1950)

• La mujer que yo perdí (1949) as Laura

• Escuela para casadas (1949) as Teresa Moreno

• Bamba (1949)

• El pecado de Laura (1949) as Juanita

Television

 * Relatos macabrones (2020) as Doña Teresa
 * Juntos el corazón nunca se equivoca (2019) as Doña Imelda Sierra Vda. de Corcega
 * Silvia Pinal, frente a ti (2019) as Herself
 * Mi marido tiene familia (2017–2019) as Doña Imelda Sierra Vda. de Córcega
 * La tempestad (2013) as Soraya Alcántara
 * Un refugio para el amor (2012) as Herself
 * Una familia con suerte (2011) as Herself
 * Soy tu dueña (2010) as Isabel Rangel Vda. de Dorantes
 * Mañana es para siempre (2009) as Herself
 * Fuego en la sangre (2008) as Santa Margarita Lorenza Vda. de Gómez
 * Una familia de diez (2007–2019) as Herself
 * Amor sin maquillaje (2007) as Herself
 * Aventuras en el tiempo (2001) as Silvia
 * Carita de ángel (2000–2001) as Mother Lucía
 * El privilegio de amar (1998)
 * Lazos de amor (1995) as Herself
 * Mujer, casos de la vida real (1986–2007) as Host
 * Eclipse (1984)
 * Mañana es primavera (1983) as Amanda González de Serrano
 * Y ahora, ¿qué? (1980)
 * ¿Quién? (1973)
 * Los caudillos (1968) as Jimena
 * Al rojo vivo

Stage
• A Midsummer Night's Dream (1947)

• Los caprichos de Goya (1947)

• Nuestra Natacha (1948)

• Un sueño de cristal (1949)

• Fausto y Margarita (1949)

• Cuarto para vivir (1950)

• La familia Barret (1950)

• Celos del Aire (1950)

• Don Juan Tenorio (1950)

• El cuadrante de la soledad (1950)

• Hitoria de una escalera (1950)

• The Madwoman of Chaillot (1950)

• Divorciémonos (1951)

• La Sed (1954)

• Anna Christie (1955)

• Desnúdate Lucrecia (1957)

• Two for the Seesaw (1957)

• Bells Are Ringing (1958)

• Irma La Douce (1964)

• Cualquier miércoles (1965)

• Mame (1972)(1985)(1989)

• Vidas privadas (1975)

• Annie Get Your Gun (1976)

• ¡Felicidades Silvia! (1977)

• El año próximo a la misma hora (1978)

• Plaza Suite (1978)

• La libélula (1983)

• La señorita de Tacna (1985)

• las memorias de la Divina Sarah (1985)

• Anna Karenina (1986)

• Vamos a contar mentiras (1989)

• Lettice and Lovage (1991)

• Hello Dolly! (1996)

• Gypsy (1998)

• Debiera haber obispas (2005)

• Adorables enemigas (2008)

• Amor, dolor y lo que traía puesto (2012)

Stage (producer)

 * A Chorus Line (1989)
 * Cats (1991)
 * La Cage aux Folles (1993)

title: Silvia Pinal


text:
George Guy

George Guy may refer to:

 * Buddy Guy (born 1936), American blues guitarist and singer
 * George Guy (trade unionist) (1918–2005), British trade unionist
 * George Guy (footballer), English footballer

title: George Guy


text:
User:Taylorsimpson

I am a poet from North Carolina.

Snowman

Snowman comes

Snowman goes

Like an old friend

only comes when it snows

You've betrayed me Snowman

You said you were from the future

Now I feel that I must

Take your hootch here

You are an alcoholic Mr. Snowman

you leave without so much as a goodbye

Help me snowman! help me!

Can't you see I have tears in my eye?

©December 14, 2004 Taylor Simpson

title: User:Taylorsimpson


text:
Im Krapfenwald'l

 Im Krapfenwald'l  (In Krapfen's Woods) op. 336 is a polka by Johann Strauss II written in 1869 and was originally titled 'Im Pawlowsk Walde' (In the Pavlovsk Woods) when first performed in Pavlovsk on 6 September (= 25 August Russian calendar) 1869. Reportedly, several encores of the piece were called for and Strauss felt moved to retitled the piece to suit his audience back in native Vienna.

The new title 'Im Krapfenwald'l' alludes to the popular Krapfenwald area of the Wienerwald located in the scenic village of Grinzing and the heights of Cobenzl and Kahlenberg. The piece may also refer to the owner of the local tavern 'Krapfenwaldel', Franz Josef Krapf who opened his establishment at the same area. Eduard Strauss, who was responsible for performing many of his elder brother's works dating from his Russian tour first performed the work in Vienna at the Vienna Volksgarten on 24 June 1870 where it enjoyed greater admiration.

The work which hints strongly at the Viennese Woods backdrop calls for bird whistles which adorn the polka. Strauss has the last laugh when he calls for one of these birdsong in the closing moments of this cheerful work before a rushed ending with percussions and a flourish.

title: Im Krapfenwald'l