text:
The 1964 Philadelphia Phillies season was the 82nd season for the franchise in Philadelphia. The Phillies finished in a second-place tie with the Cincinnati Reds. Both posted a record of 92–70, finishing one game behind the National League (NL) and World Series champion St. Louis Cardinals, and just two games ahead of fourth-place San Francisco. Gene Mauch managed the Phillies, who played their home games at Connie Mack Stadium.

The team is notable for being in first place in the National League since the opening day, and then suffering an unthinkable collapse during the final two weeks of the season. The "Phold of '64", as it became known, is one of the most infamous collapses in baseball history.

Offseason
 December 5, 1963: Don Demeter and Jack Hamilton were traded by the Phillies to the Detroit Tigers for Jim Bunning and Gus Triandos.

The team
From 1919 through 1947, the Phillies finished last a total of 17 times and next to last seven times. A 1962 cartoon in a baseball magazine depicted a ballplayer arriving at a French Foreign Legion outpost, explaining, "I was released by the Phillies!"

Things began to change slowly beginning in 1960 when Gene Mauch was hired as manager to replace Eddie Sawyer, who had resigned after the club's opening game of the regular season. Although the Phillies slumped to 47–107 in 1961 (including a 23-game losing streak), they began to climb back to respectability in 1962 and 1963. The front office, headed by John Quinn as General Manager, had replaced most of the players of the 1950s with new, young talent.

Chris Short was a rookie on the 1959 team, and by the end of 1963 was the ace of the staff. He was joined by Art Mahaffey in 1960, Dennis Bennett in 1962 and Ray Culp in 1963 as starters. The bullpen had Ed Roebuck, who was purchased from the Washington Senators in April 1964, as the primary relief pitcher, along with John Boozer and Dallas Green. Rookie Rick Wise, primarily a reliever but also a spot-starter, joined the club in June. Jack Baldschun was the closer. The catching duties were platooned between Clay Dalrymple, who was the regular catcher since 1960 and Gus Triandos, who acted both as Bunning's personal catcher and as Dalrymple's backup, having come over from Detroit in the Bunning trade (below).

The infield had two fine shortstops in Bobby Wine and Rubén Amaro, and two fine second basemen in Tony Taylor and Cookie Rojas. Mauch could and did platoon them depending on the pitcher they were facing. Richie Allen (who years later would be called Dick Allen) came up in September 1963 as a rookie showing much promise, and during spring training, made the club as the starting third baseman. John Herrnstein was at first.

In the outfield Johnny Callison was in right field, Tony Gonzalez in center, and Wes Covington was in left field. Covington was first platooned with rookie Danny Cater in left; however, Cater suffered a broken arm in a game against Milwaukee on 22 July and didn't return to the lineup until late September.

The most important acquisition by the Phillies in the off-season of 1963 was the acquisition of Jim Bunning. Bunning had been with the Detroit Tigers since 1955 and was one of the best pitchers in the American League, throwing a no-hitter against the Boston Red Sox in 1958 and was a five-time All-Star. However, in 1963 he began having problems with the front office of the Tigers, and did not get along well with the Tigers' new manager, Charlie Dressen. Also, Bunning was having a mediocre season with Detroit, and Dressen believed that Bunning's career was over at the age of 31. Denny McLain, a rising star with the Tigers, began to get Bunning's starts in September and by the end of the season after going 12–13, Bunning was asking the Tiger management for a trade. His wishes were complied with, and he and Triandos were sent to the Phillies in exchange for outfielder Don Demeter and pitcher Jack Hamilton.

Regular season
Throughout the 1964 season, the Phillies seemed destined to make it to the World Series. Since the beginning of the season, with an 8–2 start, the team had been in first place, and had led the National League all season, sometimes by as many as nine or ten games.

During the season Johnny Callison was having a career year and was the top contender for the National League Most Valuable Player award. Richie Allen was the leading candidate for Rookie of the Year (which he won in the postseason). In addition to his pitching, Bunning also added another dimension to the club. Chris Short had been the ace of the staff prior to Bunning joining the club. However, he never was comfortable being the leading pitcher and having that responsibility. With Bunning joining the staff, the pressure was off Short and he thrived as the number-two starter.

The 1964 National League All-Star team had three Phillies: Chris Short, Jim Bunning, and Johnny Callison. Callison was named the game's Most Valuable Player, hitting a fast ball by Boston Red Sox ace Dick Radatz into the right field stands at Shea Stadium for a 3-run home run in the 9th inning for the win. Then in early August, the Phillies acquired Frank Thomas from the New York Mets and Vic Power from Los Angeles Angels to shore up the bench for the pennant run in September. The Phillies were having their best season since the 1950 "Whiz Kids", giving "pennant fever" to their fans for the first time in 14 seasons.

Jim Bunning's perfect game

From opening day, Bunning thrived in the National League, going 6–2 in the first two months of the season, and becoming the ace of the pitching staff. On Father's Day he got the start for the first game of a doubleheader against the New York Mets, and on that day, June 21, he threw the first perfect game in the National League since 1880.

Tracy Stallard started for the Mets in the first game of the doubleheader that day. As the game progressed, Philadelphia scored single runs in both the 1st and 2nd innings and had a big inning in the 6th, scoring four runs to take a 6–0 lead. On the mound, Bunning had a strong performance against the Mets batters, striking out 10.

For perhaps the only time in the stadium's history, the Shea faithful found themselves rooting for the visitors, caught up in the rare achievement, and roaring for Bunning on every pitch in the ninth inning. His strikeout of John Stephenson for the last out capped the performance.

The "Phold"

Beginnings
On September 1 the Phillies held a -game lead over the Cincinnati Reds and it seemed were in cruise mode to clinching the pennant. TV Guide went to press with a World Series preview that featured a photo of Connie Mack Stadium. (Through the 1968 season, both first-place teams automatically went to the World Series, the only postseason play at the time.)

On September 7, Labor Day, the Phillies split a doubleheader with the Dodgers while the Reds lost 2 games to the St. Louis Cardinals. That increased the Phillies' lead to  games with 25 left to play. Then things started to go wrong, first with a string of injuries. The next game, Frank Thomas broke his right thumb sliding into second base against Maury Wills, the Dodger shortstop. The number four starter, Ray Culp, started to have problems with his right elbow; Dennis Bennett began having a sore arm. Art Mahaffey began to have control problems, being taken out in the first inning on September 8th; in his next start, against the San Francisco Giants, he was taken out in the third inning.

Things appeared to settle down on September 13 when Bunning beat the Giants for his 17th win, and Short and Bennett followed up with wins over the Houston Colt .45s. However, Bunning replaced Culp for the start on the 16th for the last game against Houston and, pitching on two days' rest, gave up a two-run home run by Rusty Staub and lasted only  innings (charged with 4 more runs). On  September 20, Bunning beat the Dodgers in Los Angeles, 3–2, throwing a five-hitter. Bunning remembered that the club had been shaky; the Phillies almost blew the game in the ninth when Vic Power made an error, leading to two unearned runs. Then Bunning finished the game by striking out the Dodger catcher, Johnny Roseboro. After the game, a reporter from Sports Illustrated photographed Bunning. It was to be on the cover of the magazine for its World Series edition in October.

During the month, the club had gone 12–9 and the lead over the Reds remained at  games with 12 games to play.
However, the win over the Dodgers on the 20th would be the last win by the Phillies in September.

"The Curse of Chico Ruiz"
On September 21, the team returned to Philadelphia to begin a three-game series (a sweep of that series would have clinched the pennant for the Phils) against the Reds as part of a seven-game homestand, which included four against the Milwaukee Braves. Then the Phillies would go on the road, play three games in St. Louis, and end the season with 2 games in Cincinnati.

Art Mahaffey began his first start since a 9–1 loss to the Giants on the 12th, pitching against John Tsitouris in the first game against the Reds. It was a pitchers' duel until the 6th inning when Chico Ruiz hit a single which was followed up by Vada Pinson hitting a line drive through the pitcher's box and past second base until Johnny Callison got the ball and threw out Pinson as he tried to reach 2nd base. Ruiz made it over to third on the play. Frank Robinson then came up to bat, and swung and missed for strike one. Ruiz, on third, noted that Mahaffey had not checked him before pitching. On the next pitch, Ruiz broke for home plate. Surprised, Mahaffey pitched high and wild and the Phillies' catcher, Clay Dalrymple, jumped high but missed the ball, which went back to the screen. Ruiz successfully stole home plate, giving the Reds the lead and the game's only run. Richie (later Dick) Allen said of the play: "The play broke our humps."

Chico Ruiz's steal of home has evolved into a popular culture legend. Some Philadelphia sports fans still refer to the "Curse of Chico Ruiz" as the reason for many of their teams' misfortunes.

The Collapse

In the next game, manager Gene Mauch rode Robinson, Ruiz and the rest of the Reds hard from the dugout, yelling over at them constantly about Ruiz and his stealing home the night before. The Reds responded with Frank Robinson hitting a two-run homer off Chris Short, who had to be taken out in the fifth inning. The Phillies lost and their lead was down to  games. In the third game of the series with the Reds, things went from bad to worse, when Dennis Bennett lasted six innings with a sore arm as the Phillies lost again, 6–4, with Pinson and Ruiz hitting home runs. The lead was now down to  games.

Milwaukee came in next and Bunning was the starter in game one. Joe Torre drove in three runs with two triples due to misplays in the outfield in a 5–3 loss, the fourth in a row. Then Chris Short pitched on two days' rest in the next game, the Phillies lost, and the losing streak was at five, with the lead now down to a game-and-a-half. The Braves then beat the Phillies, 6–4 (Art Mahaffey starting for the Phillies), and the lead dropped to a half-game over the Reds. Bunning then came in for game four, also pitching on two days' rest, and lasted three innings in a 14–8 loss. With the fourth loss against the Braves and the 7th loss in a row, the Phillies dropped to second and the Reds, having swept a doubleheader, took first place by 1 game. The Cardinals were right behind, a game-and-a-half out of first place. The Phillies had lost every game of their last homestand of the season.

The crucial series came when the now second-place Phillies traveled to St. Louis to play the Cardinals after their losing home stand. They dropped the first game of the series to Bob Gibson by a 5–1 score, their eighth loss in a row, dropping them to third place. The Cardinals would sweep the three-game set and assume first place for good.

The losing streak ended in Cincinnati during the last two games of the season with wins of 4–3 and 10–0 over the Reds. However, there were no playoffs in 1964 and the second-place Phillies ended the season at 92–70, tied with the Reds. It was the best season by the Phillies since the 1950 pennant-winning Whiz Kids, but there was no joy in the City of Brotherly Love. The "Phold", as the ten-game loss streak is known, is one of the most notable collapses in sports history.

