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Mary Millington

Mary Ruth Maxted (née Quilter; 30 November 1945 – 19 August 1979), known professionally as Mary Millington from 1974 onwards, was an English model and pornographic actress. Her appearance in the short softcore film Sex is My Business led to her meeting magazine publisher David Sullivan, who promoted her widely as a model and featured her in the 1977 softcore comedy Come Play With Me, which ran for a record-breaking four years at the same cinema.

In her later years, she faced depression and pressure from frequent police raids on her sex shop. After a downward spiral of drug addiction, shoplifting and debt, she died at home of an overdose of medicine and vodka, aged 33.

Millington has been described as one of the "two hottest British sex film stars of the seventies", the other being Fiona Richmond.

Early life
Mary Ruth Quilter was born out of wedlock on 30 November 1945, and brought up by her single mother, Joan Quilter (19 February 1914 – 17 May 1976), initially in Willesden and later in Mid Holmwood near Dorking. Growing up without her father, John William G. Klein (1899–1973), Mary was bullied at school owing to being illegitimate, and she suffered from low self-esteem throughout her childhood and teenage years. She left school at age 15 in 1961, and, at age 18 in 1964, she married Robert Maxted and lived in Dorking. She had to nurse her terminally ill mother for more than ten years, and she began her pornography career to pay for her mother's care. She had wanted to be a fashion model, but, at only 4 feet 11 inches, she was not tall enough. Instead, she became a glamour model in the late 1960s.

Career
Soon after starting work as a glamour model, she met the glamour photographer and pornographer John Jesnor Lindsay, who offered to photograph her for softcore magazines. She became one of his most popular models and began appearing in 8mm hardcore pornographic film loops which sold well in Europe. One of her first films was Miss Bohrloch in 1970. Miss Bohrloch won the Golden Phallus Award at the Wet Dream Festival held in November 1970 in Amsterdam. She starred in around twenty short hardcore films for John Lindsay, although only five (Miss Bohrloch, Oral Connection, Betrayed, Oh Nurse and Special Assignment) have so far resurfaced. She then returned to modelling for British pornographic magazines such as Knave and Men Only. She also appeared in softcore short films by Russell Gay (Response, 1974), Mountain Films (Love Games, Wild Lovers) and Harrison Marks (Sex is My Business, c.1974).

Sex is My Business was shot late on a Saturday night at a sex shop on London's Coventry Street. The storyline concerned a powerful aphrodisiac being dropped by a customer, the potency of which renders the shop's staff and customers sex crazy. Maxted, dressed in a short see-through dress, is the film's main focus of attention, playing a member of staff who drags a customer into the back room for some multi-position sex, thoughtfully turning on the shop's CCTV camera so others can watch. Sex is My Business was considered something of a lost film until a Super 8 print was located and privately transferred to DVD in 2008. The film subsequently made its internet debut on 26 July 2008 at the (now defunct) site ZDD Visual Explosion. In 2010, Sex is My Business was included as a special feature on the DVD re-release of Come Play With Me.

In February 1974, Maureen O’Malley, her co-star in Sex is My Business, introduced her to adult magazine publisher David Sullivan. Although she was still married, the pair became lovers. Quilter had used many different stage names and aliases during her pornography career until 1974, when Sullivan rebranded her as Mary Millington. In her first appearance in Sullivan's Whitehouse magazine, he claimed that she was the bisexual nymphomaniac sister of the magazine's editor Doreen Millington, which led Mary to her new stage name. She became well-known thanks to her appearances in Sullivan's pornographic magazines such as Whitehouse and Private. She soon became the most popular model in any of Sullivan's magazines. In November 1977, magistrates acquitted her and Sullivan following prosecution under the Obscene Publications Acts.

She had a small part in Sullivan's 1977 softcore sex comedy Come Play with Me, alongside Alfie Bass and Irene Handl. Although critically panned, the film was highly successful, running continuously for four years at one London cinema. It then became one of the first British films to sell in large numbers on the new VHS format. This was followed by a larger role in The Playbirds (1978), in which she was cast as a policewoman working undercover as a nude model. Although her lack of acting training was evident, The Playbirds was a commercial success. Like Come Play with Me, it was extensively trailed in Sullivan's magazines. She made many public appearances at this time, promoting her films in regional cinemas, opening shops and restaurants, and raising money for the People's Dispensary for Sick Animals. At the height of her fame, she was also working behind the counter in Sullivan's sex shops, mainly in the Whitehouse shop in Norbury, South London. She continued working as a call girl, which she had done since her early modelling days. She then made a cameo appearance in Confessions from the David Galaxy Affair (1979), which was a flop, and she played the title role in Queen of the Blues (1979). She appeared in other sex movies such as Eskimo Nell (1975), Intimate Games (1976) and Derek Ford's What's Up Superdoc! (1978).

In April 1978, Millington and fellow Come Play With Me actress Suzy Mandel took part in a publicity stunt for the anniversary of the opening of the film at the Moulin Cinema, posing in lingerie on the cinema's marquee. In May 1978, Millington was photographed topless outside 10 Downing Street. While she was posing for an innocuous picture with a policeman, she decided to unzip her top and expose her breasts for the photograph. This surprised the people present, including Suzy Mandel, Whitehouse photographer George Richardson (who took the picture), and the policeman (who tried to confiscate the film). According to Simon Sheridan's biography of Millington, "For this stunt Mary was conditionally discharged and bound over to keep the peace".

The filming of Millington's last film appearance took place in early to mid-1978. She played Mary in the Sex Pistols film The Great Rock 'n' Roll Swindle, directed by Julien Temple, which was released theatrically in March 1980. However, neither she nor her punk rock co-star Sid Vicious lived to see the completion of the film. Liz Fraser, one of her co-stars in the film, remembered: "I was next to this girl called Mary Millington, and she and I had a great chat together… and then we went into the pub for a lunch, during the filming of that, and someone said 'she’s a porn star', and I said 'I don’t understand what do you mean' and he said 'porn, p-o-r-n' and he said 'she’s naked and she does everything in all these films', but she was lovely and so I met my first porn star".

In 1978, she was approached to appear in a hardcore porn film called Love is Beautiful, to have been directed by Gerard Damiano. However, despite Millington and Damiano being pictured together at that year's Cannes Film Festival, the film (meant to have been produced by David Grant's Oppidan Films) never materialized. Potential co-stars may have included Harry Reems, Gloria Brittain and Lisa Taylor. That same year she turned 33 and found herself being replaced by younger models in Sullivan's magazines.

Last years and death
Millington had suffered from neurosis and depression, which were exacerbated by her cocaine habit. Her mother's death at age 62 on 17 May 1976, after over 10 years with cancer, also affected her deeply, and her behaviour became unpredictable, which led to her breaking up with Sullivan. In March 1978, she ceased to work in Sullivan's Whitehouse sex shop in Norbury and opened her own in Tooting, also in South London, called Mary Millington's International Sex Centre. She began to spend more time working in her own shop, selling illegal material. The shop was raided by the police on numerous occasions, and she claimed the police threatened her and forced her to pay protection money. In the past, she had publicly criticised police raids on sex shops and published the addresses and telephone numbers of Scotland Yard, the Director of Public Prosecutions and Members of Parliament in her magazines. Her life began a downward spiral into drug use and depression following the raids on her shop. A few months prior to her death, she had received a large tax bill which she was unable to pay. Her kleptomania became more pronounced in the last year of her life, with arrests for shoplifting in June 1979 and again for stealing a necklace the day before her death.

Millington died by suicide at age 33, by an overdose of tricyclic antidepressant anafranil, paracetamol and alcohol at her home in Walton-on-the-Hill, Surrey. Her husband found her dead in her bed on 19 August 1979. She left four suicide notes which were found near her body. In one of them, she had written: "The police have framed me yet again. They frighten me so much. I can't face the thought of prison... The Nazi tax man has finished me as well." In another note, to her solicitor Michael Kaye (partly published in Private magazine no 59), Millington wrote "the police have killed me with their threats…the police have made my life a misery with frame ups. The tax man has hounded me so much – I will be made bankrupt, he mustn't get anything of his £200,000 demands. He is a religious maniac." In another note, to David Sullivan, she wrote: "please print in your magazines how much I want porn to be legalised, but the police have beaten me".

Millington was a member of the National Campaign for the Reform of the Obscene Publications Acts (NCROPA) and encouraged her readers to demand the abolition of the Acts. After her death, NCROPA founder David Webb wrote: "Mary was a dear, kind person and we much admired her courage in standing up to the bigotry and repression which still so pervades the establishment of this country. She obviously had tremendous pressures put on her as a result and there is no doubt in my mind that these must have contributed to this tragedy."

Millington was buried at St Mary Magdalene Church, in South Holmwood, Surrey, marked by a grey granite tombstone which bears her married name. She is buried in the same grave as her mother, Joan Quilter, who died in 1976.

Legacy
Millington has been described as one of the "two hottest British sex film stars of the seventies", the other being Fiona Richmond. David Sullivan described her as "the only really uninhibited, natural sex symbol that Britain ever produced and who believed in what she did". Between 1975 and 1982, there was always at least one of Millington's films playing in London's West End.

A posthumous film about her life was released in 1980, entitled Mary Millington's True Blue Confessions. In 1996, Channel Four screened a tribute to her entitled Sex and Fame: The Mary Millington Story, featuring an interview with David Sullivan.

Twenty years after her death, the author and film historian Simon Sheridan put Millington's life into context in the biography Come Play with Me: The Life and Films of Mary Millington. Further information about her career can be found in Sheridan's follow-up book Keeping the British End Up: Four Decades of Saucy Cinema, the fourth edition of which was published in April 2011.

In 2004, Millington's prominence was recognized by her inclusion in the Oxford Dictionary of National Biography, edited by Colin Matthew and Brian Harrison. Her entry was written by Richard Davenport-Hines.

In 2008, an exhibition of the work of the late glamour photographer Fred Grierson was held in London, which included several little-seen pictures of Millington taken by Grierson at June Palmer's Strobe Studios in the early 1970s.

In late 2009, an 8 mm copy of one of her early John Lindsay short films Special Assignment resurfaced. Unseen since the early 1970s, it was subsequently transferred to DVD. Two years later in 2011, Wild Lovers, another 8 mm film starring Millington, was also traced and transferred from 8 mm to DVD.

In 2014, four spoken word erotic stories recorded by Millington in 1978–9 were released as a vinyl LP.