Epilogue

Richie Allen
Richie Allen (later known as Dick Allen) had one of the greatest seasons by a rookie ever in major league baseball in 1964. He led the National League in runs (125), triples (13), extra base hits (80) and total bases (352); he finished in the top five in batting average (.318), slugging average (.557), hits (201), and doubles (38); and won Rookie of the Year. Allen boasted a powerful and muscular physique, and 18 of his 29 home runs cleared Connie Mack Stadium's 65-foot-high left field grandstand, and twice cleared that park's 65-foot-high right center field scoreboard, a feat considered virtually impossible for a right-handed hitter.

Allen was also one of the most controversial players in Philadelphia for some notable non-baseball incidents. Allen spoke his mind, combatted racism, and bucked organizational hierarchy; he almost ended his career in 1967 after mangling his throwing hand by pushing it through a car headlight. Allen was fined $2,500 and suspended indefinitely in 1969 when he failed to appear for the Phillies twi-night doubleheader game with the New York Mets. (He would be reinstated, and, despite wanting to be traded, agreed to finish the season with the Phillies.) Allen had gone to New Jersey in the morning to see a horse race, and got caught in traffic trying to return. He was traded after the 1969 season to the Cardinals for Curt Flood. Even this caused controversy, though not of Allen's making. Flood refused to report to the Phillies and subsequently sued Major League Baseball in an unsuccessful attempt to overthrow the reserve clause and to be declared a free agent (Flood's lawsuit failed; however, the reserve clause was thrown out in 1975). After leaving the Phillies, he asked to be called "Dick", saying Richie was a little boy's name. He played for several teams, and then went into a controversial retirement in 1974.

Early in the 1975 season, Phillies general manager Paul Owens wanted a right-handed power hitter and a first baseman. Both Mike Schmidt and Dave Cash lobbied Owens to acquire Dick Allen. Allen had to be persuaded by several of his future teammates that both the organizational and racial climate in Philadelphia had changed for the better since his 1969 departure from the team. On May 4, the Phillies traded their first baseman Willie Montañez (who came from the Cardinals in 1970 as compensation after Curt Flood refused to report as part of the Allen trade) to the Giants for Garry Maddox which provided a bat for the outfield and opened first for Allen. The Phillies acquired Allen three days later on May 7, 1975.

Allen found Veterans Stadium much to his liking, putting several home-run balls into the far parts of the upper deck. He was part of the 1976 Phillies National League East Championship team, before leaving for the Oakland Athletics for his final season in 1977. Many people believe that Allen is the best major league player not in the Baseball Hall of Fame.

Jim Bunning
The perfect game was the highlight of the Philadelphia career of Bunning, who became a fan favorite and the club's ace starter for the next four seasons, being one of the most dominant pitchers in the Major Leagues. From 1964 through 1967, Bunning led MLB pitchers in fWAR and innings pitched, ranked second in the NL in wins, ranked second in the NL in games started, and ranked third in the NL in ERA. He was traded to the Pittsburgh Pirates prior to the 1968 season, was briefly with the Dodgers, then returned to the Phillies for two mediocre seasons during 1970 and 1971. He pitched the first game at Veterans Stadium in April 1971, beating the Montreal Expos. Largely on account of the perfect game and three 19-win seasons (1964–1966) with the Phillies, today Bunning is memorialized in the Philadelphia Baseball Wall of Fame (1984), and was inducted into the Baseball Hall of Fame by the Veterans' Committee in 1996.

Thirty years later, Bunning, by then a member of Congress, talked about The "Phold" to David Halberstam and said that to understand what happened, you had to be there and be caught up in the emotions and excitement of the pennant race. Also, there was a belief by the Phillies that they could prevail simply by sheer will. Pitching on short rest, the injuries, and the reality of pitching with a good deal more fatigue than he recognized all led to a loss of confidence. Players began to have doubts when before there were no doubts. The team began to run the bases poorly and throw badly, missing easy plays and making errors they would not normally have made.

Rick Wise
Rick Wise, who won the second game against the Mets after Bunning's perfect game, became a solid starter and the ace of the Phillies pitching staff in the years after the 1964 season. In 1971 he threw a no-hitter against the Reds and hit two home runs in the game at Riverfront Stadium. As a result of a salary dispute, he was traded by the Phillies in the spring of 1972 to the Cardinals for Steve Carlton, who was also having salary issues. Carlton went on to anchor the Phillies' pitching staff for the next thirteen seasons, ultimately winning 329 games and a place in the Baseball Hall of Fame. Wise went from the Cardinals to the Red Sox in 1974. He was the winning pitcher for the Red Sox in Game 6 of the 1975 World Series over the Cincinnati Reds, considered by some to be the greatest Series game ever played.

Wise was the last member of the 1964 Philadelphia Phillies team to be active in the major leagues, pitching 2 innings of relief (7th and 8th innings) for the San Diego Padres against the Los Angeles Dodgers on 10 April 1982.

Echoes of the 1964 season
The Phillies finished sixth in the National League in 1965, and began to slide back into mediocrity. It was not until the 1976 season, twelve seasons later, that the Phillies won the National League Eastern Division Championship; losing to the Reds in the playoffs (Dick Allen and Tony Taylor were part of the 1976 Phillies). The 1977 and 1978 teams also won the National League East, but both lost to the Dodgers in the playoffs; it was not until the 1980 Philadelphia Phillies (managed by 1964 alumnus Dallas Green, with Bobby Wine and Rubén Amaro as coaches) won both the National League Pennant against the Houston Astros and also the World Series against the Kansas City Royals that the stigma of the 1964 "Phold" was fully erased after sixteen seasons.

The 1964 Phillies are immortalized in American pop culture via numerous book chapters, magazine articles, and newspaper columns. At least three full-length books are devoted to the 1964 Phillies: non-fiction books The 1964 Phillies: The Story of Baseball's Most Memorable Collapse by John P. Rossi and September Swoon: Richie Allen, the '64 Phillies, and Racial Integration by William C. Kashatis; and a novel based on the 1964 Phillies collapse titled  '64 Intruder, by Gregory T. Glading, which centers on a Phillies fan going back in time and preventing Chico Ruiz from stealing home in the "Phold's" first loss. A 2014 Twitter feed @epic64collapse provides a day-by-day account of the entire season.

The Philadelphia Baseball Wall of Fame honors no less than five 1964 Phillies players: Richie Allen, Jim Bunning, Johnny Callison, Dallas Green and Tony Taylor. Manager Gene Mauch is also honored.

Notable transactions
 April 6, 1964: Darrell Sutherland was selected off waivers from the Phillies by the New York Mets as a first-year waiver pick.
 June 19, 1964: Joe Lis was signed as an amateur free agent by the Phillies.
 August 7, 1964: Wayne Graham, Gary Kroll, and cash were traded by the Phillies to the New York Mets for Frank Thomas.

Season standings

Record vs. opponents

Game log

|- style="background:#bfb"
| 1 || April 14 || Mets || 5–3 || Johnny Klippstein (1–0) || Al Jackson (0–1) || None || 21,016 || 1–0
|- style="background:#bfb"
| 2 || April 15 || Mets || 4–1 || Jim Bunning (1–0) || Tracy Stallard (0–1) || None || 8,528 || 2–0
|- style="background:#bfb"
| 3 || April 17 || @ Cubs || 10–8 || Johnny Klippstein (2–0) || Dick Ellsworth (0–1) || Jack Baldschun (1) || 18,868 || 3–0
|- style="background:#fbb"
| 4 || April 18 || @ Cubs || 0–7 || Bob Buhl (1–0) || Ray Culp (0–1) || None || 9,256 || 3–1
|- style="background:#bfb"
| 5 || April 19 || @ Cubs || 8–1 || Dennis Bennett (1–0) || Larry Jackson (1–1) || None || 7,296 || 4–1
|- style="background:#bbb"
| – || April 20 || @ Mets || colspan=6 | Postponed (rain);
|- style="background:#bbb"
| – || April 21 || @ Mets || colspan=6 | Postponed (rain, cold, and wet grounds);
|- style="background:#bbb"
| – || April 22 || Pirates || colspan=6 | Postponed (rain);
|- style="background:#bfb"
| 6 || April 23 || Pirates || 6–5 || Jack Baldschun (1–0) || Roy Face (2–2) || None || 12,851 || 5–1
|- style="background:#bfb"
| 7 || April 24 || Cubs || 10–0 || Jim Bunning (2–0) || Bob Buhl (1–1) || None || 15,255 || 6–1
|- style="background:#fbb"
| 8 || April 25 || Cubs || 1–4 || Larry Jackson (2–1) || Dennis Bennett (1–1) || Lindy McDaniel (2) || 17,316 || 6–2
|- style="background:#bfb"
| 9 || April 26 || Cubs || 5–1 || Ray Culp (1–1) || Fred Norman (0–2) || Ed Roebuck (1) || 12,522 || 7–2
|- style="background:#bfb"
| 10 || April 28 || @ Reds || 4–2 || Art Mahaffey (1–0) || Jim O'Toole (2–1) || Chris Short (1) || 5,117 || 8–2
|- style="background:#bbb"
| – || April 29 || @ Reds || colspan=6 | Postponed (rain);
|- style="background:#bfb"
| 11 || April 30 || @ Reds || 3–1 || Dennis Bennett (2–1) || Joe Nuxhall (1–2) || None || 2,821 || 9–2

|- style="background:#bfb"
| 12 || May 1 || @ Braves || 5–3 || Jim Bunning (3–0) || Warren Spahn (1–2) || Ed Roebuck (2) || 4,727 || 10–2
|- style="background:#fbb"
| 13 || May 2 || @ Braves || 2–11 || Bob Sadowski (2–2) || Ray Culp (1–2) || None || 6,174 || 10–3
|- style="background:#fbb"
| 14 || May 3 || @ Braves || 0–1 || Hank Fischer (3–9) || Art Mahaffey (1–1) || None || 14,753 || 10–4
|- style="background:#fbb"
| 15 || May 4 || @ Cardinals || 2–9 || Roger Craig (2–0) || Dennis Bennett (2–2) || None || 7,437 || 10–5
|- style="background:#fbb"
| 16 || May 5 || @ Cardinals || 1–2 || Ray Washburn (1–0) || Jim Bunning (3–1) || Ron Taylor (1) || 10,443 || 10–6
|- style="background:#bfb"
| 17 || May 6 || Braves || 7–6 || Ed Roebuck (1–0) || Bobby Tiefenauer (1–1) || None || 14,331 || 11–6
|- style="background:#bfb"
| 18 || May 7 || Braves || 9–6 || Art Mahaffey (2–1) || Hank Fischer (3–1) || Jack Baldschun (2) || 11,749 || 12–6
|- style="background:#bfb"
| 19 || May 8 || Reds || 11–3 || Dennis Bennett (3–2) || John Tsitouris (1–2) || None || 23,004 || 13–6
|- style="background:#bfb"
| 20 || May 9 || Reds || 5–4 || Dallas Green (1–0) || Bob Purkey (0–2) || Ed Roebuck (3) || 8,142 || 14–6
|- style="background:#fbb"
| 21 || May 10 || Reds || 0–2 || Joe Nuxhall (2–2) || Chris Short (0–1) || None || 11,642 || 14–7
|- style="background:#fbb"
| 22 || May 11 || Cardinals || 2–3 || Ray Sadecki (1–3) || Ray Culp (1–3) || None || 11,200 || 14–8
|- style="background:#fbb"
| 23 || May 12 || Cardinals || 2–4 || Curt Simmons (4–2) || Art Mahaffey (2–2) || Roger Craig (3) || 14,412 || 14–9
|- style="background:#bbb"
| – || May 13 || Cardinals || colspan=6 | Postponed (rain);
|- style="background:#bfb"
| 24 || May 14 || Cardinals || 3–2 || Jim Bunning (4–1) || Ernie Broglio (2–2) || Ed Roebuck (4) || 16,626 || 15–9
|- style="background:#bfb"
| 25 || May 15 || @ Colt .45s || 4–0 || Dennis Bennett (4–2) || Don Nottebart (0–5) || None || 8,945 || 16–9
|- style="background:#fbb"
| 26 || May 16 || @ Colt .45s || 3–4 || Turk Farrell (5–1) || Ray Culp (1–4) || Hal Woodeshick (7) || 11,331 || 16–10
|- style="background:#bfb"
| 27 || May 17 || @ Colt .45s || 2–0 || Chris Short (1–1) || Jim Owens (1–3) || None || 7,784 || 17–10
|- style="background:#bfb"
| 28 || May 18 || @ Colt .45s || 4–0 || Jim Bunning (5–1) || Ken Johnson (3–4) || None || 5,284 || 18–10
|- style="background:#fbb"
| 29 || May 19 || @ Giants || 0–3 || Jack Sanford (4–3) || Dennis Bennett (4–3) || None || 16,936 || 18–11
|- style="background:#bfb"
| 30 || May 20 || @ Giants || 7–2 || Jack Baldschun (2–0) || Juan Marichal (6–1) || None || 12,284 || 19–11
|- style="background:#fbb"
| 31 || May 21 || @ Giants || 4–9 || Bobby Bolin (1–1) || Johnny Klippstein (2–1) || None || 11,222 || 19–12
|- style="background:#bfb"
| 32 || May 22 || @ Dodgers || 2–0 || Chris Short (2–1) || Don Drysdale (5–3) || None || 38,920 || 20–12
|- style="background:#bfb"
| 33 || May 23 || @ Dodgers || 4–2  || Dennis Bennett (5–3) || Ron Perranoski (2–1) || Jack Baldschun (3) || 42,349 || 21–12
|- style="background:#fbb"
| 34 || May 24 || @ Dodgers || 0–3 || Joe Moeller (2–3) || Jim Bunning (5–2) || Sandy Koufax (1) || 36,900 || 21–13
|- style="background:#fbb"
| 35 || May 26 || @ Pirates || 4–13 || Vern Law (2–4) || Chris Short (2–2) || None || 12,183 || 21–14
|- style="background:#bfb"
| 36 || May 27 || @ Pirates || 2–0 || Art Mahaffey (3–2) || Bob Friend (4–4) || None || 10,914 || 22–14
|- style="background:#fbb"
| 37 || May 28 || @ Pirates || 5–6 || Al McBean (2–0) || Jack Baldschun (2–1) || None || 8,649 || 22–15
|- style="background:#bfb"
| 38 || May 29 || Colt .45s || 7–6 || Dennis Bennett (6–3) || Hal Woodeshick (1–3) || Ed Roebuck (5) || 13,067 || 23–15
|- style="background:#bfb"
| 39 || May 30 || Colt .45s || 5–1 || Chris Short (3–2) || Don Nottebart (0–7) || None || 19,046 || 24–15
|- style="background:#bfb"
| 40 || May 31 || Colt .45s || 4–1 || Art Mahaffey (4–2) || Jim Owens (1–4) || Ed Roebuck (6) || 8,154 || 25–15

|- style="background:#bfb"
| 41 || June 2 || Dodgers || 4–3 || Dennis Bennett (7–3) || Jim Brewer (0–1) || Ed Roebuck (7) || 22,317 || 26–15
|- style="background:#bfb"
| 42 || June 3 || Dodgers || 1–0  || Jack Baldschun (3–1) || Don Drysdale (6–5) || None || 20,961 || 27–15
|- style="background:#fbb"
| 43 || June 4 || Dodgers || 0–3 || Sandy Koufax (6–4) || Chris Short (3–3) || None || 29,709 || 27–16
|- style="background:#fbb"
| 44 || June 5 || Giants || 3–5  || Bob Shaw (4–3) || Jack Baldschun (3–2) || Ron Herbel (1) || 31,774 || 27–17
|- style="background:#fbb"
| 45 || June 6 || Giants || 2–4 || Billy O'Dell (1–1) || Ed Roebuck (1–1) || None || 13,286 || 27–18
|- style="background:#fbb"
| 46 || June 7 || Giants || 3–4  || Bob Shaw (5–3) || Ed Roebuck (1–2) || Billy Pierce (1) || 27,675 || 27–19
|- style="background:#bfb"
| 47 || June 9  || Pirates || 4–3 || Art Mahaffey (5–2) || Joe Gibbon (3–2) || Ed Roebuck (8) ||  || 28–19
|- style="background:#fbb"
| 48 || June 9  || Pirates || 0–4 || Steve Blass (3–2) || Ray Culp (1–5) || None || 32,155 || 28–20
|- style="background:#bfb"
| 49 || June 10 || Pirates || 4–1 || Chris Short (4–3) || Bob Friend (4–6) || None || 15,352 || 29–20
|- style="background:#fbb"
| 50 || June 12 || Mets || 3–11 || Tracy Stallard (4–7) || Dennis Bennett (7–4) || None || 16,661 || 29–21
|- style="background:#bfb"
| 51 || June 13 || Mets || 8–2 || Jim Bunning (6–2) || Frank Lary (0–3) || None || 4,875 || 30–21
|- style="background:#bfb"
| 52 || June 14  || Mets || 9–5 || Ray Culp (2–5) || Galen Cisco (3–7) || None ||  || 31–21
|- style="background:#bfb"
| 53 || June 14  || Mets || 4–2 || Art Mahaffey (6–2) || Al Jackson (3–9) || Ed Roebuck (9) || 21,020 || 32–21
|- style="background:#bfb"
| 54 || June 16 || @ Cubs || 4–2 || Dennis Bennett (8–4) || Larry Jackson (8–5) || Jack Baldschun (4) || 8,744 || 33–21
|- style="background:#fbb"
| 55 || June 17 || @ Cubs || 5–9 || Bob Buhl (8–3) || Jack Baldschun (3–3) || Lindy McDaniel (7) || 9,106 || 33–22
|- style="background:#bfb"
| 56 || June 18 || @ Cubs || 6–3 || Chris Short (5–3) || Dick Ellsworth (8–6) || Jim Bunning (1) || 9,283 || 34–22
|- style="background:#bfb"
| 57 || June 19  || @ Mets || 2–1 || Art Mahaffey (7–2) || Larry Bearnarth (4–4) || Ed Roebuck (10) ||  || 35–22
|- style="background:#bfb"
| 58 || June 19  || @ Mets || 7–2 || Ray Culp (3–5) || Galen Cisco (3–8) || None || 41,310 || 36–22
|- style="background:#fbb"
| 59 || June 20 || @ Mets || 3–7 || Jack Fisher (5–5) || Dallas Green (1–1) || Al Jackson (1) || 18,004 || 36–23
|- style="background:#bfb"
| 60 || June 21  || @ Mets || 6–0 || Jim Bunning (7–2) || Tracy Stallard (4–9) || None ||  || 37–23
|- style="background:#bfb"
| 61 || June 21  || @ Mets || 8–2 || Rick Wise (1–0) || Frank Lary (0–4) || Johnny Klippstein (1) || 32,026 || 38–23
|- style="background:#fbb"
| 62 || June 23  || Cubs || 0–2 || Dick Ellsworth (9–6) || Chris Short (5–4) || None ||  || 38–24
|- style="background:#bfb"
| 63 || June 23  || Cubs || 9–0 || Ray Culp (4–5) || Sterling Slaughter (2–2) || None || 35,483 || 39–24
|- style="background:#bfb"
| 64 || June 24 || Cubs || 9–8 || Dallas Green (2–1) || Ernie Broglio (3–7) || None || 19,711 || 40–24
|- style="background:#bfb"
| 65 || June 26 || @ Cardinals || 6–5 || Ed Roebuck (2–2) || Ron Taylor (1–2) || None || 18,484 || 41–24
|- style="background:#fbb"
| 66 || June 27 || @ Cardinals || 4–9 || Curt Simmons (8–6) || Rick Wise (1–1) || None || 12,388 || 41–25
|- style="background:#bfb"
| 67 || June 28  || @ Cardinals || 5–0 || Chris Short (6–4) || Mike Cuellar (0–1) || None ||  || 42–25
|- style="background:#fbb"
| 68 || June 28  || @ Cardinals || 2–8 || Ray Sadecki (8–6) || Ray Culp (4–6) || None || 27,805 || 42–26
|- style="background:#fbb"
| 69 || June 29 || @ Colt .45s || 1–6 || Bob Bruce (8–4) || Art Mahaffey (7–3) || None || 11,103 || 42–27
|- style="background:#bfb"
| 70 || June 30 || @ Colt .45s || 8–1 || Jim Bunning (8–2) || Ken Johnson (6–7) || None || 16,414 || 43–27