A nightclub in Liverpool is named after her. She is commemorated with a blue plaque on the site of the former Moulin Cinema in Great Windmill Street, Soho for her appearance in Come Play with Me. The film is listed in the Guinness Book of World Records as running there continuously for 201 weeks, from April 1977 to March 1981, making it the longest-running British film. The validity of this record and the blue plaque have been called into question by film historian Allen Eyles who says that Come Play with Me ran for 165 weeks and that Britain's longest running film was South Pacific, which ran for four years and twenty-two weeks. Nevertheless, Come Play With Me stands as one of the longest-running films in British movie history.

Millington self-identified as bisexual and said that she preferred lesbian sex.

Respectable – The Mary Millington Story (2015)
A feature-length documentary chronicling Millington's life, entitled Respectable – The Mary Millington Story,  was partly shot and produced at Pinewood Studios in 2015.

Written, directed and produced by Mary Millington's biographer Simon Sheridan, the film mixes archive footage, previously unseen photographs and interviews with Millington's family, friends and co-stars, including David Sullivan, Pat Astley, Dudley Sutton, Linzi Drew and Flanagan.

The film received its world premiere at London's Regent Street Cinema in April 2016. A DVD of the film was released in the UK on 2 May 2016.

Selected filmography

 * Miss Bohrloch (short, 1970)
 * Oh, Nurse! (short, 1971)
 * Secrets of a Door-to-Door Salesman (1973)
 * Eskimo Nell (1974)
 * Erotic Inferno (1975)
 * Private Pleasures (shot in Sweden, 1975)
 * Keep It Up Downstairs (1976)
 * I'm Not Feeling Myself Tonight (1976)
 * Intimate Games (1976)
 * Come Play with Me (1977)
 * The Playbirds (1978)
 * What's Up Superdoc! (1978)
 * Confessions from the David Galaxy Affair (1979)
 * Queen of the Blues (1979)
 * The Great Rock 'n' Roll Swindle (posthumous, 1980)
 * Mary Millington's True Blue Confessions (posthumous, 1980)
 * Mary Millington's World Striptease Extravaganza (posthumous, 1981)
 * Sex and Fame: The Mary Millington Story (TV documentary, 1996)
 * Respectable - The Mary Millington Story (cinema documentary, 2015)

Selected magazine appearances

 * Frivol No.37 (German magazine) "The Summit of Bliss" (Miss Bohrloch stills)
 * Frivol No.40 & 41 (German magazine) Miss Bohrloch stills
 * Vi Menn No. 233 (Norwegian magazine) as "Sally Stephens" Britiske Kvinner stillbilder 1970
 * Vi Menn No. 266 (Norwegian magazine) as "Rebecca Stephens" Britiske Kvinner stillbilder 1973
 * Vi Menn No. 268 (Norwegian magazine) as "Rebecca Stephens" Britiske Kvinner stillbilder 1973
 * Around the World in 80 Lays (volumes 1 & 2) photo-novel by Beryl Grant 1974 (cover)
 * Vibrations Vol 5 No 12 as 'Sally Stevens" & "Jean" in photo-story 'Erotic Charades'
 * Vibrations Vol 8 No 8 as "Sally Stephens"
 * Vibrations Vol 9 No 2 as "Sally Stevens"
 * Knave Vol.6 No.3 1974 (Cover & 8 pages inside - centerfold)
 * Fiesta Vol.8 No.6 1974
 * Late Night Extra 1974 (as "Nancy Astley")
 * Titbits No.4613, 1– 7 August 1974, (Eskimo Nell)
 * Fiesta Vol 8 no 5 1974 inside photograph of Mary on the London Underground
 * Spick No.261 August 1975 (as "Mary Maxted")
 * Club International Vol.5, No.1, January 1976 (5 pages as "Mia" with Pat Astley)
 * Playbirds Vol.1, No.1 1975
 * Playbirds Vol.1, No.2 1975 (cover & 15 pages)
 * Playbirds Vol.1, No.3 & 4 1975
 * Playbirds Vol.1, No.6 1975
 * Playbirds Vol.1, No.8 1975 (Millington at the Frankfurt trade fair)
 * Playbirds Vol.1, No.16 1976 (cover & inside)
 * Playbirds Vol.1, No 21 1976 (cover only)
 * Playbirds Vol.1, No 24 1976 (inside)
 * Continental Film Review Vol.25, No.6 & 7, 1978 (The Playbirds)
 * Whitehouse No.10 197?
 * Whitehouse No.40 197? (colour trade ad for Playbirds film & four-page synopsis)
 * Whitehouse No.47 197? (colour trade ad for The David Galaxy Affair plus four-page article on film)
 * New Action MS no. 28 (Millington meets Rosemary England photo shoot)
 * Playbirds erotic film guide No.1 (Millington cover, Come Play with Me feature)
 * Exciting Cinema No.18 circa 1979 ("Mary Millington meets Rosemarie England in the Flesh")
 * International Cover Girls No.14 1979
 * Revel No. 3 (tribute to Millington)

* David Sullivan's magazines were often undated, thus the only way of dating them is by which Sullivan-produced films were being promoted inside the magazines, i.e. a Sullivan magazine which promotes Come Play With Me would be from 1976/1977, one promoting The Playbirds would be circa 1978, and one promoting Confessions from the David Galaxy Affair would be from 1979.

title: Mary Millington


text: Talk:Disease management (agriculture)

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

title: Talk:Disease management (agriculture)


text:
Doug McClure

Douglas Osborne McClure (May 11, 1935 – February 5, 1995) was an American actor whose career in film and television extended from the 1950s to the 1990s. He is best known for his role as the cowboy Trampas during the entire run from 1962 to 1971 of the series The Virginian and mayor turned police chief Kyle Applegate on Out of This World. From 1961-1963, he was married to actress BarBara Luna.

Career
McClure's acting career included such films as Gidget (1959), The Enemy Below, The Unforgiven, and Because They're Young, then he landed the role of Trampas on The Virginian, a role that would make him famous. He also starred:

 * As different characters in several episodes in 1957 of Death Valley Days
 * As Flip Flippen in the 1960 television western series Overland Trail, in which he co-starred with William Bendix for 17 episodes
 * As Jed Sills in the 1960-1962 CBS television series Checkmate for 70 episodes.
 * As C.R. (Christopher Robin) Grover in the sci-fi/detective series Search (1972–1973), in which he rotated the lead with Hugh O'Brian and Anthony Franciosa as a high-tech probe agent.
 * As Cash Conover, casino owner, co-starring with William Shatner, in the one-season series The Barbary Coast (1975–1976). McClure replaced Dennis Cole, who played the role of Conover in the show's pilot.
 * As Mayor Kyle Applegate on the fantasy sitcom Out of This World (1987–1991).

McClure was in the third episode "Mr. Denton on Doomsday" of CBS's The Twilight Zone.

In 1962, he was cast as Trampas on NBC's The Virginian. His co-stars throughout the series were James Drury, Roberta Shore, Lee J. Cobb, Randy Boone, Gary Clarke, Clu Gulager, Diane Roter, Charles Bickford, Sara Lane, Tim Matheson, Jeanette Nolan, and John McIntire.

In 1965, he appeared in Shenandoah, a movie directed by Andrew V. McLaglen and starring James Stewart, Glenn Corbett, Patrick Wayne, Katharine Ross, and Rosemary Forsyth.

After The Virginian ended in 1971, McClure was slated to co-star with Bette Davis on a series about a parolee assisting a judge, played by Davis, by doing detective work. The pilot, produced and written by the team of Richard Levinson and William Link, failed to generate interest in the series and was released as a TV movie titled The Judge and Jake Wyler. McClure made another attempt at a television series during the 1972–1973 season by co-starring on SEARCH as a hi-tech investigator, rotating with Anthony Franciosa and Hugh O'Brian, and again in 1975–1976 in The Barbary Coast, co-starring William Shatner (with whom he'd starred in The Virginian episode "The Claim"). He shifted to low-budget science-fiction movies such as At the Earth's Core, The Land That Time Forgot, and The People That Time Forgot, all three based on the novels of Edgar Rice Burroughs. In 1967, he played the Errol Flynn role in a remake of Against All Flags titled The King's Pirate. He was cast in the lead in three adventures: The Longest Hundred Miles, The Birdmen, and State of Division (also known as Death Race). In 1978, he also starred in Warlords of Atlantis. In the 1970s and 1980s, McClure appeared in commercials for Hamms Beer. McClure also appeared as the blonde slave to Jamie Farr's character in the sequel Cannonball Run II (1984).

He also had a cameo role as a poker player in the 1994 remake of Maverick.

In 1994, McClure was awarded a star on the Hollywood Walk of Fame for television at 7065 Hollywood Blvd. It was unveiled in what was his final public appearance.

Death
On February 5, 1995, McClure died at age 59 from lung cancer in Sherman Oaks, California. On January 8 of that year, the actor was working on an episode of the television series One West Waikiki in Hawaii when he collapsed from an apparent stroke on the set. He was flown to Los Angeles for hospitalization. Doctors discovered that the lung cancer McClure had been battling for more than a year had spread to his liver and bones. McClure was married to his fifth wife at the time of his death. He was divorced four times, including twice while he was performing on The Virginian.

In popular culture
The character of Troy McClure on The Simpsons was modeled after McClure and fellow actor Troy Donahue. Mike Reiss, executive producer of The Simpsons, said that Doug McClure's daughter informed him that Doug was a big fan of The Simpsons. She said that while watching an episode Doug saw the character Troy McClure on the show and said, "Are they making fun of me?" Doug said he thought the parody was funny, and his daughters would call him Troy McClure behind his back as a joke.

Film

 * Friendly Persuasion (1956) – Soldier (uncredited)
 * The Enemy Below (1957) – Ens. Merry (uncredited)
 * South Pacific (1958) – Pilot in Hospital
 * Gidget (1959) – Waikiki
 * The Man Who Understood Women (1959) – Director's Assistant (uncredited)
 * Because They're Young (1960) – Jim Trent
 * The Unforgiven (1960) – Andy Zachary
 * The Lively Set (1964) – Chuck Manning
 * Shenandoah (1965) – Sam
 * Beau Geste (1966) – John Geste
 * The Longest Hundred Miles (1967) – Cpl. Steve Bennett
 * The King's Pirate (1967) – Lt. Brian Fleming
 * Nobody's Perfect (1968) – Doc Willoughby
 * Backtrack (1969) – Trampas (archive footage)
 * Terror in the Sky (1971 TV movie) – George Spencer
 * The Birdmen (1971 TV movie) – Major Harry Cook
 * The Death of Me Yet (1971 TV movie) – Edward Young / Paul Towers
 * Playmates (1972 TV movie) – Kermit Holvey
 * The Judge and Jake Wyler (1972 TV movie) – Jake Wyler
 * The Bloody Vultures of Alaska (1973) – Don Rutland
 * Death Race (1973 TV movie) – Lt. Del Culpepper
 * The Land That Time Forgot (1974) – Bowen Tyler
 * Satan's Triangle  (1975 TV movie) – Lt. J. Haig
 * What Changed Charley Farthing (1976) – Charley Farthing
 * At the Earth's Core (1976) – David Innes Roots 1977
 * SST: Death Flight (1977 TV movie) – Hank Fairbanks
 * The People That Time Forgot (1977) – Bowen Tyler
 * Wild and Wooly (1978 TV movie) – Delaney Burke
 * Warlords of Atlantis (1978) – Greg Collinson
 * Humanoids from the Deep (1980) – Jim Hill
 * Firebird 2015 A.D. (1981) – McVain
 * The House Where Evil Dwells (1982) – Alex Curtis
 * Cannonball Run II (1984) – The Slapper
 * Omega Syndrome (1986) – Detective Milnor
 * 52 Pick-Up (1986) – Mark Arveson
 * Tapeheads (1988) – Sid Tager
 * Dark Before Dawn (1988) – Kirkland
 * Prime Suspect (1989) – Dr. Brand
 * Battling for Baby (1992 TV movie) – David
 * Dead Man's Revenge (1994 TV movie) – Granger
 * Maverick (1994) – Riverboat Poker Player #3
 * Riders in the Storm (1995) – Hamilton Monroe

Television

 * Death Valley Days  Ganse Taylor in "Fifteen Places to Fame" (1957)
 * Lawman – Jed Ryan in "The Visitor" (1959)
 * Riverboat – Corporal Jenkins in "The Face of Courage" (1959)
 * U.S. Marshal – Bruce Williams in "The Threat (1959)
 * The Twilight Zone – Pete Grant (episode: "Mr. Denton on Doomsday", 1959)
 * Coronado 9 – Jimmy Hoke in "The Widow of Kill Cove" (1960)
 * Hennesey – Seaman Davies in "Angel Face" (1960)
 * Johnny Midnight – Rice in "Mother's Boy" (1960)
 * Overland Trail – Frank Flippin (1960)
 * Checkmate – Jed Sills (1960–62)
 * The Virginian – Trampas (1962–71)
 * The Longest Hundred Miles (1967)
 * Barbary Coast – Cash Conover (1975)
 * Satan's Triangle – Lt. J. Haig (1975)
 * Search – C. R. Grover (1972–73)
 * Roots – Jemmy Brent (1977)
 * The Rebels – Eph Tait (1979)
 * The Fall Guy – five episodes (once as Himself)
 * Fantasy Island – Craig Bradshaw (episode: "The High Cost of Loving/To Fly With Eagles" 1984)
 * Hardcastle and McCormick – Dt. Hamilton (episode: "School For Scandal" 1984)
 * Too Close For Comfort – David Jenner (episode: "Divorce Chicago Style" 1984)
 * Airwolf – Darren McBride (episode: "Half-Pint", 1985)
 * Murder, She Wrote – "Steal Me a Story" (1987)
 * Out of This World  – Mayor Kyle Applegate (1987–1991)
 * Superboy – "Hollywood" – Professor Zugar (airdate May 13, 1989)
 * B.L. Stryker – "The King of Jazz" - Alexander Ludlow (November 18, 1989)
 * Matlock – "The Outcast" – Elliot Jones (Feb 7, 1992)
 * In the Heat of the Night – "Time's Long Shadow" (1994)
 * The Gambler Returns: The Luck of the Draw (1991)

title: Doug McClure


text:
Bid whist

Bid whist is a partnership trick-taking variant of the classic card game whist. As indicated by the name, bid whist adds a bidding element to the game that is not present in classic whist. Bid whist, along with spades, remains popular particularly in U.S. military culture and a tradition in African-American culture.

The game
The general play of bid whist is similar to that of whist, with four notable exceptions. In whist, the trump suit for a given hand is determined at random by the last card dealt, whereas in bid whist, the trump suit (or whether there will even be a trump suit) for a given hand is determined by the outcome of the bidding process.

Secondly, whether a trick is won by the higher-ranking card of the winning suit, or by the lower-ranking card of that suit is also determined by the outcome of the bidding process. Thirdly, whether the ace is the highest-ranking card of the suit or the lowest-ranking card can change from hand to hand, depending on whether higher-ranking cards or lower-ranking cards win in that hand. And lastly, the scoring of the game is handled differently.

Card ranking
Uptown

Trumps: Big joker, little joker, A, K, Q, J, 10, 9, 8, 7, 6, 5, 4, 3, 2

Non-trump: A, K, Q, J, 10, 9, 8, 7, 6, 5, 4, 3, 2

Downtown

Trumps: Big joker, little joker, A, 2, 3, 4, 5, 6, 7, 8, 9, 10, J, Q, K

Non-trump: A, 2, 3, 4, 5, 6, 7, 8, 9, 10, J, Q, K

Kitty
In most variations, a 'kitty' of four, five, or six cards is dealt separately from the cards delivered to each player. If no jokers are being used, the kitty will consist of four cards. If one joker is being used, the kitty will consist of five cards. And if two jokers are being used, the kitty will consist of six cards.

The winner of the bid auction can use the kitty. (This is similar to the skat in Skat.)

Bidding process
In bid whist, after all of the cards have been dealt, but prior to the beginning of game play, each player may submit a bid. If a player chooses not to bid, the player may pass. Just as with the game play, the bidding starts with the player to the dealer's left and proceeds clockwise to each player in turn, ending with the dealer.

In order to bid, a player must make a bid that is 'better' (see below) than the best bid made by a previous player for the current hand. Unlike bridge, no deals are passed. If the first three players pass, the dealer (the last player) must make a bid. Most games set a minimum bid of at least four, though "officially" three is the minimum bid.

A player's bid consists of a declaration of the minimum number of books (over the required 6 books) that will be taken (turned) by that player and their partner, followed by an indication either that the player wishes there to be no trump suit for the current hand, or of whether the player wishes for higher-ranking or for lower-ranking cards to be victorious in the current hand.

In determining what makes a bid 'better' than a previous bid, the initial consideration is the number of books being declared. Bidding a higher number of books than the current bid is always sufficient for making a better bid. Bidding a lower number of books can never be sufficient. If a player wishes to bid the same number of books as the current, the next consideration is whether the current bid indicated there would be no trump suit. If not, and the current bid indicates that there will be a trump suit, then the player now bidding may better the current bid by claiming the same number of books but now bidding that there will be no trump suit. If the current bid already indicates there will be no trump suit, that bid may only be bettered by indicating a higher number of books.

In some variations, a bid which indicates that there will be a trump suit, and that higher-ranking cards will win, can also be bettered by bidding the same number of books and indicating that there will be a trump suit and that lower-ranking cards will win. In other variations, however, a bid for higher-ranking cards and a bid for lower-ranking cards, each with the same number of books, are considered equal bids. A no trump bid can be made without an over bid and can be a high(uptown)or a low(downtown) bid. A no trump bid takes out a trump bid.

At the end of the bidding process, the player who has made the best bid is deemed to have won the bid. The winning bidder's indication regarding either having no trump suit, or the ranking of cards is granted for the duration of the hand. That player and their partner are now committed to taking at least the number of books indicated in the bid. The opposing player and their partner are committed to 'setting' the bidding team by preventing the bidding team from succeeding in taking the number of books to which they are committed.

If the winning bid indicated a desire for no trump suit, then prior to the beginning of game play, the winning bidder must now indicate whether high-ranking or low-ranking cards will be victorious during that hand. Conversely, if the winning bid indicated whether high- or low-ranking cards would win during this hand, the winning bidder must now declare a trump suit for this hand. In high-winning hands, an ace serves as the highest card of its suit (better than a king). In low-ranking hands, an ace serves as the lowest card of its suit (under the 2).

After making this final declaration, the player receives into their hand the cards from the kitty (if one was used), and the player then discards an equal number of cards from their hand. In some variations, the cards of the kitty are overturned (sported) to be visible to all players prior to the winning bidder taking those cards into their hand. In other variations, the kitty is not sported, and only the winning bidder sees what cards they are. The most commonly played variation is to sport the kitty when there is a trump suit, and not sport when there is no trump suit.

If there is a trump suit in the upcoming hand, and if jokers are being used, the jokers become the best cards of the trump suit (better than the ace) regardless of whether high-ranking cards or low-ranking cards are the winners. If there is no trump suit, the jokers are worthless.

Play
The objective of the play is to win tricks. A trick consists of four cards, one from the hand of each player, in rotation, the first card played to a trick generally being called the lead. A player is required to follow suit to the card led, if possible. Failure to follow suit when a player has a card of the suit played is called a renege (see Renege below). If the player cannot follow suit, he may play any card.

Some people play that if the hand is a no trump hand and a player has a joker in his hand, he must throw off the joker the first time a suit is played and the player does not have a card of the suit played. Other players play that if the hand is a no-trump hand, players who have a joker must turn in the joker for one of the discarded cards in the kitty. Many people do not like to play the latter way, because it gives an indication of what suit the bid-taker has discarded.

For trump bids, it is generally preferred to cut a suit with a trump card when the player cannot follow the suit controlled by the opponents. The highest bidder always plays the first lead card in the game. After this play, the player who won the trick leads off to the player seated at his left. The play continues in this way until all twelve tricks have been played.

When a trick is completed, i.e., four cards played, a member of the side which won the trick takes the four cards, turns them face down, and places them in front of him in a row. It is customary for one player to take in all the tricks won by his side. The tricks should be kept separated from one another so that any previous trick can be referred to, if necessary. A player may turn and look back at the last trick until he or his partner has led or played to the next player. After that, he may not look at any previous tricks, unless a renege is called.

Strategy
Bid whist is a game of skills and strategy. While you cannot audibly tell your partner what you want him to play (this is called talking across the board), there are many non-verbal cues that partners give each other during play. It is very common for a player to indicate to his partner in what suit he has a winner other than trump. This is usually done by the player playing a card from a strong suit in his hand when he is out of the trump suit.