|- style="background:#fbb"
| 71 || July 1 || @ Dodgers || 2–3 || Sandy Koufax (11–4) || Dennis Bennett (8–5) || None || 39,823 || 43–28
|- style="background:#bfb"
| 72 || July 2 || @ Dodgers || 3–2 || Chris Short (7–4) || Phil Ortega (3–3) || Jack Baldschun (5) || 35,541 || 44–28
|- style="background:#bfb"
| 73 || July 3 || @ Giants || 5–1 || Ray Culp (5–6) || Ron Herbel (6–4) || None || 27,068 || 45–28
|- style="background:#bfb"
| 74 || July 4 || @ Giants || 5–2  || Jim Bunning (9–2) || Gaylord Perry (6–4) || Jack Baldschun (6) || 30,529 || 46–28
|- style="background:#bfb"
| 75 || July 5 || @ Giants || 2–1 || Dennis Bennett (9–5) || Juan Marichal (11–4) || Jack Baldschun (7) || 38,641 || 47–28
|- style="background:#bbcaff;"
| – || July 7 ||colspan=7 |1964 Major League Baseball All-Star Game at Shea Stadium in Queens
|- style="background:#bfb"
| 76 || July 9 || Reds || 4–3 || Ray Culp (6–6) || John Tsitouris (5–6) || Jack Baldschun (8) || 18,404 || 48–28
|- style="background:#fbb"
| 77 || July 10 || Reds || 1–5 || Jim O'Toole (9–4) || Dennis Bennett (9–6) || None || 25,936 || 48–29
|- style="background:#fbb"
| 78 || July 11 || Reds || 1–3 || Joe Nuxhall (7–4) || Jim Bunning (9–3) || Sammy Ellis (2) || 10,146 || 48–30
|- style="background:#fbb"
| 79 || July 12  || Braves || 3–4 || Wade Blasingame (2–1) || Chris Short (7–5) || Chi-Chi Olivo (2) ||  || 48–31
|- style="background:#fbb"
| 80 || July 12  || Braves || 2–6 || Billy Hoeft (3–0) || Art Mahaffey (7–4) || None || 28,044 || 48–32
|- style="background:#bfb"
| 81 || July 13 || Braves || 3–2 || Ray Culp (7–6) || Warren Spahn (6–9) || Jim Bunning (2) || 13,817 || 49–32
|- style="background:#fbb"
| 82 || July 14 || @ Pirates || 3–4 || Bob Veale (9–6) || Cal McLish (0–1) || Al McBean (12) || 9,664 || 49–33
|- style="background:#fbb"
| 83 || July 15 || @ Pirates || 0–3 || Bob Friend (8–8) || Jim Bunning (9–4) || None || 11,633 || 49–34
|- style="background:#bfb"
| 84 || July 16 || @ Pirates || 7–5 || Art Mahaffey (8–4) || Joe Gibbon (6–3) || Jack Baldschun (9) || 12,163 || 50–34
|- style="background:#bfb"
| 85 || July 17 || @ Reds || 5–4 || Chris Short (8–5) || Joey Jay (4–7) || Dennis Bennett (1) || 19,008 || 51–34
|- style="background:#fbb"
| 86 || July 18 || @ Reds || 4–14 || John Tsitouris (6–6) || Ray Culp (7–7) || None || 8,251 || 51–35
|- style="background:#fbb"
| 87 || July 19  || @ Reds || 4–7 || Billy McCool (3–0) || Jack Baldschun (3–4) || Sammy Ellis (4) ||  || 51–36
|- style="background:#bfb"
| 88 || July 19  || @ Reds || 4–3 || John Boozer (1–0) || Ryne Duren (0–2) || Chris Short (2) || 27,245 || 52–36
|- style="background:#fbb"
| 89 || July 20 || @ Reds || 2–6 || Joe Nuxhall (8–4) || Dennis Bennett (9–7) || Billy McCool (4) || 10,229 || 52–37
|- style="background:#bfb"
| 90 || July 21 || @ Braves || 6–3 || Art Mahaffey (9–4) || Wade Blasingame (2–2) || Jack Baldschun (10) || 22,110 || 53–37
|- style="background:#bfb"
| 91 || July 22 || @ Braves || 4–1 || Ray Culp (8–7) || Warren Spahn (6–11) || Jack Baldschun (11) || 20,457 || 54–37
|- style="background:#bfb"
| 92 || July 23 || @ Braves || 13–10  || Jack Baldschun (4–4) || Bobby Tiefenauer (3–5) || Dennis Bennett (2) || 10,507 || 55–37
|- style="background:#bfb"
| 93 || July 24 || Cardinals || 9–1 || Chris Short (9–5) || Bob Gibson (8–8) || None || 22,628 || 56–37
|- style="background:#fbb"
| 94 || July 25 || Cardinals || 9–10 || Curt Simmons (10–8) || Dennis Bennett (9–8) || Mike Cuellar (2) || 10,948 || 56–38
|- style="background:#fbb"
| 95 || July 26  || Cardinals || 1–6 || Gordie Richardson (1–0) || John Boozer (1–1) || None ||  || 56–39
|- style="background:#fbb"
| 96 || July 26  || Cardinals || 1–4 || Ray Sadecki (11–8) || Art Mahaffey (9–5) || None || 28,118 || 56–40
|- style="background:#bfb"
| 97 || July 28 || Giants || 4–0 || Jim Bunning (10–4) || Billy O'Dell (3–4) || Jack Baldschun (12) || 29,386 || 57–40
|- style="background:#fbb"
| 98 || July 29 || Giants || 3–6  || Juan Marichal (15–5) || Jack Baldschun (4–5) || None || 27,979 || 57–41
|- style="background:#bfb"
| 99 || July 30 || Giants || 4–3  || Art Mahaffey (10–5) || Gaylord Perry (7–8) || None || 27,694 || 58–41
|- style="background:#bfb"
| 100 || July 31 || Dodgers || 6–1 || Chris Short (10–5) || Joe Moeller (5–10) || Jack Baldschun (13) || 24,197 || 59–41

|- style="background:#bfb"
| 101 || August 1 || Dodgers || 10–6 || Rick Wise (2–1) || Don Drysdale (13–10) || Ed Roebuck (11) || 32,030 || 60–41
|- style="background:#fbb"
| 102 || August 2 || Dodgers || 1–6 || Larry Miller (2–2) || John Boozer (1–2) || None || 18,802 || 60–42
|- style="background:#bbb"
| – || August 3 || Dodgers || colspan=6 | Postponed (rain);
|- style="background:#bfb"
| 103 || August 5  || Colt .45s || 4–1 || Jim Bunning (11–4) || Bob Bruce (11–6) || Jack Baldschun (14) ||  || 61–42
|- style="background:#bfb"
| 104 || August 5  || Colt .45s || 2–1 || Ed Roebuck (3–2) || Hal Woodeshick (2–7) || None || 27,288 || 62–42
|- style="background:#fbb"
| 105 || August 6 || Colt .45s || 1–2 || Turk Farrell (11–7) || Chris Short (10–6) || Jim Owens (2) || 15,083 || 62–43
|- style="background:#bfb"
| 106 || August 7 || Mets || 9–4 || Ed Roebuck (4–2) || Bill Wakefield (3–4) || Jack Baldschun (15) || 14,158 || 63–43
|- style="background:#bfb"
| 107 || August 8 || Mets || 12–5 || Rick Wise (3–1) || Galen Cisco (4–13) || John Boozer (1) || 7,687 || 64–43
|- style="background:#bfb"
| 108 || August 9 || Mets || 6–0 || Jim Bunning (12–4) || Tracy Stallard (6–15) || None || 11,621 || 65–43
|- style="background:#bfb"
| 109 || August 11 || @ Cubs || 13–5 || John Boozer (2–2) || Dick Ellsworth (12–14) || None || 11,972 || 66–43
|- style="background:#bfb"
| 110 || August 12 || @ Cubs || 6–5 || Chris Short (11–6) || Larry Jackson (14–10) || Jack Baldschun (16) || 8,633 || 67–43
|- style="background:#fbb"
| 111 || August 13 || @ Cubs || 1–3 || Ernie Broglio (7–9) || Dennis Bennett (9–9) || None || 8,347 || 67–44
|- style="background:#bfb"
| 112 || August 14  || @ Mets || 6–1 || Jim Bunning (13–4) || Al Jackson (6–12) || None ||  || 68–44
|- style="background:#bfb"
| 113 || August 14  || @ Mets || 6–4 || Rick Wise (4–1) || Tracy Stallard (6–16) || Jack Baldschun (17) || 42,806 || 69–44
|- style="background:#bfb"
| 114 || August 15 || @ Mets || 8–1 || John Boozer (2–3) || Jack Fisher (8–15) || None || 31,324 || 70–44
|- style="background:#fbb"
| 115 || August 16 || @ Mets || 4–12 || Galen Cisco (5–13) || Art Mahaffey (10–6) || None || 24,486 || 70–45
|- style="background:#bfb"
| 116 || August 17 || Cubs || 8–1 || Chris Short (12–6) || Ernie Broglio (7–10) || None || 17,355 || 71–45
|- style="background:#fbb"
| 117 || August 18 || Cubs || 3–4  || Freddie Burdette (1–0) || John Boozer (3–3) || Ernie Broglio (1) || 18,401 || 71–46
|- style="background:#bfb"
| 118 || August 19 || Cubs || 9–5 || Jack Baldschun (5–5) || Lindy McDaniel (1–6) || None || 18,140 || 72–46
|- style="background:#bfb"
| 119 || August 20  || Pirates || 2–0 || Art Mahaffey (11–6) || Bob Friend (10–13) || None ||  || 73–46
|- style="background:#bfb"
| 120 || August 20  || Pirates || 3–2 || Rick Wise (5–1) || Don Schwall (4–3) || Ed Roebuck (12) || 35,814 || 74–46
|- style="background:#bfb"
| 121 || August 21 || Pirates || 2–0 || Chris Short (13–6) || Bob Veale (13–10) || None || 30,170 || 75–46
|- style="background:#fbb"
| 122 || August 22 || Pirates || 4–9 || Frank Bork (2–0) || Dennis Bennett (9–10) || Al McBean (17) || 14,955 || 75–47
|- style="background:#bfb"
| 123 || August 23 || Pirates || 9–3 || Jim Bunning (14–4) || Joe Gibbon (9–6) || John Boozer (2) || 19,213 || 76–47
|- style="background:#fbb"
| 124 || August 24 || @ Braves || 9–12 || Bob Sadowski (8–8) || Dennis Bennett (9–11) || None || 11,726 || 76–48
|- style="background:#fbb"
| 125 || August 25 || @ Braves || 5–7 || Tony Cloninger (13–12) || Rick Wise (5–2) || Billy Hoeft (4) || 16,248 || 76–49
|- style="background:#bfb"
| 126 || August 26 || @ Braves || 6–1 || Chris Short (14–6) || Denny Lemaster (13–9) || None || 12,158 || 77–49
|- style="background:#fbb"
| 127 || August 28 || @ Pirates || 2–4 || Roy Face (3–3) || Ed Roebuck (4–3) || None || 20,374 || 77–50
|- style="background:#bfb"
| 128 || August 29 || @ Pirates || 10–8 || Art Mahaffey (12–6) || Bob Friend (10–15) || Jack Baldschun (18) || 12,186 || 78–50
|- style="background:#fbb"
| 129 || August 30 || @ Pirates || 2–10 || Bob Veale (14–10) || Chris Short (14–7) || None || 14,080 || 78–51