For example, trumps are hearts and it's an uptown (high cards win) hand. A player has strong diamonds, e.g., an ace, king, queen. When that player runs out of hearts, the next time hearts are played, he will throw off a low diamond. This typically tells his partner he has some help for him in diamonds.

Skilled players typically pull trumps. This means they start off playing the trump suit and "pulls" all the trumps from the opponents. Once trumps are pulled from the opponents, the bidding player will begin playing his offsuit. A player will not continue to play trumps when the opponents are out of trumps, saving his trumps to cut another suit that is played.

Not pulling trumps can lead to a team being set. For example: trumps are spades and the bid is uptown, high cards winning. An opposing player has one spade, a three of spades, and no diamonds. The bidding player has an ace, king and queen of diamonds. Instead of pulling trumps from his opponents, the player plays his ace of diamonds.

The opposing player with no diamonds and (for this hand) a lousy trump, will cut the ace of diamonds and take the trick. The bidding player should have first pulled trumps and then played his offsuit, the diamonds. Similarly, if the bidding player's partner takes a trick, he will give the lead back to his partner by leading back trumps, giving control back to his partner.

If the partner began playing what he thinks are winning cards, he runs the risk of one of the opposing players not having the suit played and cutting with a trump card. Also, by playing something other than his partner's trump, he opens up his partner's hand for the opposing team to see. That is, the opposing team will see what suit, other than trump, is in the bidding player's hand. The opposing team will then know what suit to keep for play when the trump suit is not played.

Renege
If a player fails to follow suit, e.g., clubs are led, player has a club, but plays a spade (or some other suit), the player has reneged. It is up to the opposing team to spot the renege and call it. If a renege is called, the player calling it must name the specific book where the renege occurred.

If the player successfully calls the renege, the team reneging loses three tricks. If the player calls a renege and cannot identify the exact trick where the renege occurred, then the team calling the renege loses three tricks.

Scoring
Each team begins the game with a score of zero. At the end of each hand, the bidding team either wins points by making their bid or loses points by failing to take enough books to satisfy their bid (known as being set). The game ends when a team wins by achieving a cumulative score of seven or more, or loses by reaching a cumulative score of minus seven or worse.

At the end of each hand, the books that the team that won the bid are counted. There are 13 altogether, corresponding to the 12 cards played by each player plus the kitty (if one is used), which counts as a book won by the bidder's team. Each book won above six counts toward the team's bid. In order to make their bid, the bidding team must take at least the number of books equal to six plus their bid.

 * If the bidding team makes their bid, they score one point for every book they took after the initial six. If they fail to take enough books for their bid, they score nothing for their books, and instead their bid is subtracted from their score. A team may win more than they bid, but may lose only what was bid. In either case, the opponents of the bidding team neither win nor lose any points.

''Note: If Team A won the bid with a 5 High they must take 11 tricks (Initial 6 plus their bid of 5) to make their bid. If they only take 10 books (the kitty and 9 other books) Team A would have failed their bid (also known as being set) and they would go back 5 points. On the other hand if Team A made 12 books (the kitty plus 11 other books) on our 5 bid, we will score a total of 6 points for that hand.''

 * If a team takes all 13 tricks (initial 6 plus 7), this is commonly called a Boston. A team can make a Boston regardless of the number of tricks that are bid.
 * If a player bids 7, this is also called bidding a Boston. In this case, the bidding player is saying that the opposing team will not collect any tricks.
 * A no trump bid can sometimes score double (e.g. if you bid a four no trump and do not make the bid, it counts for eight points against your team. Conversely, if you make a four no trump bid, it counts as eight for your team).
 * Rather than counting the tricks won, most players keep track of the tricks taken by the opposing team (e.g., it takes four books to set a four, three books to set a five, two books to set a six, and so forth).
 * If a team wins a game by bidding a Boston, the total tally for the game counts as two wins.

Speeding up the game
Some people play that if you miss two bids (missing a bid being called a "felony" also called "lies") you lose. This usually happens at card parties when there are other pairs waiting to play. This may be to speed up the game, as people can go on for hours going up and down before achieving seven positive (winning) or negative points (losing). You can also speed up the game by "going out the back door" i.e. the losing bid (points) goes to the opponent. Say one team has bid successfully for a three and later the opposing team bids four and gets set, the team with three wins.

When there are more than two pairs of players, you can choose to play 'Rise and Fly'. If one pair gets 'set', or doesn't make their bid, they must get up and let the next waiting pair sit and play. This is the most common practice when playing with more than four people. This is not done when keeping score. When the opponent reaches a score of seven or more, they have won. That's when the loser gets up, or 'rises'.

Cutthroat bid whist
Bid whist may also be played as an individual game. For most players, the standard 54-card deck with a 6-card kitty may be used. For a five-player game, the kitty should be reduced to four cards.

Bidding
Bids begin with least number, and indicate the number of books the player expects to take. This number is not the bid plus six, but is an exact number (a bid of 4 would require the individual to take at least 4 books). Since players do not need to communicate with a partner, there is no need to indicate uptown or downtown with their bid. Thus, the bids, from lowest to highest, are: 1, 1NT, 2, 2NT, 3, 3NT, etc. After all but one player has passed, the player with the highest bid then announces uptown or downtown plus the trump suit, if applicable, and takes the kitty. That player is then solely responsible to take at least the number of tricks bid.

Scoring
At the conclusion of the hand, each player, including the winner of the bid, scores 1 point, individually, for each trick taken. If the bid winner fails to make his bid, he scores zero points, and loses the amount of his bid. The first player to score 30 points, individually, is the winner.

title: Bid whist


text:
Grammar Schools Act 1860

The Grammar Schools Act 1860 was passed by Queensland's first parliament in 1860 and allowed for the establishment of a grammar school in any town where £1000 could be raised locally. Between the years 1863 and 1892, ten grammar schools were opened under the auspices of the Act. The first of these was Ipswich Grammar School, which opened in 1863.

History of the Act
The Grammar Schools Act was the fourth bill of the first parliament of Queensland. Along with the Primary Schools Act (Qld) 1860, it aimed to bring Queensland under one general and comprehensive education system without prejudice. In the early years of Australian education, denominational schools (particularly Anglican schools) had a large influence. By the time of the first parliament of Queensland in 1860, there was a general feeling that any system of education established in Queensland should be free of denominationalism.

The Act received little opposition in either House of Parliament – revealing its popularity. It found the approval of the public in general, and even among sections of the Anglican community. The Act marked a departure from the education systems in place in Victoria and New South Wales, where schools were generally tied up with respective religious bodies or (in the case of schools such as Sydney Grammar School) being provided massive, ineffective endowments, with little effort required from the community. The main points of the Act are summarised below. Basically, the Act allowed for the establishment of a grammar school in any town where £1000 could be raised locally. The Queensland Government then matched that figure. The Schools were to be administered by a seven-member board of trustees, of which four members were appointed by the Governor. The Act also made provision for public scholarships for students to attend university in Britain or the southern states of Australia. The act was repealed in 1975 and replaced with the Grammar Schools Act 1975.

Schools opened under the Act
There were ten grammar schools opened under the Act – eight of which remain open today. In chronological order, they were:

 * 1) Ipswich Grammar School for boys (1863)
 * 2) Brisbane Grammar School for boys (1868)
 * 3) Toowoomba Grammar School for boys (1875)
 * 4) Brisbane Girls Grammar School (1875)
 * 5) Rockhampton Grammar School initially for boys and girls, later only for boys (1881)
 * 6) Maryborough Grammar School for boys (1881)
 * 7) Maryborough Girls Grammar School (1883)
 * 8) Townsville Grammar School for boys and girls (1888)
 * 9) Ipswich Girls Grammar School (1892)
 * 10) Rockhampton Girls Grammar School (1892)

When it opened in 1881, Rockhampton Grammar School was co-educational. Only four years later, the board of trustees decided to exclude females from the school, leading to the construction of Rockhampton Girls Grammar School. The latter opened on 11 March 1892 – one day after the official opening of Ipswich Girls Grammar School. (Females were readmitted to Rockhampton Grammar School in 1977 after a 92-year absence).

In 1936, hit hard by the effects of the Great Depression, the Maryborough Grammar School and Maryborough Girls Grammar School were forced to close. They were subsequently taken over by the Department of Education, Queensland Government, and renamed the Maryborough State High and Intermediate School for Boys and Maryborough State High and Intermediate School for Girls. In 1974, these schools merged to become the Maryborough State High School.

Main points of the act
The main aspects of the act were as follows:

 * That where £1000 was raised by donation or subscription in any district for the purpose of establishing a grammar school, then the governor (with the advice of the executive council), if satisfied with the proposed school, paid to the trustees "a sum not exceeding the amount raised".
 * That when fees to the amount of £250 per annum were promised for a period of not less than three years, the governor (with the advice of the executive council) shall pay out of the general revenue of the colony £500 to the credit of the trustees, towards the upkeep of the school.
 * A body of seven persons, to be called the trustees of the school, were to be elected. Four of those seven were to be nominated by the governor (with the advice of the executive council), whilst the other three were to be elected by vote of subscribers of over £5 to the funds of the school.
 * The governor (with the advice of the executive council) was permitted to, in any one year, reserve 10% of the amount payable to a school to provide for scholarships to any British or Australian university. Such scholarships were awarded after public competitive examinations.

title: Grammar Schools Act 1860


text:
Almendares River

The Almendares River is a river that runs for 47 km in the western part of Cuba. It originates from the east of Tapaste and flows north-west into the Straits of Florida. The river acts as a water supply for Havana.

The final stretch divides the municipalities of Plaza de la Revolución (Vedado district) and Playa (Miramar district). Part of the river valley forms the Almendares Park or Metropolitan Park of Havana (PMH), a few kilometers upstream from the ocean.

History
The Cuban aborigines called it Casiguaguas, and the first colonizers named it La Chorrera, and later renamed it Almendares in honor of the Bishop of Havana, Enrique Almendaris.

title: Almendares River


text: User talk:142.150.96.234

title: User talk:142.150.96.234


text:
Ron English

Ron English (born June 6, 1959) is an American contemporary artist who explores brand imagery, street art, and advertising.

Career
English has produced images on the street, in museums, in movies, books and television. He coined the term POPaganda to describe a mash-up of high and low cultural touchstones, from superhero mythology to totems of art history, populated with his original characters, including MC Supersized, the obese fast-food mascot featured in the movie Super Size Me, and Abraham Obama, the fusion of America's 16th and 44th Presidents. Other characters in English's paintings, billboards, and sculpture include three-eyed rabbits, cowgirls and grinning skulls – visual, with humorous undertones.

English was interviewed for the documentary Super Size Me (2004), which showed his McDonald's-themed artwork—inspired by his belief about the effect of fast food franchises and restaurant chains on American culture – "MC Supersized".

"Abraham Obama", made during the 2008 US Presidential Election, was a "portrait-fusion" of America's 16th and 44th Presidents.

English has painted album covers for the Dandy Warhols' Welcome to the Monkey House, the 2010 album Slash, and the Chris Brown album cover for F.A.M.E. Some of his paintings were used in the Morgan Spurlock documentaries Super Size Me and The Greatest Movie Ever Sold. English has collaborated with Daniel Johnston and Jack Medicine in the Hyperjinx Tricycle project. In 2010 he created the artwork for Art Nouveau Magazine's first print issue.

English is the subject of a Pedro Carvajal documentary titled Popaganda (after one of his art books). He is also a subject of "The Art Army" action figures by Michael Leavitt. English and his fellow artists Shepard Fairey, Kenny Scharf and Robbie Conal guest-starred on the March 4, 2012, episode of The Simpsons, "Exit Through the Kwik-E-Mart". In 2015 he was a guest judge on the Oxygen Network's reality show Streetart Throwdown created by Justin BUA.

In November 2021 English's giant immersive instillation Sugar Circus opened in Shenzhen, PRC marking the beginning of the exhibitions world tour.

Street art
English has an early background as an art reproducer. English has initiated and participated in illegal public art campaigns since the early 1980s and for this is often referred to as the 'Godfather of Street Art'. Ron English street art activities are the subject matter and covered extensively in the Pedro Carvajal documentary titled Popaganda.

Culture jamming is one aspect of English's work. Although never an official member, Ron several times joined with the Billboard Liberation Front, which practices culture jamming by altering billboards by changing key words to radically alter the message, often to an anti-corporate message. Frequent targets of English's work include Joe Camel, McDonald's, and Mickey Mouse.

English intends his culture jamming technique to inspire people to question consumer capitalism. English does this by using his over emphasized, grotesque, and to some, offensive, characters to intrigue the consumer, luring them in to reveal the truth behind the product.

Later English focused on another form of advertising: product packaging. He recreates several different kinds of packaging (cereal boxes, milk cartons, cigarette packs, etc.), to reveal truth in advertising. After designing the packaging English and his Team POPaganda infiltrate different retailers around the country and "shop gift". Some of English's product packaging designs include, "Cap'n Corn Starch", "Duncan High Hash Brownies" and "Camel Kool's" THC Enriched Tobacco Cigarettes.

English has created murals a locations throughout the world.

Fine art
English is a fine art painter specializing in oils. He received his bachelor of Fine Arts from the University of North Texas in Denton, Texas. He moved to New York City and apprenticed with several artists, beginning to sell his own work. His style is characterized by extreme photo realism, use of secondary color and appropriation of pop imagery. Frequent themes are revisiting and reworking childhood with adult skill as well as examining the darker meanings behind garish pop surface imagery. English also uses historical imagery as a template to explore universal issues. He has frequently reworked images of The Last Supper, Starry Night, and Picasso's Guernica.

English has appropriated many well known images and characters from pop culture, reworking them into his own images. These include a reworking of Charlie Brown into his "Grin" character and one of his famous "MC Supersized" based on the idea that Ronald McDonald ate his own product. Another image of the idealized American female is that of Marilyn Monroe with Mickey Mouse breasts.

In 1980, English exhibited "Grade School Guernica", one of his versions of Picasso's Guernica, at the Station Museum of Contemporary Art in Houston. The painting depicts the scene acted out by his children viewed from the point of view of the bomber airplane. His largest collection of "Guernica" paintings was on view at Allouche gallery in New York City from September to October 2016. Guernica Trilogy (2008) is shown in different temporary exhibitions in Colección SOLO museum in Madrid (Spain).

"Lazarus Rising" was English's first exhibit in the UK, at Elms Lesters Painting Rooms in London. His exhibition "Season in Supurbia" took place in 2009 at the Corey Helford Gallery in Culver City. In 2011 he exhibited "Skin Deep: Post-Instinctual Afterthoughts on Psychological Nature", a new body of works exploring the inner lives of iconic figures, at Lazarides in London that represents the artist.

Designer toys
In 2005 English began creating designer toy versions of his creatures. Ronnnie Rabbbit was English's first designer toy, produced in 2005 by Dark Horse. In 2013, he joined Slash to create a limited edition fiberglass bust of the image used for the Slash and Friends album artwork. He also joined singer Chris Brown to launch their "Dum English" toy; a 10-inch turquoise and pink Astronaut Star Skull.

In 2013, English collaborated with rock band Pearl Jam to produce "Falla Sheep", a blind box line-up with seven color variants of 3.5 inch sheep in wolves' clothing toys. These were sold in stores and also at shows during Pearl Jam's 2013 tour.

Books

 * Original Grin: The Art of Ron English (2019)
 * POPaganda: The Art & Subversion of Ron English (2004)
 * Ron English's Fauxlosophy (2016)
 * Ron English's Popaganda Coloring Book (2017)
 * Ron English's Vandalism Starter Kit (2014)
 * Lazarus Rising (2009)
 * Art for Obama (2009)
 * Abject Expressionism (2007)
 * Son of Pop: Ron English Paints His Progeny (2007)
 * Abraham Obama (2010)
 * Art is a Horrible Waste of the Imagination (1988)
 * Status Factory (2014)
 * Death and the Eternal Forever (2014)

title: Ron English


text:
Wikipedia:Articles for deletion/Emmanescence

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Mindspillage (spill yours?) 05:48, 9 May 2005 (UTC)

Emmanescence
Bandcruft. 13 Google hits, none of which demonstrate any semblance of notability. Kelly Martin 21:22, Apr 25, 2005 (UTC)

They're a local German band, thusfar without a website, but they do exist. -- R.E.

 * Delete - clearly a joke Mcsweet 21:37, 25 Apr 2005 (UTC)
 * Delete: joke/vanity. Wile E. Heresiarch 05:33, 26 Apr 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Erzincan Province

Erzincan Province (Parezgêha Erzînganê; ) is a province in the Eastern Anatolia Region of Turkey. In Turkey, its capital is also called Erzincan. Its area is 11,815 km2, and its population is 239,223 (2022).

Geography
Erzincan is traversed by the northeasterly line of equal latitude and longitude. It lies on the Northern Anatolian Fault, where it is often the location for earthquakes such as on 27 December 1939 and 13 March 1992.

History
In September 1935 the third Inspectorate General (Umumi Müfettişlik, UM) was created, into which the Erzincan province was included. Its creation was based on the Law 1164 from June 1927, which was passed in order to Turkefy the population. The Erzincan province was included in this area. The third UM span over the provinces of Erzurum, Artvin, Rize, Trabzon, Kars, Gümüşhane, Erzincan and Ağrı. It was governed by an Inspector General seated in the city of Erzurum. In January 1936, a Fourth Inspectorate-General was established, under which authority the province was transferred. The fourth UM included the provinces of Erzincan, Tunceli, Elazığ and the areas which would become the province of Bingöl. The Fourth UM was governed by a Governor Commander. Most of the employees in the municipalities were to be from the military and the Governor Commander had the authority to evacuate whole villages and resettle them in other areas. The Inspectorates General were dissolved in 1952 during the Government of the Democrat Party.

Districts
Erzincan province is divided into 9 districts (capital district in bold):
 * Çayırlı
 * Erzincan
 * İliç
 * Kemah
 * Kemaliye
 * Otlukbeli
 * Refahiye
 * Tercan
 * Üzümlü

title: Erzincan Province


text:
The Temptation of the Impossible

The Temptation of the Impossible (La tentación de lo imposible, 2004) is a book-length essay by Peruvian novelist Mario Vargas Llosa which examines Victor Hugo's Les Misérables.

An English translation was published in 2007.

title: The Temptation of the Impossible


text:
Martin Gabel

Martin Gabel (June 19, 1911 – May 22, 1986) was an American actor, film director and film producer.

Life and career
Gabel was born in Philadelphia, Pennsylvania, to Rebecca and Isaac Gabel, a jeweler, both Jewish immigrants. He married Arlene Francis on May 14, 1946, and they had a son named Peter Gabel.

One of Gabel's earliest noted roles was as Neil Williams, a newspaper reporter, on the radio serial comedy Easy Aces in the mid-to-late 1930s. Gabel's most noted work was as narrator and host of the May 8, 1945, CBS Radio broadcast of Norman Corwin's epic dramatic poem On a Note of Triumph, a commemoration of the fall of the Nazi regime in Germany and the end of World War II in Europe. The broadcast was so popular that the CBS, NBC, Blue and Mutual networks broadcast a second live production of the program on May 13. The Columbia Masterworks record label subsequently published an album of the May 13 production. The production became the title focus of the Academy Award-winning short film A Note of Triumph: The Golden Age of Norman Corwin in 2005, the 60th anniversary year of the broadcast.

Gabel was first associated with Orson Welles when he played Javert in his six-part radio adaptation of Les Misérables (1937). He became one of the original members of Welles's Mercury Theatre repertory company. On the stage Gabel portrayed Cassius in Caesar (1937), a critically acclaimed modern-dress adaptation of Shakespeare's tragedy streamlined into an anti-fascist tour de force, and starred as Danton in Danton's Death (1938). On radio, he played Professor Van Helsing in "Dracula" (1938), the debut episode of The Mercury Theatre on the Air.

In 1947, he directed his only film, The Lost Moment. Gabel appeared in few films over his career, usually in small roles. A notable large supporting part was as crime boss Tomas Rienzi in Richard Brooks's Deadline U.S.A. (1952), starring Humphrey Bogart. Gabel played another mob figure in a Frank Sinatra private-detective film, Lady in Cement (1968), then co-starred again with Sinatra in Contract on Cherry Street and The First Deadly Sin.

Gabel won the 1961 Tony Award for Best Performance by a Featured Actor for the comedy Big Fish, Little Fish; he was also noted for his performances in the Broadway productions of Baker Street, in which he played Professor Moriarty; The Rivalry, in which he played Stephen A. Douglas.