|- style="background:#bfb"
| 130 || September 1 || Colt .45s || 4–3 || Jim Bunning (15–4) || Hal Brown (2–14) || None || 13,306 || 79–51
|- style="background:#bfb"
| 131 || September 2 || Colt .45s || 2–1 || Chris Short (15–7) || Don Nottebart (6–9) || None || 12,616 || 80–51
|- style="background:#fbb"
| 132 || September 3 || Colt .45s || 0–6 || Don Larsen (3–6) || Dennis Bennett (9–12) || None || 12,908 || 80–52
|- style="background:#bfb"
| 133 || September 4 || Giants || 5–3 || Jack Baldschun (6–5) || Billy O'Dell (8–7) || None || 28,149 || 81–52
|- style="background:#bfb"
| 134 || September 5 || Giants || 9–3 || Jim Bunning (16–4) || Bobby Bolin (5–7) || None || 31,482 || 82–52
|- style="background:#fbb"
| 135 || September 6 || Giants || 3–4 || Juan Marichal (17–6) || Jack Baldschun (6–6) || None || 21,548 || 82–53
|- style="background:#bfb"
| 136 || September 7  || Dodgers || 5–1 || Dennis Bennett (10–12) || Larry Miller (3–7) || None ||  || 83–53
|- style="background:#fbb"
| 137 || September 7  || Dodgers || 1–3 || Pete Richert (1–1) || Rick Wise (5–3) || Ron Perranoski (11) || 26,390 || 83–54
|- style="background:#fbb"
| 138 || September 8 || Dodgers || 2–3 || Jim Brewer (2–2) || Art Mahaffey (12–7) || Ron Perranoski (12) || 14,594 || 83–55
|- style="background:#fbb"
| 139 || September 9 || Cardinals || 5–10  || Bob Humphreys (2–0) || Jack Baldschun (6–7) || None || 25,339 || 83–56
|- style="background:#bfb"
| 140 || September 10 || Cardinals || 5–1 || Chris Short (16–7) || Ray Sadecki (16–10) || None || 14,552 || 84–56
|- style="background:#bfb"
| 141 || September 11 || @ Giants || 1–0 || Dennis Bennett (11–12) || Juan Marichal (17–7) || None || 27,524 || 85–56
|- style="background:#fbb"
| 142 || September 12 || @ Giants || 1–9 || Gaylord Perry (11–9) || Art Mahaffey (12–8) || None || 29,463 || 85–57
|- style="background:#bfb"
| 143 || September 13 || @ Giants || 4–1  || Jim Bunning (17–4) || Dick Estelle (0–1) || None || 35,205 || 86–57
|- style="background:#bfb"
| 144 || September 14 || @ Colt .45s || 4–1 || Chris Short (17–7) || Bob Bruce (13–9) || None || 4,909 || 87–57
|- style="background:#bfb"
| 145 || September 15 || @ Colt .45s || 1–0 || Dennis Bennett (12–12) || Ken Johnson (10–16) || Jack Baldschun (19) || 4,161 || 88–57
|- style="background:#fbb"
| 146 || September 16 || @ Colt .45s || 5–6 || Hal Brown (3–15) || Jim Bunning (17–5) || Hal Woodeshick (23) || 2,289 || 88–58
|- style="background:#bfb"
| 147 || September 17 || @ Dodgers || 4–3 || Bobby Shantz (2–4) || Don Drysdale (18–14) || Jack Baldschun (20) || 21,175 || 89–58
|- style="background:#fbb"
| 148 || September 18 || @ Dodgers || 3–4 || Bob Miller (7–6) || Jack Baldschun (6–8) || None || 26,341 || 89–59
|- style="background:#fbb"
| 149 || September 19 || @ Dodgers || 3–4  || Phil Ortega (7–9) || Jack Baldschun (6–9) || None || 27,146 || 89–60
|- style="background:#bfb"
| 150 || September 20 || @ Dodgers || 3–2 || Jim Bunning (18–5) || Jim Brewer (2–3) || None || 25,867 || 90–60
|- style="background:#fbb"
| 151 || September 21 || Reds || 0–1 || John Tsitouris (8–11) || Art Mahaffey (12–9) || None || 20,067 || 90–61
|- style="background:#fbb"
| 152 || September 22 || Reds || 2–9 || Jim O'Toole (16–7) || Chris Short (17–8) || None || 21,232 || 90–62
|- style="background:#fbb"
| 153 || September 23 || Reds || 4–6 || Billy McCool (6–3) || Dennis Bennett (12–13) || Sammy Ellis (11) || 23,247 || 90–63
|- style="background:#fbb"
| 154 || September 24 || Braves || 3–5 || Wade Blasingame (7–5) || Jim Bunning (18–6) || Chi-Chi Olivo (4) || 17,342 || 90–64
|- style="background:#fbb"
| 155 || September 25 || Braves || 5–7  || Clay Carroll (1–0) || John Boozer (3–4) || Tony Cloninger (2) || 30,447 || 90–65
|- style="background:#fbb"
| 156 || September 26 || Braves || 4–6 || Wade Blasingame (8–5) || Bobby Shantz (2–5) || Warren Spahn (2) || 14,330 || 90–66
|- style="background:#fbb"
| 157 || September 27 || Braves || 8–14 || Tony Cloninger (18–14) || Jim Bunning (18–7) || Chi-Chi Olivo (5) || 20,569 || 89–67
|- style="background:#fbb"
| 158 || September 28 || @ Cardinals || 1–5 || Bob Gibson (18–11) || Chris Short (17–9) || Barney Schultz (12) || 24,146 || 90–68
|- style="background:#fbb"
| 159 || September 29 || @ Cardinals || 2–4 || Ray Sadecki (20–10) || Dennis Bennett (12–14) || Barney Schultz (13) || 27,433 || 90–69
|- style="background:#fbb"
| 160 || September 30 || @ Cardinals || 5–8 || Curt Simmons (18–9) || Jim Bunning (18–8) || Gordie Richardson (1) || 29,920 || 90–70

|- style="background:#bfb"
| 161 || October 2 || @ Reds || 4–3 || Ed Roebuck (5–3) || Billy McCool (6–5) || Jack Baldschun (21) || 25,221 || 91–70
|- style="background:#bfb"
| 162 || October 4 || @ Reds || 10–0 || Jim Bunning (19–8) || John Tsitouris (9–13) || None || 28,535 || 92–70

|-
|  Source:

Roster

Player stats

Batting

Starters by position
Note: Pos = Position; G = Games played; AB = At bats; R = Runs; H = Hits; Avg. = Batting average; HR = Home runs; RBI = Runs batted In; SB = Stolen bases

Other batters
Note: G = Games played; AB = At bats; R = Runs; H = Hits; Avg. = Batting average; HR = Home runs; RBI = Runs batted In; SB = Stolen bases

Pitching

Starting pitchers
Note: G = Games pitched; IP = Innings pitched; W = Wins; L = Losses; ERA = Earned run average; SO = Strikeouts

Other pitchers
Note: G = Games pitched; IP = Innings pitched; W = Wins; L = Losses; ERA = Earned run average; SO = Strikeouts

Relief pitchers
Note: G = Games pitched; W = Wins; L = Losses; SV = Saves; ERA = Earned run average; SO = Strikeouts

Farm system

See also
 2018 Philadelphia Phillies season

Notes

References
 1964 Philadelphia Phillies at Baseball Reference
 1964 Philadelphia Phillies at Baseball Almanac

External links

Philadelphia Phillies seasons
Philadelphia Phillies season
Philadelph

redpajama_set_name: RedPajamaWikipedia


text:
Home SCREENS Seed savers
Seed savers
UW grad helps launch the stylistic indie game "Tumbleseed"
by Aaron R. Conklin
Aaron Conklin
UW grad Benedict Fritz (left) worked with a Chicago team to design Tumbleseed.
Plenty of modern videogames draw inspiration from the classics. The touchstone for Tumbleseed, a new indie game designed by a team that includes UW-Madison grad Benedict Fritz, reaches way, way back into the cult-game recesses. It's Ice Cold Beer, a 1983 cabinet game by Taito in which players balance a marble on an ascending metal bar — an actual metal bar, not a pixelated simulation — to roll it into lighted holes that represent bubbles in a mug of beer.
Fritz and some of his friends encountered the classic cabinet at Logan Arcade in Chicago, and Fritz was immediately struck by it: "Why has no one made a game with this type of play since the mid-'80s?" he wondered.
Now Fritz and four Chicago-based developers have set the moving-bar concept in a busy, visually stylistic world with all sorts of stationary and moving hazards to threaten your cute li'l seed's ascent up the side of a mountain — holes to fall into, insects that dive-bomb and shoot projectiles at you. Fritz began designing Tumbleseed back in late 2014, and, almost three years later, it's set to release May 2 on PlayStation 4, the Nintendo Switch and PC.
Fritz graduated with a degree in computer science from UW-Madison in 2011, but it wasn't until his senior year that he got into game development. In the spring of that year, he participated in a campus games jam, an event that challenges participants to design a game over the course of a weekend. Fritz ended up throwing together several Flash games and realizing he had a passion for game development. The same year he began working on Tumbleseed, he released Dudeski, an arcade skiing app for iOS and Android.
Tumbleseed proved a much tougher nut to crack.
"The hardest part was figuring out the design, figuring out why this is fun," says Fritz. "The game is about moving and rolling. As soon as you add something that's not about rolling, it's not fun."
At one point, the team gave the seed a bow and arrow to shoot at enemies, but playtesters found it distracting. Instead, the team installed a system of collectible seeds that, when planted in soil plots on the side of the mountain, give the seed power-ups like spinning thorns or the option to call down a storm to fill the holes with rainwater.
Once the gameplay elements were set, the question became which console platform. Sony's PlayStation 4, the indie developer's current preferred platform, was an obvious choice. But so was another platform.
"Tumbleseed is a colorful, but challenging game," says Fritz. "And that's a combo that's very Nintendo."
Fritz reached out to the Big N late last year to inquire if Tumbleseed might find a home on the Wii U. The team didn't realize Nintendo was on the verge of announcing a brand-new console. It ended up being such a natural fit that Nintendo featured Tumbleseed as part of its "Nindies" Switch Showcase in February.
"It's painful that the game took so long to make, but it happened to line up with Nintendo's console release schedule, so there's a silver lining there."
Fritz and his co-developers are obviously anxious to see how gamers respond to Tumbleseed. But it may be the newbies who like it most.
"A lot of people who play a lot of games struggle more than those who don't," notes Fritz. "They tend to overcorrect. I liken controlling the seed to drifting a car — it's like a controlled chaos, where you're moving, but things aren't really responding to your actions."
Tumbleseed is rated E and will be available on May 2 on the PlayStation 4, Nintendo Switch and PC for $14.99.