Gabel played businessman Mr. Strutt in Alfred Hitchcock's Marnie (1964), and the psychiatrist in the Billy Wilder version of The Front Page (1974) with Walter Matthau and Jack Lemmon. He was a frequent guest panelist on the popular CBS Television Sunday night game show What's My Line?, on which his wife, Arlene Francis, was a regular panelist.

Death
Gabel died in New York City from a heart attack on May 22, 1986, aged 74.

Selected theatre credits

 * Caesar (1937–1938) as Cassius
 * Danton's Death (1938) as Danton
 * Will Success Spoil Rock Hunter? (1955–1956) as Irving LaSalle
 * Once More, With Feeling (1958–1959) (producer)
 * Big Fish, Little Fish (1961) as Basil Smythe
 * Baker Street (1965) as Professor Moriarty
 * Sheep on the Runway (1970) as Joseph Mayflower
 * In Praise of Love (1973–1975) as Mark Walters

title: Martin Gabel


text: User talk:82.223.79.60

title: User talk:82.223.79.60


text:
Noel Cantwell

Noel Euchuria Cornelius Cantwell (28 February 1932 – 8 September 2005) was an Irish footballer player and sometime cricketer.

Club career
Cantwell was born in Cork, Ireland, and was educated at the Roman Catholic Presentation Brothers College in Cork. Cantwell played as a full-back for Western Rovers, Cork Athletic, West Ham United and Manchester United.

While at West Ham, he featured in the London XI side that competed in the 1955–58 Inter-Cities Fairs Cup final on 1 May 1958. He captained the Hammers to winning the Division Two championship in the 1957–58 season and thereby leading the club into the top flight for the first time since 1932.

In November 1960, Cantwell joined Manchester United for £29,500 which at the time was a record for a full back. He helped the club win the 1965 and 1967 league titles and captained United when winning the 1963 FA Cup Final – just as his fellow countryman Johnny Carey had done in United's previous FA Cup win 15 years earlier.

He also served as Chairman of the Professional Footballers' Association.

International career
Cantwell won 36 full International caps for the Republic of Ireland (typically playing at left full back and on several occasions at centre forward) and he made his debut against Luxembourg in October 1953; his final appearance coming away to Turkey in February 1967. He scored 14 goals including 5 from penalties and also captained the Republic on several occasions including a match against England at Wembley.

Managerial career
In his first managerial role at Coventry City Cantwell had the onerous task of following Jimmy Hill who had taken the club into the First Division for the first time in their history. Cantwell narrowly kept the Sky Blues in the top in his first two seasons before taking them to a sixth-place finish in 1969–70, earning them qualification for the Inter-Cities Fairs Cup (a year before it was replaced by the UEFA Cup).

He departed from Highfield Road on 12 March 1972, but within seven months was back in English football as manager of Peterborough United.

He helped Peterborough win the Fourth Division title in his first full season as manager, before leaving on 10 May 1977 to manage the New England Tea Men.

He returned to Peterborough on 19 November 1986 for a second spell as manager, remaining in this role until he became general manager on 12 July 1988. He was general manager at London Road for a year until he quit football to become licensee of the New Inn at Peterborough, where he remained for ten years until he retired in 1999. He also was landlord of the Bull and Swan in Stamford, Lincolnshire.

Cricket career
Cantwell also played cricket for Cork Bohemians Cricket Club and Ireland as a left-handed batsman and a right-arm medium bowler. He played five times for Ireland making his debut in what was his sole first-class match versus Scotland at Edinburgh in 1956, scoring 31 and 17. His last match for Ireland was against Lancashire in July 1959.

Death
Cantwell died on 8 September 2005 from cancer aged 73. He left a widow Maggie and two children.

His former teams each held a minute's silence for him before their next matches.

Football career statistics

 * Scores and results list Republic of Ireland's goal tally first, score column indicates score after each Cantwell goal.

Honours
Manchester United
 * FA Cup: 1962–63

title: Noel Cantwell


text:
Talk:Elmendorf Creature

It's been confirmed to be a canine and a deer? That can't be right.

 * The link 69.137.21.152 (who added the claim that "recent tests have confirmed" that it's a muntjac deer) provided seems to very clearly state that there were no tests carried out. Rather, it says that a local hunting guide thinks, based on his own experience with these animals, that it's a muntjac deer. Which makes me wonder why it says "tests" have "confirmed" the identity of the creature in the article.

 * In any event, this picture of the Elmendorf Creature clearly shows fangs on both the lower and upper jaws, while muntjac deer only have tusks curving down from the upper jaw. --Whimemsz 22:31, Apr 25, 2005 (UTC)

 * Addendum: According to this story, "the lower jaws...appear to have incisors that are far larger than those in any canid, or, in fact, any known mammal." At the same time, that page states that "Unknowncountry.com's DNA study could not be completed because the DNA from the animal in Elmendorf had deteriorated due to exposure to light, heat or radiation. It could only be confirmed that it was a canid." --Whimemsz 22:48, Apr 25, 2005 (UTC)

Shouldn't these two be merged http://en.wikipedia.org/wiki/Elmendorf_Beast

title: Talk:Elmendorf Creature


text:
Plato Tiburtinus

Plato Tiburtinus (Plato Tiburtinus, "Plato of Tivoli"; fl. 12th century) was a 12th-century Italian mathematician, astronomer and translator who lived in Barcelona from 1116 to 1138. He is best known for translating Hebrew and Arabic documents into Latin, and was apparently the first to translate information on the astrolabe (an astronomical instrument) from Arabic.

Plato of Tivoli translated the Arab astrologer Albohali's "Book of Birth" into Latin in 1136. He translated Claudius Ptolemy's Tetrabiblos from Arabic to Latin in 1138, the astronomical works of al-Battani, Theodosius' Spherics and the Liber Embadorum by Abraham bar Chiia. He has worked together with the Jewish mathematician Savasorda (Abraham Bar Ḥiyya Ha-Nasi). His manuscripts were widely circulated and were among others used by Albertus Magnus and Fibonacci.

Works
To him are attributed four works in science-mathematics: The translations from the Arabic of seven other works (five astrological, one geomantical, and one medical [now lost]) are ascribed to Plato:
 * The Liber Embadorum (“Book of Areas,” or “Practical Geometry”), it was transferred (after a date astronomical specified in the text ) in 1145 from the Hebrew. The book had an influence on the Geometry of Fibonacci book and contains one of the first comprehensive treatments of quadratic equations in the Occident.
 * The Spherics by Theodosius of Bithynia,
 * Al-Battān, i’s al-Zij (“Astronomical Treatise”)
 * The De usu astrolabii of Abu’l-Qāsim Maslama (Ibn al-Sạffār), The manuscript contains information about the first astrolabe in the West.
 * Ptolemy’s Quadripartitum,
 * The Iudicia Almansoris,
 * The De electionibus horarum of Ali ibn Aḥmad al-Imrani,
 * The De nativitatibus or De iudiciis nativitatum of Abu 'Ali al-Khaiyat,
 * The De revolutionibus nativitatum by Abū Bakr al-Ḥasan (Albubather),
 * The Questiones geomantice or Liber Arenalis scientie by “Alfakini, son of Abizarch” or “son of Abraham”,
 * A De pulsibus et urinis by “Aeneas”.

title: Plato Tiburtinus


text:
Talk:Fanny Hill

Untitled
I am missing a description of the content of the novel; sad. Bgohla 21:25, 2005 Apr 25 (UTC)

Plot in
I've read the novel, so I tossed in what I remember of the plot. It's an interesting read, as well as a titilating one, and Cleland's literary skill is miles beyond that of the hack pornographer. At the same time, one can have no illusions that the book was written for any moral, or even political, point. It was written to sell. I had to correct a misstatement at the outset, though. Fanny Hill didn't cause any kind of a stir in legal circles when it was published. I believe it took two years for anyone on the religious side to react, and the evidence they used when pointing to why it should be banned was the depiction of sodomy. The chapters that depicted the sodomy were from a pirate edition not authored by Cleland, and even in those Fanny is shocked and outraged at what she sees and cannot imagine what on earth the men are gaining from what they're doing. Geogre 18:54, 28 Apr 2005 (UTC)

 * Having just read the book, I can tell you that the plot summary is inaccurate in places and needs extensive reworking. It's also quite a biased summary. Pooints I'd raise off the top of my head: Phoebe and Fanny at no point engage in lesbian sex, but simple mutual masturbation, over several instances. Nor does Phoebe go into detail with Fanny about the nature of sexual acts. I would not agree that the lover who is arranged to take Fanny's faked maidenhead has rape fantasies -- there is just no evidence to support this assertion -- although he is clearly an unpleasant character. 109.152.26.38 (talk) 19:28, 19 September 2010 (UTC)

 * We have to go by what reliable sources say. A Google Books search for "Fanny Hill" "lesbian sex" gives "Fanny enjoys lesbian sex", "Through lesbian sex, Fanny discovers erotic pleasure", "she is introduced to lesbian sex by one of the prostitutes", "Phoebe Ayres, her much older instructor, who initiates her into lesbian sex", "Through lesbian sex, Fanny discovers erotic pleasure".  Kenilworth Terrace (talk) 19:41, 19 September 2010 (UTC)

sex toy
Can someone find a good way to write a note of fanny hill butt plug to the article, so it doesn't sound stupid. It is named after her, right? --Easyas12c 13:12, 1 May 2005 (UTC)
 * Not sure it would be a good thing to talk about here, as it's simply another appropriation of the name to say something is "fun, classy, and sexual," like someone talking about a "Caterbury Tales Walking Stick." A thing not mentioned in this article, though, is that the word "fanny" was both a familiar form of Francis and a British slang term for the vagina.  Consequently, the "fanny hill" is either the buttocks or the mons veneris, depending upon one's point of view. Geogre 11:53, 3 May 2005 (UTC)

Correction to plot
There are many errors in the summary of the plot, I would like to add some corrections and I think it is really important to write a summary as close as possible to the text, especially when it appears in Wikipedia's first page. Do not let Wikipedia be corrupted !!

“[Fanny] begins as a poor country girl who is forced by poverty to leave her village”:

More precisely, she left her native “small village near Liverpool, in Lancashire” because her parents “were both carried off by the small-pox” when she was fifteen years old.

''“she is corrupted by a handsome man to whom she loses her virginity, and who leaves her after professions of love which turn out apparently to be false. Fanny then seeks the help of a woman who is, in fact, a madam. This woman introduces Fanny to lesbianism and the ability to make a living by prostitution.”''

This is totally wrong! Fanny was left alone on her arrival in London. On the second day, she went to the “intelligence office” to find a place. There, a “lady” who is in fact a “Madam” (called Mrs Brown) proposed her a place as a “servant” (planning to make her become a prostitute). At Mrs Brown’s, Fanny experienced homo-eroticism with Phoebe, one of the prostitutes. She only met Charles (her first lover)AFTERWARDS and fled with him on her own accord. She gave up her virginity to Charles out of pure love and lived with him for eleven months when he “was sent away at least on a four years' voyage” in the South Seas by his father. What is sure is that he did not deliberately left her and his “professions of love” were certainly true as he accepts to marry Fanny at the end.

“Fanny … repeatedly sells her "virginity."”

She gave up her virginity to Charles out of pure love and only sold a "pretended virginity" once to Mr Norbert, a man whose fancy was to deflower young virgins and abandon them afterwards.

“[Fanny] does realize that she is being exploited.”

The narrator (i.e. Fanny) never says so. Neither her body nor her money has been exploited while she worked at Mrs Cole’s (another “Madam”). She clearly expresses that everything that happened there was done with consent of each partner, and that Mrs Cole never took advantage of Fanny, even when she could. Near the end of the novel, when Fanny lived in “easy circumstances”, she was “indifferent to any engagements in which pleasure and profit were not eminently united”.
 * More precisely, she explains her "modesty and reserve" at the time were "less the work of virtue than of exhausted novelty, a glut of pleasure, and easy circumstances", which made her indifferent to pleasures. So she isn't saying that she likes prostitution per se, she is saying that she was tired of sex and wouldn't do it without profit. It's far from the end of the novel - eventually, she reunites with her sweetheart, quite monogamously.
 * Concerning the exploitation part - they certainly tricked her into prostitution, and there certainly was an old repugnant "brute" that they would make her have sex with in the beginning. However, it's true that she was described as kinda prosperous and enjoying her profession in some later parts of the book. --194.145.161.227 11:03, 13 October 2006 (UTC)

“Further, Fanny acts as a picaro, for as a prostitute she shows the wealthy men of the peerage at their most base and private.”

This is should rather be applied for Defoe’s Roxana who is a “courtesan” at court.

 * Corrections by Marion 24/04/06*

Plot (until now in the article)
See above, it is very misleading "== Plot ==The book concerns the eponymous character, who first appears in the novel as a poor country girl who is forced by poverty to leave her village home and go to a nearby town. [i.e London] There, she is tricked into working in a brothel, but before losing her virginity she escapes with a man named Charles with whom she has fallen in love. After several months of living together, Charles is sent out of the country unexpectedly by his father, and Fanny is forced to take up a succession of new lovers to survive."--Felix Folio Secundus (talk) 02:14, 5 October 2009 (UTC) The summary is not accurate, e.g relationship with Charles.--Felix Folio Secundus (talk) 02:19, 5 October 2009 (UTC)

 * Fanny comes from Liverpool and therefore London is not a "nearby town"! 109.152.26.38 (talk) 19:36, 19 September 2010 (UTC)

Miller Test
The Roth Standard is no longer the current test for Obscenity, it is the Miller Test. Sources may be needed for my addition, but I figured I would add it anyways because it seems important to note that it passes the miller test since publishers are selling the book since the article left it up in the air whether the book was still banned or not. 132.170.36.235 (talk) 03:50, 20 November 2007 (UTC)

In popular culture
The "References in popular culture" was removed citing "In popular culture sections are discouraged under Wikipedia guidelines". I think that a lot of these references help the reader understand the book, so I have reverted. This is a long way from the worst "" lists that I have seen. We have an essay about "In popular culture" articles. I'd like to see and discuss the guideline which discourages this list. John Vandenberg (chat) 23:10, 1 September 2009 (UTC)

 * I'm not really arguing for or against the inclusion of the section, though I don't see how any of the listed items help readers understand the book more as they all either over simplify the book as simply one big sex joke, or overly describe alternative versions of the character from their own fictional world. Generally, the right way to do an in popular culture section discourages simply listing appearances. Instead notable references should be mentioned and then explained how the reference in question influenced public perception/reaction/knowledge of the work, etc. Otherwise the references should be moved to the specific popular culture topic article itself. Additionally, the section should include a prose paragraph explaining how Fanny Hill influenced popular culture.24.190.34.219 (talk) 07:11, 9 September 2009 (UTC)

Bathing party
File:Édouard-Henri Avril (9).jpg is included in the article on obscenity. This picture apparently illustrates a scene from Fanny Hill. Would it be okay to feature it on this article as well? Y12J (talk) 00:36, 10 January 2012 (UTC)

Plot section tedious and irrelevant
The Plot section has been adequately tagged. I hardly know where to begin, to be fair. This book is not about plot. Yet, plot is the largest section by far, in fact it dominates the article. The encyclopedia is a scholarly work; scholarly: erudite, learned. What is written in this section is wooden, regurgitated. It's reminescent of what I would have written in a junior highschool book report to convince the teacher that I had indeed read the book. What the plot needs to be, would be established as follows: read the book in a single go. Then read another absorbing book, to disengage the mind from the first. Then, without peeking, summarize the first book. What is remembered is what matters (very little - that's ok, and my point).

The remainder of the article would be a learned or erudite description and discussion of the work. For example, having read the article, I should be able to answer this question: what literary movement(s) would the book be a part of, and what classifies the book that way? That's a highly relevant and not difficult question to answer. It can be answered tersely in maybe two sentences. Or answer this: why is the book in the 'Classics' section of my local bookstore, and the Literature section of my library? It's pornography, right? It should be sold only under the table, except that it isn't.

The book is part of the social, cultural, literary, and legal fabric, and how that fabric is different then than now is a vital part of what we ought to know and appreciate about this book. The article is woefully deficient; and in what it does say, superficial and pretentious. For the relevant elements of the plot beyond a broad brush paragraph, they can be incorporated into the text, to explain and buttress the points being made. We cannot escape synthesizing this work into the greater body of work of the author, related erotica and non-erotic works of the time and place, the literary movements in which it participates, and the greater historical trends in that time period.

The publication timeline is also problemmatical: it should separate the U.K and U.S. timelines, or go strictly in order by date, earliest to latest, regardless of place. Instead it's a mishmash of both.Sbalfour (talk) 23:46, 26 February 2014 (UTC)

References in Popular Culture
This section is a list of trivia - none of the items are significant culturally. The significant items that would normally be listed here are already listed in the Adaptations sections. I'd propose that the section be trimmed substantially, or deleted entirely.Sbalfour (talk) 01:59, 27 February 2014 (UTC)
 * I oppose deletion. If substantial trimming is proposed, what references would be candidates? -- Jmc (talk) 09:23, 27 February 2014 (UTC)

1970 edition experience
I removed this request, inappropriate in the main page, but leave it here in case others want to take it up. template - missing information|whether the 1970 U.K version was also prosecuted, or exactly when it became legal to publish this work in the U.K.|date=February 2014 ....   My view is that the request is for information more relevant for other wikipedia articles, but it would be interesting to know. ★NealMcB★ (talk) 19:28, 1 February 2015 (UTC)

Plot summary
The Plot has been completely rewritten, based upon multiple readings of the novel. Akarvilhe (talk) 20:50, 9 May 2017 (UTC)

External links modified
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Illustrations by Édouard-Henri Avril.
There is an 'Illustrations' section, but there is not mentioned Édouard-Henri Avril, despite all shown illustrations are from him. Please someone who familiar with the historical backgroud fix this. Axelock (talk) 11:09, 14 October 2017 (UTC)

Quotation marks
Both double (U.S. style) and single (U.K. style) quotation marks are used in this article. I suggest that all double quotation marks be replaced with single ones, since the article's subject is an English book. Most importantky, they should be consistent.Matuko (talk) 01:55, 29 July 2020 (UTC)

title: Talk:Fanny Hill


text:
User:Tviund

I am a graduate student in philosophy

title: User:Tviund


text:
Talk:Edward Stillingfleet

Copyright?
This article reproduces word-for-word what is on the entry relating to Edward Stillingfleet that is on Biography.ms, a site which doesn't seem to have any ownership details. Eilthireach 21:27, 25 Apr 2005 (UTC)

Gresham college
This might be the Edward Stillingfleet who was Gresham Professor of Physic. Anyone know? JackyR 00:09, 31 March 2006 (UTC)

value judgement 'good and honest man' even if it may be established that 'he gained the respect of his adversaries'Clive Sweeting

Charles I
"An Answer to Some Papers (1686) defended the late Charles II against the charge that he was a Catholic"

This is false (I just read it). I have ammended accordingly. At no point in the pamplet does Stillingfleet deny that Charles II became a Catholic, he simply disputed his reasons for doing so 129.67.43.239 (talk) 16:31, 21 January 2009 (UTC)

External links modified
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title: Talk:Edward Stillingfleet


text:
George Rudé

George Rudé (8 February 1910 – 8 January 1993) was a British Marxist historian, specializing in the French Revolution and "history from below", especially the importance of crowds in history.

Early life
Born in Oslo, the son of Jens Essendrop Rude, a Norwegian engineer, and Amy Geraldine Elliot, an English woman educated in Germany, Rudé spent his early years in Norway. After World War I, his family moved to England, where he was educated at Shrewsbury School and Trinity College, Cambridge. A specialist in modern languages, he taught at Stowe and St. Paul's schools. After completing university, Rudé took a trip to the Soviet Union with friends. When he returned he was a "committed Communist and anti-Fascist", despite his family's fairly conservative political views.

Career
In 1935 Rudé joined the British Communist Party. Communism awoke in Rudé an interest in history in which he pursued during the 1930s and 1940s attending London University part-time. During this time he taught at the preparatory schools of Stowe and St Paul's. When the war broke out he joined the London Fire Service where he extinguished fires caused by German bombs.

He received his doctorate at the University of London in 1950 for a thesis on crowd action during the French Revolution. He taught modern languages in English secondary schools while publishing. His first book, The Crowd in the French Revolution, soon became a classic.