redpajama_set_name: RedPajamaCommonCrawl


text:
The rise of general-purpose AI and its threat to humanity
Socially aware general-purpose artificial intelligence in the form of a dog could be the ideal form factor to take over the world
This article can also be found in the Premium Editorial Download: Computer Weekly: How the internet of things could save the honeybee
Cliff Saran, Managing Editor
Published: 29 Jun 2015 11:00
Autonomous cars, automated trading and smart cities are among the great promises of machine intelligence. But artificial intelligence (AI) promises much more, including being man's best friend.
Bigdog (picture above) was a robot developed in 2008, funded by Darpa and the US Army Research Laboratory's RCTA programme. Bigdog was designed to walk and climb – skills that humans master instinctively at an early age, but which cannot easily be programmed into a machine. Instead, researchers apply artificial intelligence techniques to enable such robots to 'learn'.
Imagine a computer that can think better than humans; that can make profound cognitive decisions at lightning speed. Such a machine could better serve mankind. Or would it?
"AI that can run 1,000 times faster than humans can earn 1,000 times more than people," according to Stuart Armstrong, research fellow at the Future of Humanity Institute. "It can make 100 copies of itself."
This ability to think fast and make copies of itself is a potent combination – one than could have a profound effect on humanity. "With human-level intelligence, plus the ability to copy, it could hack the whole internet," he warned.
And if this general-purpose AI had a body, said Armstrong, "it could walk into a bar and walk out with all the girls or guys".
But far from being a super hacker or master pickup artist, Armstrong argues that if such machines were to become powerful, the world would resemble their preferences. For instance, he said they could boost their own algorithms.
Beware of extreme machine intelligence
A socially aware general-purpose AI could scan the web for information and, by reading human facial expressions, it could deliver targeted speeches better than any political leader, said Armstrong.
Taken to the extreme, he warned that it is difficult to specify a goal that is safe: "If it were programmed to prevent all human suffering, the solution could be to kill all humans".
Read more about robotics
Ocado joins a consortium of universities in a research project to create an autonomous humanoid robot.
KPMG lays out a vision for the future where the work of knowledge workers is handled by cognitive robotic process automation technology.
The digitisation of banks enters a new phase as a Japanese bank deploys robots to greet customers and answer questions.
In his book Smarter than us, Armstrong lays down a few points than humans need to consider about general-purpose AI: "Never trust an entirely super-intelligent AI. If it doesn't have your best interests at heart, it'll find a way to obey all its promises while still destroying you."
Such general-purpose artificial intelligence is still a long way off. Armstrong's closest estimate of when general-purpose artificial intelligence will be developed falls somewhere between five and 150 years' time. But it is a hot topic, and London-based DeepMind recently demonstrated how a machine used reinforcement learning to take what it had learned from playing a singe Atari 2600 game and apply it to other computer games.
Strictly speaking, DeepMind is not general AI, according to Armstrong. It is narrow AI – a form of artificial intelligence that is able to do tasks people once said would not be possible without general-purpose AI. IBM's Watson, which won US game show Jeopardy, and Google Car are both applications of narrow AI.
Gartner distinguished analyst Steve Prentice said narrow AI is a machine that does one task particularly well: "The variables have to be limited, and it follows a set of rules." For instance, he said an autonomous vehicle could be programmed in a way that could prevent cycle road deaths.
Robots could rule the world
In the Gartner report When smart things rule the world, Prentice argues the case for CIOs to start thinking about the business impact of smart machines that exhibit AI behaviour. In the report, he notes: "Advanced capabilities afforded by artificial intelligence (AI) will enhance today's smart devices to display goal-seeking and self-learning behaviour rather than a simple sense and respond." Prentice believes these "artificial agents" will work together with or on behalf of humans to optimise business outcomes through an ecosystem or digital marketplace.
For CIOs, Prentice regards autonomous business as a logical extension of current automated processes and services to increase efficiency and productivity rather than simply to replace a human workforce. "For most people, AI is slanted to what you see on-screen. But from a business perspective, we are so far away from this in reality," he said.
In fact, he believes there is no reason why a super-intelligent AI machine could not act like a CEO or manager, directing humans to do tasks where creativity or manual dexterity is important.
This may sound like a plot from Channel 4 sci-fi drama Humans, but, as Armstrong observes in Smarter than us, "Even if the AI is nominally under human control, even if we can reprogram it or order it around, such theoretical powers will be useless in practice. This is because the AI will eventually be able to predict any move we make and could spend a lot of effort manipulating those who have 'control' over it."
So back to man's best friend. Armstrong is not afraid of a metal-clad robot with an Austrian accent that Arnold Schwarzenegger depicted in Terminator. For him, a super-intelligent machine taking the form of a dog and biting the proverbial hand that feeds it is a far more plausible way in which machines could eventually rule the world.
Read more on IT innovation, research and development
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By: Karl Flinders
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DavidSchiffer - 29 Jun 2015 4:54 PM
As long as we do not know what makes us feel and want and need anything, we can't create a machine with wants and needs either, and why would we?
A machine can register damage, register power loss, but to it, it means nothing than another number in its memory core to process for no other purpose than the one given by us programmers.
I mean an AI, does not need or want anything, hence it cannot rebel. You need to have real needs and wants, pain, suffering, the real deal to develop your own will.
We want machines to serve our wants and needs, not machines that would constantly nag us about their needs and wants, making us serve them instead.
So why make even them, they have no purpose, they serve no need unless we indeed do have a need to self destruct.
ncberns - 29 Jun 2015 5:27 PM
Automobiles take away our freedom, cell phones fry our fragile brains, social security tracks us, income tax is a federal scheme to control our movement, radar is used to track us, radar will kill us all, nurses are paid to put tracking chips in babies, have you seen those poisonous jet trails, crop circles are a sign of alien abduction, the Mayan calender marks the time of the end times, civilization ends at the stroke of midnight on December 31 1999.
And AI portends the rise of evil machines which, as everyone knows, want nothing more than to eat our chips. No, really, I saw it in a movie once so it must be true.
Seems there's a little Luddite is us all, like it or not. We're doomed, we're doomed. Or not as the case may be.
abuell - 30 Jun 2015 11:37 AM
I find AI fascinating, and the whole threat to humanity, robots will rules the world thing definitely makes for an enjoyable movie plot.
AI has come a long way since Turing's days, but in real applications it is still laughable when compared to real human behaviors. There is a long way to go. No AI machine is going to become CEO during this lifetime.
ncberns - 2 Jul 2015 6:04 AM
Alas, there really is a little Luddite is us all, like it or not. We're doomed, we're doomed. Or not as the case may be.
agareev - 17 Dec 2015 10:36 AM
Let's be clear: there's no real AI created by humans (yet).
AI technologies, such as neural networks, fuzzy logic, genetic algorithms, etc, - more or less successfully simulate one or few activities that human or animal mind is capable of. But they still have zero self-awareness and zero cognition.
Although..
"No computer has ever been designed that it is ever aware of what it's doing; but most of the time, people aren't either. "
~ Marvin Minsky


text:
Miyamoto plans to make Wii games easier
By Adam Hartley
Nintendo patents cartoon-hint system, fanboys cry 'sell-out'
Yippee! My games are going to get easier!
Nintendo is set to make games easier for its legions of casual Wii gamers this year, if a new patent is anything to go by.
Nintendo filed a patent application in the US for a cartoon-character assisted system which will help gamers negotiate those particularly difficult sections of the next Zelda or Mario game.
Nintendo fans in the TechRadar office were predictably aghast at the idea that a little cartoon man might pop up to 'spoil' the purity of their gaming experience. (While everybody else shrugged and said "sounds like a good idea, will stop me having to check GameFAQs every two hours…")
Miyamoto's latest plan
None other than Shigeru Miyamoto is listed as the inventor of the new cartoon hint system, which will either be installed on a game disc or made available online.
"In some of these games, a volume of the story or the scenario is too large, and therefore a lot of time is needed for clearing the game," explains the patent application.
"Further, in some cases, various puzzles are set in the scenario... However, there is a problem that these puzzles and the like are too difficult, and therefore the game may be stuck halfway, and the game may not be cleared to the end."
"As means for solving the problem, disclosed is a game control method for lowering the difficulty level of a game by presenting, while the game is being played, a hint for allowing the game to be continued."
TechRadar has contacted Nintendo UK for further information on this intriguing (or, for hardcore fanboys 'game-ruining') system!
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Adam Hartley
See more Gaming news


text:
Brian Patrick Flynn is breaking the makeover mold with his new Magnolia Network show
industry insider | Aug 7, 2020 |
By Haley Chouinard
Designer Brian Patrick Flynn had never been to Texas before, when a project took him to Dallas in 2018. He posted about his sojourn on Instagram, and who should comment on it but design and lifestyle guru Joanna Gaines. She and her husband, Chip Gaines, run their many business ventures from Waco, Texas, about two hours from Dallas, so Flynn messaged her, asking if she'd be interested in meeting up while he was in the area. "I wound up driving to Waco, and we talked for over an hour," he says. "She's one of those people who is exactly how she appears on television—charming and totally authentic. I already loved her from Fixer Upper, but meeting her, I fell in love with her all over again."
Brian Patrick FlynnMagnolia Network/Tomas Espinoza
As the conversation was winding down, Gaines asked Flynn if he would be interested in working with her forthcoming TV network, Magnolia, on a show of his own. "As she told me more about what she wanted to do with the network and explained her vision for the programs, it came into focus for me, and I knew it would be a fit," says Flynn. His yet-to-be-titled show will premiere with the first slate of original programming when the Magnolia Network launches in spring 2021.
While he has been a regular on HGTV and TLC design makeover shows for over a decade, he has yet to star in his own show. "I never wanted to do a show that was just me redecorating houses," says Flynn, who went to film school and worked as a TV producer before getting started in design. "So, when I started working with Magnolia, we conceived something different and more challenging to capture, which is the day-to-day process of a self-taught designer."
The show will feature a docu-follow format, taking the viewer with Flynn as he goes through the design process with his clients. "I don't have any formal design training, so while there are days when I feel like an expert after 14 years, there are other days when I feel like an intern," he says. "For so long, I've been baffled about where I fit in the design industry. Am I high-end? Am I attainable? But, when you look at Joanna Gaines, every product that she rolls out, whether for Target or Anthropologie, it's both beautiful and affordable. I think we're both respected by our peers, but fit into a category of being relatable. We're trying to show that you don't have to be a multimillionaire to afford good design."
Flynn is intrigued by how differently designers approach a project, how some people plan out every last detail and others are really loose. "There's no one way to do things, and we hope to show that in an honest way," he says. He also wants to use the show to explore topics like product design and the realities and challenges of interiors photography.
While both Flynn and Gaines have a history with HGTV, Magnolia aims to set itself apart from the popular network by prioritizing authenticity and good stories. "In my opinion, the art of storytelling on TV has gotten lost," says Flynn. "It's so often just the same makeover format with different personalities attached. But there's something to be said for taking the time to show someone's process. I hope that will resonate with people."
Homepage photo: Magnolia Network/Tomas Espinoza
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'Buy now, pay later' has conquered online shopping. Home services are next


text: Rails.application.config.session_store :cookie_store, key: '_open_boards_session'

redpajama_set_name: RedPajamaGithub


text:
Every Man in His Humour ist eine Komödie aus dem Jahr 1598, verfasst von dem Dramatiker Ben Jonson. Das Stück gehört zu den sogenannten "Humour Comedies", die auch eine englische Entwicklung sind. Die heute übliche Bedeutung des Wortes Humor, das in seiner Endbetonung an das frz. humeur angeglichen ist, stammt von dem englischen Humour. Dieser Begriff umfasste im 17./18. Jahrhundert eine besondere Stilgattung, die komische Situationen, in die die Figuren oft selbstverschuldet und mit ihren besonderen Eigenarten geraten, in verspielter Heiterkeit darstellen wollte. Wobei viele Stücke, so eben auch "Every Man …", schon im 16. Jahrhundert entstanden.