Rudé was actively involved with the Communist party, an affiliation which caused him many hardships during his life. In 1949, he was relieved of his duties at St Paul's for his communist leanings. He accepted teaching positions at Sir Walter St John's Grammar School for Boys and later at Holloway Comprehensive School. Rudé, making his new academic focus history, and with very little to back his research in Paris of revolutionary France, became a leading British historian of the French Revolution. Rudé contributed to the "history from below" view of history, which is history from the view of the oppressed. He focused especially on those who participated in the riots and rebellions.

He is credited by Eric Hobsbawm as having been the only member of the Historians' Group of the English Communist Party to write 18th century history, exploring the chronological "no-man's land between the Group's two most flourishing sections". After writing an article about rioters during the French Revolution, Rudé was awarded the Alexander Prize by the Royal Historical Society in 1956. Rudé wrote and was featured in a number of journals and created a scholarly name for himself under the wing of his mentor, Georges Lefebvre.

Hobsbawm alleged that Rudé's thesis advisor, (Alfred Cobban, a political conservative), blocked any chances Rudé may have had at getting an appointment at a university, but Friguglietti says there is no evidence for that. Shunned in Britain, Rudé looked for opportunities abroad.

In 1959, he was appointed senior lecturer at the University of Adelaide, in the home town of his wife Doreen. He took the opportunity of his time in Australia to research 19th century British and Irish political prisoners transported to Australia as convicts. This later resulted in his book Protest and Punishment: The Story of Social and Political Protesters Transported to Australia, 1788–1868. He was a Foundation Fellow of the Australian Academy of the Humanities in 1969.

Rudé, like most prominent communists in Australia, was put under surveillance by the government's domestic security agency, ASIO. They found little of interest to record. One agent noted: "history books of which he is the author and reports of his class work at schools in England all show that he is objective in his approach to his teaching subject and has not let his own personal politics intrude in any way".

Rudé accepted an offer of a foundation chair of history, at the new University of Stirling, in Scotland, during 1967. However, he fell out with the university administration and returned to Adelaide in 1969, this time as professor of history at Flinders University. In 1970, Rudé moved to Montreal, where he taught at Sir George Williams University, later Concordia University, until he retired in 1987. While at Concordia, he founded the Inter-University Center for European Studies and also taught in the Graduate Programme of Social and Political Thought at York University, Toronto. Rudé was also a visiting professor at the University of Tokyo, Columbia University in New York, and the college of William and Mary in Virginia.

Rudé suffered deteriorating health after the early 1970s and had a brain tumour removed in 1983. After retiring, he returned to England, eventually dying in hospital at Battle on 8 January 1993. His widow Doreen placed his ashes in the garden behind their home in Rye. A tall, handsome and athletic man, he always retained the manners of an English gentleman as well as his left-wing sympathies.

Influence
George Rudé's influence was his emphasis and development of "history from below". Following the new Annales school of thought, Rudé strove to cast off the idea that history was only about nation-states and the men who ruled them. Accompanying Rudé in this shift was the 'new left', which according to Mark Gilderhus these liberal historians, "showed the feasibility of doing history while incorporating attitudes and viewpoints other than those associated with white male elites". Though Rudé was not part of this movement directly, he was firmly inside their ideas and helped to promote them. He believed, along with the 'new left' that it was the neglected people who could be used to reshape the face of history. The historian James Friguglietti comments that Rudé's work, "displayed sympathy for the lower classes, whether laborers or convicted criminals". By focusing on lower classes Rudé hoped to create a new understanding of histories major events.

Rudé's communist ties shaped his way of perceiving history and opened him up to the idea of looking at the history of protesters. Revolutions were transforming events, and Rudé sought to bring light to why someone would join in such an endeavor. Marxist theory believes that everyone's primary motives for acting are always linked with their material need. Using this frame of reference Rudé places it on the people of the French Revolution and created specific faces in the crowds. He sought to dismantle the myth that the crowd in the revolution is seen as a great evil mass of people bent on destruction of order. As Rudé paints it, "those who took to the streets were ordinary, sober citizens, not half-crazed animals, not criminals". By taking such a view the history of the French revolution was transformed. Common people were suddenly being taken as important historical actors in their own context.

In the decades that Rudé was writing, his new way of looking at history fit well into the social scene. It was the age of liberation, as the oppressive systems that segregated classes, genders, and races were being torn down. People were in need of a new history that included all aspects of society. Writing "history from below", brought in those forgotten yet not unimportant members of history into the narrative. Rudé did this by showing the common people in the revolutions and protests as key players who actively sought to change history. By focusing on such groups, historians have, "inspired new debates over the roles of class, gender, and race in accounting for human divisions and inequalities." In helping bring a voice to prisoners and protesters, George Rudé contributed significantly to the study of history.

Rudé is not without his detractors. From the start, his Marxist view of history made teaching in Great Britain very difficult at the height of Cold War fervour and brought him severe criticism. The main criticism that continues on after his death was that after developing his initial thesis of the crowd in history, he continued using that model in every case to prove his point. Some of Rudé's work became less highly regarded after the collapse of the USSR, but, overall, his contributions to social history and the understanding of protests greatly enhanced how historians look at the past and its actors.

Works

 * Revolutionary Europe, 1783-1815, John Wiley & Sons, 2000, ISBN 0-631-22190-5
 * The French Revolution, Weidenfeld & Nicolson, 1994, ISBN 1-85799-126-5
 * The Crowd in History. A Study of Popular Disturbances in France and England, 1730–1848, New York: Wiley & Sons, 1964. New edition London: Serif, 2005, ISBN 978-1897959473
 * Protest and Punishment: Story of the Social and Political Protesters Transported to Australia, 1788-1868, ISBN 0-19-822430-3
 * Crime and Victim: Crime and Society in Early Nineteenth-century England, Oxford University Press, 1985, ISBN 0-19-822646-2
 * Ideology and Popular Protest, Lawrence & Wishart, 1980, ISBN 0-85315-514-3
 * Hanoverian London, 1714-1808, Sutton Publishing, new edition2003, ISBN 0-7509-3333-X
 * Europe in the 18th Century: Aristocracy and the Bourgeois Challenge, Orion, 2002, ISBN 1-84212-092-1
 * Captain Swing: A Social History of the great English Agricultural Uprising of 1830 (with E. J. Hobsbawm), Penguin Books, 1985, ISBN 0-14-055153-0
 * Wilkes and Liberty, London: Lawrence & Wishart, 1983, ISBN 0-85315-579-8
 * Foreword to Does Education Matter? by Brian Simon, Lawrence & Wishart, 1985, ISBN 0-85315-635-2
 * Robespierre: Portrait of a Revolutionary Democrat, London: Collins, 1975, ISBN 0-00-216708-5
 * Debate on Europe, 1815-1850, Harper & Row, 1972, ISBN 0-06-131702-0
 * Interpretations of the French Revolution, published for the Historical Association by Routledge and Kegan Paul, 1961
 * The French Revolution: Its Causes, Its History and Its Legacy After 200 Years, Grove Press, 1994, ISBN 0-8021-3272-3 / 0-8021-3272-3
 * The French Revolution: Its Causes, Its History and Its Legacy After 200 Years, Grove Press, 1994, ISBN 0-8021-3272-3 / 0-8021-3272-3

George Rudé's historical work focused primarily on the French Revolution and crowd behaviour in France and Great Britain, during the 18th and 19th centuries. Rudé utilizes the method of reporting and analyzing history from the "bottom up," focusing on the people, not the leaders and elites. Rudé's most notable works include The Crowd in the French Revolution; The Crowd in History; Revolutionary Europe: 1783–1815; Ideology and Popular Protest; Paris and London in the Eighteenth Century; Debate on Europe: 1815–1850; and Captain Swing: A Social History of the great English Agricultural Uprising of 1830 (co-authored with Eric Hobsbawm).

One of Rudé's most influential works is The Crowd in History, focusing on 18th and 19th century dissidents and revolutionaries in France and Great Britain. Rudé analyzes the impact and importance of various uprisings between 1730 and 1848. He identifies grain shortages in France and industrialisation in Britain as two recurring catalysts for disturbance. In this work Rudé employs a clear and precise prose style, beginning with specific examples of disturbances in Part 1, and moving on in Part 2 to "a critical analysis of the crowd in its various manifestations". In his introduction Rudé expresses a hope that other historians will be inspired by his new bottoms-up approach to write crowd-centric histories of other eras. He made no secret of his sympathy for the underdog, and this history offers a robust defence of popular uprisings in this period.

In The Crowd in the French Revolution, Rudé examines the historically neglected crowd of the French Revolution. He explains that the Revolution was not only political but more importantly a social upheaval in which the common Frenchmen played a pivotal role in the course and outcome of the Revolution. Most significantly, Rudé analyzes the French crowds in great depth to understand their composition and force on history.

Rudé wrote a broad survey Revolutionary Europe: 1783-1815 in traditional fashion. In it, he portrays France and Europe before, during, and after the French Revolution. He examines the significance of the Revolution in context to the rest of the European world. The broader focus of this work was a shift from his crowd studies, which would resume in his later works.

Rudé's Paris and London in the 18th Century explains the popular protests and revolts of Paris and London during the 18th century. Rudé compares and contrasts the time, place, social, political and economic factors of Paris and London. He examines the pre-industrial stages and the turbulent events that occurred in both European capitals. While this work is not predominately a history from the "bottom up", Rudé does incorporate the impact of each class in Paris and London during the 18th century events.

In Ideology and Popular Protest, Rudé defines the theory behind the ideology of protest beginning with its origins in Marx and Engels. He explains his theory of ideology through various situations in pre-industrial Europe. Rudé also utilizes his explained ideology in the event of the English protests of the 18th and early 19th century and the development of English industrial society, and closing with the possible implications of industry on society.

Rudé, in Debate on Europe: 1815-1850, employs the views and interpretations of other historians to argue the significance of the first half of the 19th century. He examines the rise of national powers, the impacts of the Industrial Revolution, differences of political opinions and the various revolutions throughout Europe during this period. In addition, Rudé inserts his own argument based on the impressive and extraordinary change in Europe during this era as well as inferring at what point this change began.

Captain Swing: A Social History of the great English Agricultural Uprising of 1830 is an example of George Rudé's focus on history "from below" and his study of common folk. In Captain Swing, Rudé examines the people of the 1830 agricultural uprising and the impacts of these events. The focus of this work is on the crowd and its history, revealing a historical interpretation of history from the "bottom up."

title: George Rudé