Aufführungen und Publikationen
Es gibt sehr viele Hinweise darauf, dass die Theaterkompanie Lord Chamberlain's Men das Stück 1598 am Curtain Theatre uraufführte. Das Datum und die Mitwirkenden erfahren wir aus dem Nachdruck des Stücks in Jonsons 1616 erschienen Folio-Ausgabe seiner Arbeiten. Das Stück wurde am 2. Februar 1605 auch am königlichen Hof aufgeführt.

Eine Legende, die erstmals 1709 von dem Dichter Nicholas Rowe niedergeschrieben wurde, besagt, dass die Truppe das Stück zunächst ablehnen wollte, Shakespeare sich jedoch für eine Produktion aussprach. Obwohl der Wahrheitsgehalt dieser Legende nicht überprüfbar ist, gilt es aufgrund der im Folio veröffentlichten Wiedergabeliste als nahezu sicher, dass Shakespeare die Rolle von Kno'well, dem alten Vater, spielte. Dies steht im Einklang mit Shakespeares Gewohnheit bevorzugt ältere Charaktere zu spielen, wie etwa auch den Adam in Wie es euch gefällt.

Das Stück wurde am 4. August 1600 in das Stationers' Register der Worshipful Company of Stationers and Newspaper Makers eingetragen. Am gleichen Tag wurden ebenso die Shakespeare-Stücke Wie es euch gefällt Viel Lärm um nichts und Henry V. eingetragen; mit dem jeweiligen Vermerk "to be stayed" ("bleibt ausgesetzt") gekennzeichnet. Es wird angenommen, dass dieser Vermerk ein Versuch war, die Veröffentlichung dieser vier Stücke zu blockieren, da es Unstimmigkeiten zur Urheberschaft von Henry V. gab; wenn dem so war, dann muss es bald geklärt worden sein, da die Werke von Shakespeare kurz darauf in einem Druck erschienen und Every Man In His Humour zehn Tage später, am 14. August 1600, von den Buchhändlern Cuthbert Burby und Walter Burre noch einmal im Stationers' Register eingetragen wurden; das erste Buch (Quarto) wurde dann 1601 veröffentlicht, zusammen mit Burres Name auf der Titelseite. In jener Ausgabe spielte die Handlung noch in Florenz. Die nächste Publikation sollte in Jonsons Folio (1616) erfolgen; hier war dann London der Ort des Geschehens.
Eine derartig rasche Veröffentlichung lässt auch Rückschlüsse auf die Popularität des Stücks zu; Obwohl es nur wenige Aufzeichnungen über Aufführungen gibt, blieb es vermutlich im Repertoire der Kings Men's, bis die Theater 1642 geschlossen wurden.

Der Biograf Gerard Langbaine (1656–1692) berichtete, dass das Stück von den unmittelbaren Nachfolgern der Lord Chamberlain's Men, den  King's Men, 1675 wiederbelebt und auf die Bühne gebracht wurde. Es war 1725 noch populär genug, dass John Rich es in jenem Jahr am Lincoln's Inn Fields Theatre erneut aufführen konnte. 1751 versuchte sich David Garrick an dem Stück, dies jedoch mit deutlichen Änderungen: Er überarbeitete die Handlung so, dass die Aufmerksamkeit auf Kitelys Eifersucht gelenkt wurde; er schnitt beide Linien aus den anderen Handlungen ab und fügte eine Szene hinzu, in der er versucht, dem Clown Cob Informationen zu entlocken, während er seine Eifersucht verbirgt. Diese Szene war sehr beliebt und wurde vom irischen Dramatiker Arthur Murphy, wie auch anderen gelobt. Die Produktion enthielt einen Prolog von William Whitehead, welcher auch bei vielen späteren Neuinszenierungen eingesetzt wurde. Die Aufführungen waren erfolgreich und der Kitely wurde zu einer von Garricks Paraderollen und, mit nur kleinen Unterbrechungen, dauerhaft Bestandteil seines Repertoires.
Wie Kritiker gegen Ende des 18. Jahrhunderts anmerkten, rührt die Beliebtheit des Stücks eher von Garrick denn von Jonson; das Stück wurde zu Beginn des 19. Jahrhunderts, dies allerdings zusammen mit allen anderen Komödien Jonsons, nicht mehr regelmäßig aufgeführt.

1670 wurde das Stück neuinszeniert: Charles Sackville, der 6. Earl of Dorset lieferte einen Vers-Epilog, in dem Jonson selbst als Geist auftrat.

George Frederick Cooke holte 1801 das Stück am Covent Garden erneut auf die Bühne. Elizabeth Inchbald lobte diese Aufführung und bezeichnete Cookes Darstellung des Kitely als gleichwertig mit der Garricks. Cooke hatte allerdings nicht durchweg Erfolg mit dem Stück: 1808 in Edinburgh scheiterte es. Nach 1803 wechselte Cooke möglicherweise mit John Philip Kemble, obgleich Rivalen, in der Titelrolle für die Produktionen, die am Royal Opera House gespielt wurden, ab.

Danach wurde das Stück mehrmals und sorgfältig neu inszeniert, aber keines davon blieb dauerhaft im Repertoire. Edmund Kean spielte den Kitely in einer erfolglosen Produktion von 1816; sein Auftritt wurde hingegen von William Hazlitt gelobt. William Charles Macready behandelte 1838 die Rolle am Theatre Royal Haymarket und im gleichen Jahr in Bath (29. Juli); Robert Browning schrieb an seine Freundin Euphrasia Fanny Howarth (welche auch eine Nachbarin Macreadys war), dass Macready den Kitely absolut gut getroffen habe "von seiner flachen Kappe bis zu seinen glänzenden Schuhen". Und in der Tat war Macready sehr bemüht, den historischen Vorgaben der Figur so exakt zu entsprechen wie möglich, da, wie er sagte, man nur so an den inneren Charakter der Figur herankommen könne.

Die ungewöhnlichste Neuinszenierung fand am 20. September 1845 in Miss Kelly's Theatre (heute Royalty Theatre) in Soho statt, als Charles Dickens und seine Freunde eine Amateurproduktion auf die Beine stellten. Viele seiner Familienmitglieder und Freunde übernahmen darin einzelne Rollen, darunter sein Zeichner John Leech und der Librettist Mark Lemon. Dickens spielte die ihm zuneigende Rolle des zarten Bobadill; George Cruikshank spielte den Cob und John Forster übernahm den Kitely.
Die Produktion lief gut genug, um in den nächsten zwei Jahren drei- oder viermal wiederholt zu werden. Bulwer-Lytton schrieb ein Gedicht als Prolog für eine Produktion von 1847; daran nahmen neben Browning auch Alfred Tennyson und John Payne Collier teil.

Ben Iden Payne produzierte 1909 das Stück in Manchester und wieder in Stratford zum 300. Todestag Jonsons im Jahr 1937. Letztere erhielt hier die besseren Kritiken.

In der Eröffnungsspielzeit 1986 des Swan Theatre in Stratford wurde es erneut auf die Bühne gebracht. (Regie: John Caird).

Handlung und Stil

In Every Man in His Humour tritt das humoralpsychologische Moment zunächst allein bei zwei Charakteren auf, welche die Melancholie als Modekrankheit kultivieren. Die ursprüngliche Fassung dieser Komödie spielt in Italien; in einer späteren überarbeiteten Version verlegte Jonson den Schauplatz nach England und wandelte die Komödienform von der Vorlage des römischen Komödiendichters Plautus zu der für ihn typischen Stadtkomödie (city comedy) um. Zentrales Thema ist der Generationenkonflikt, dargelegt am Beispiel des Vaters Knowell, der seinen Sohn bespitzelt, da er sich um dessen Moral sorgt. Eine zentrale Rolle als Intrigant und Verwandlungskünstler spielt ebenso der Diener Brainworm, der als Figur sowohl in der Tradition der Sklavengestalten der römischen Komödie wie auch der Lasterfigur (Vice) der mittelalterlichen Moralitäten steht. Alle Hauptcharaktere sind durch eine fixe Idee bestimmt, die sich in der Regel bereits in ihren sprechenden Namen äußert. Spektakulär ist ebenfalls die Figur des Bobadill, eines Feiglings und Prahlers, der seinen angeblichen Sachverstand als Soldat mit bombastischer Gestik und Rhetorik zur Schau stellt und damit in Jonsons Werk die Nachfolge des antiken Miles Gloriosus antritt.

In dem Stück gibt es nicht viel an Handlung. In dem Hauptstrang unternimmt ein Bürger namens Old Knowell, der um die moralische Entwicklung seines Sohnes besorgt ist, Anstrengungen diesen auszuspionieren; hierbei baut er auf seinen Diener Brainworm, der dies jedoch aus Sympathie zu den jungen Männern regelmäßig hintertreibt. Brainworm ist ein komödiantischer Verkleidungskünstler, der sich auch verstellen kann und so für Verwicklungen und Täuschungen in dem Stück sorgt. Damit verkörpert er gleichsam den Geist der Komödie.
In der Nebenhandlung leidet ein Textilienhändler namens Kitely unter heftiger Eifersucht, weil er befürchtet, dass seine Frau ihn mit einigen der Taugenichtse betrügt, die sein Schwager Wellbred in sein Hause gebracht hat. Die Charaktere dieser beiden Handlungen sind von verschiedenen "humorigen" Charakteren umgeben, alle in bekannten englischen Stereotypen: der der jähzornige Soldat, der Tölpel vom Land (auch Landei, original: "country gull"), der bramarbasierende, zur Trunksucht neigende Dichter (orig.: "pretentious pot-poets"; Zitat (ein Fluch): "beim Fuße des Pharao!"), der griesgrämige Wasserträger und der onkelhafte Richter. Das Stück durchläuft eine Reihe von Komplikationen, die an ihren Höhepunkt kommen, als Richter Clement die verschiedenen Klagen der Figuren anhört und seine Urteile darüber fällt, wobei sich herausstellt, dass jede der vernommenen Klagen auf Schrullen, Fehlwahrnehmungen oder Täuschungen beruht.

Jonsons Idee dahinter wird in dem Prolog beschrieben, den er für das Folio schrieb. Diese Zeilen, die zu Recht für Jonsons Verständnis des "Humours" im Allgemeinen stehen, sind jedoch zur Beschreibung dieses Stücks besonders geeignet:
Er verspricht darin "Taten und Sprache zu präsentieren, wie sie Menschen benutzen: / Und Personen, wie sie die Komödie auswählt, / wenn diese ein Abbild der Zeiten zeigen wollte, / und menschliche Torheiten herausstellt, nicht Verbrechen." Das Stück folgt dieser hier ausdrücklichen Ablehnung der romantischen Komödie, wie sie seine Kollegen schreiben. Es hält sich sehr sorgfältig an die drei aristotelischen Einheiten; so besteht die Handlung aus einem engmaschigen Netz aus Handlung und Reaktion. Die Szenen sind eine geniale Anhäufung von Alltagsbeschreibungen in einer großen Stadt der englischen Renaissance.

Geschichte

Jonson griff in seinen frühen Stücken auf die antike sowie mittelalterliche Humoralpathologie fußende Theorie von den verschiedenen Körpersäften und vier Temperamenten des Cholerikers, Sanguinikers, Melancholikers und Phlegmatikers zurück. Seine besondere Errungenschaft war es, diese Lehre metaphorisch zu nutzen, um die Exzentrizitäten und Affektiertheiten der Menschen im gesellschaftlichen Leben darzustellen. Die einzelnen Episoden dieser Variante der Komödie dienen dabei vor allem der Offenlegung der einzelnen humours; das Ziel des gesamten Geschehens ist vornehmlich auf die Heilung der humours ausgerichtet, die im Wesentlichen nur Übertreibungen grundsätzlich wünschenswerter Eigenschaften verkörpern.
Die Kritiken des 19. Jahrhunderts neigen dazu es Jonson zuzuschreiben, dass er das Genre der "Humour Comedy" in die englische Literatur einbrachte. Es gilt aber mittlerweile als gesichert, dass nicht nur ein Jahr zuvor George Chapman sein Stück "An Humorous Day's Mirth" schrieb, sondern auch Jonson selbst das Wort "Humours" nicht sehr schätzte. Eher kam er versehentlich dazu Schöpfer des Genres zu sein, da er seine Figur des Kitely betont humorvoll anlegte, um dem durch Chapmans Stück geweckten Publikumsinteresse an dieser Art Theater zu begegnen.

Jonson überarbeitete das Stück für sein 1616 erschienenes Folio, wo es das erste darin vorgestellte Stück war. Die bedeutendste Änderung war der Ort des Handlungsgeschehens: Die Ausgabe von 1598 spielt zwar in einem vage identifizierten Florenz, aber die Hintergrunddetails waren erkennbar englisch; Die Überarbeitung formalisiert diese Tatsache, indem sie den Figuren englische Namen gab und die vagen englischen Details wurden durch gezieltere Verweise auf Orte in London ersetzt.

Das Folio belegt auch die Besetzungsliste der ersten Produktion: Neben Shakespeare spielten mit: Richard Burbage, Augustine Phillips, John Heminges, Henry Condell, Thomas Pope, William Sly, Christopher Beeston, William Kempe, und John Duke. (Kempe verließ die Truppe im Jahr darauf um seinen aufsehenerregenden  Morris dance von London nach Norwich zu tanzen.)

1599 schrieb Jonson mit Every Man out of His Humour eine Fortsetzung, welche sich jedoch als weniger erfolgreich erwies.

Belegende Literatur
 F. E. Halliday A Shakespeare Companion 1564–1964. Penguin, Baltimore 1964.

Weblinks
 Every Man in His Humour Der gesamte Text und die Besetzungsliste online

Einzelnachweise

Literarisches Werk
Literatur (16. Jahrhundert)
Literatur (Englisch)
Komödie


text:
Life on the frontline
We're all familiar with A&E Departments, less so with what colours our perceptions and what could improve them. Becky Rowe, though, can provide some answers.
The topic of this year's winning Prosper Riley-Smith Research Effectiveness Award is an unusual one. Becky Rowe and her team at ESRO won a tender against nine other agencies to understand the precise nature and causes of incidents in A&E departments.
It's a big problem for the NHS: nearly 55,000 violent incidents are now being recorded in A&E each year. NHS staff are at risk, and it's costing the taxpayer. A Panorama investigation in 2007 put it at over £100m annually, equating to the salaries of 4,500 nurses.
Seeking design aid
The scale of the problem prompted the Department of Health to team up with the Design Council and launch a National Design Challenge, hoping that design might unearth innovative, cost-effective and easily implementable solutions. But first they needed to know the root causes of these incidents, and this is where Becky came in.
ESRO is no stranger to the public sector, 60% of its work stems from there, and as Becky pointed out, those in the company are passionate about complex issues. This, however, proved a stiff challenge. To respond to it, the company designed a detailed behavioural insight project focusing on two of the country's most "violent" A&Es.
It immersed itself in data from past incidents, but put these in context by complementing them with staff testimony, recognising the need to discover the behavioural triggers to aggression that CCTV footage and retrospective eye witness testimony couldn't give.
It also built in an ethnographic component, with the team staying in A&E for two unbroken five-day periods, including peak "Christmas Party Friday" and New Year's Eve, working 12-hour shifts night and day. The result was not just a wealth of material, says Becky, but the forging of friendships with staff who recognised the team's commitment to the project.
Throughout, the team systematically mapped patient and staff experiences of violence and aggression using a mix of structured and unstructured observation, thoroughly documenting and analysing the behavioural and emotional landscape. The work comprised:
80 patient and 50 staff member interviews
Observing over 300 hours of hospital life
Studies of 30 past incidents
Documenting 60 new incidents
Using all of this (but without any film or photographic material featuring patients), they expressed the detailed behavioural observation in computer-generated 3D "behaviour maps". These overlaid the environmental triggers associated with aggressive behaviour on the realworld physical spaces where the fieldwork took place. The result? Insight into a complex phenomenon, and a platform from which to make informed decisions about which behaviours could most effectively be addressed through better design.
For instance, it became clear that certain "legendary" events had, over time, become inadvertently misremembered by staff. Immersive fieldwork, meanwhile, built up a picture of staff under pressure, not least because of the unpredictable nature of their workload. Patients found time in A&E equally fraught, experiencing pain, discomfort, fear and anxiety.
The team actually saw few acts of physical aggression overall, but did witness countless incidents of "low level hostility": rudeness, swearing, finger-pointing and shouting. It discovered how stress and anxiety, coupled with over 80 environmental and behavioural triggers, could make aggressors of otherwise peaceful patients.
This is where the 3D "behavioural maps" came into their own. They could depict areas familiar to staff, and map on to them triggers that had been identified. This, in turn, helped them to understand the root causes of some incidents that had previously foxed them. The maps thus facilitated far more constructive conversations, helping to park intractable issues and focus on those about which something could be done.
So what, I asked Becky, were her three top tips for researchers that came out of this project? The response came as follows:
"Consider who you are communicating with when creating deliverables, there are always ways to make them punchy and get them to work even harder.
Always appreciate how hard people, particularly frontline staff, are really working. Appreciate, too, the effort they are putting into helping you research and what a sacrifice this can sometimes be. By investing your time and effort into understanding their experiences you can unlock more doors. In this project, it ultimately meant that the data was far more robust and more compelling. So devote time to building relationships.
Build in time for analysis, and be organised and ruthless about how you manage the data. There's a case for being as ruthless about what you include as what you exclude. The process of analysis is both an art and a science, and a really underrated skill.
Researchers don't just hang out with people, really good researchers understand the importance of robust and credible data, and are able to pull all that together and synthesise it in a clear and easily digestible way that will take clients and the target audience forwards to the next level. You have to go from the complexity and overwhelming nature of the real world and synthesise it down to a clear and actionable headlines that can help the client to move on."
The insights framework sat at the core of the ensuing year-long development process. It resulted in a suite of design solutions, including a toolkit, distributed to every NHS A&E department in the UK, and covering all aspects of improving the A&E experience.
The most significant innovation — and one which has been warmly welcomed by staff — has been a low cost new communication system informing patients what to expect and where they are in the process.
Louella Miles
Writers4Management
This article was first published in InBrief magazine, January 2013
Louella Miles, the editor of In Brief since July 1996, is a business journalist of some 20 years experience, focusing mainly on marketing-related topics. Louella is the co-founder of the professional writing service, Writers 4 Management, and along with her business partner Laura Mazur has written Conversations with Marketing Masters, published by John Wiley in January 2007, and Conversations with Green Gurus in 2009.
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Our City Pulse eBike is the perfect companion on your daily commute and beyond, featuring a pannier rack and rack mounts for everything you'll need. Offering pedal assist riding with its powerful 250W rear hub motor and large capacity battery, you'll be able to ride faster and longer with ease.
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So, download at your own risk.
The Guidance Steering mod resembles the GPS guidance systems you find in real-life, modern tractors. It uses A to B points, for example.
The first thing you should know is that you have to buy the GPS separately in the 3D shop for each vehicle you want to use it with. In other words – You can't use it unless you buy it first. In the shop.
This is pretty easy. Buy a new vehicle in the shop and add the GPS to it. Or take your current vehicle to a configuration shop and install it from there.
You need to buy the GPS in the shop for each vehicle.
If you're in a hurry, you can drive to the field you want to work on and line up your tractor. Make sure that you are lined up at the desired starting position before you do anything.
1. Reset the GPS by pressing Alt+E.
2. Set you're A point by pressing Alt+E again.
Set the A point to create a new track.
3. Set your B point.
This is done by driving 15 in-game meters straight ahead from the A point, in the working direction. Try to drive as straight as possible. When a minimum of 15 meters is passed, press Alt+E again to create the B point.
A successfully created track is visualized by one white, dotted center line plus two orange, dotted lines on each side of the vehicle.
You now have a working track you can use to work your field.
The Guidance Steering can recognize the width of the tractor or the implement(s) you are using. Just press Alt+R to set the width automatically. Important: If you're using tools, be sure to unfold these first.
Ok. So, you've made a track. But nothing will happen unless you actually activate the guidance steering. Just press Alt+X to activate or deactivate the automatic steering.
About headlands: The current version of the mod stops automatically at the headland if cruise control is enabled. Headland turning is still a work in progress.
Press Ctrl+S to open the main menu.
Enable or disable guidance steering.
Set the width for your track manually. And set the offset for the track, for example, if you're using a plow.
You can also save tracks and load saved tracks.
The really cool thing about Wopster's guidance steering is that it works no matter what angle you want to use. It doesn't matter in what direction you point the hood of your vehicle. The mod can create a guidance steering track for that angle.
Wopster's Guidance Steering mod for Farming Simulator 19 is still being developed. But you can download it and use it. It's just that the process for getting the mod into the game is different from what you are used to.
2. Now, click the green button that says, 'Clone or Download' then choose 'Download ZIP'.
Save the file somewhere on your computer. But NOT in your mods folder.
4. Create the mods file for FS19. Remember that I told you to download and install 7-Zip before downloading the mod files?
And it's this file you shall copy into your Farming Simulator 19 mods folder.


text:
2021 ICD-10-CM and ICD-10-PCS CODING HANDBOOK
The handbook's format and style of presentation follows that of previous editions inspired by the Faye Brown approach to coding instruction. The handbook is authored by Nelly Leon-Chisen, RHIA, Director of Coding and Classification at the AHA.
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Reflects the Official Coding Guidelines
Over 200 chapter-based and final review exercises
Built-in workbook of case summary exercises
More than 50 four-color illustrations of anatomy, common disorders, and procedures
Extracorporeal Membrane Oxygenation Or Extracorporeal Life Support Services
Extracorporeal membrane oxygenation (ECMO)/extracorporeal life support (ECLS) provided by physician;
CPT® 33965 in section: Extracorporeal membrane oxygenation (ECMO)/extracorporeal life support (ECLS) provided by physician;
33965 - CPT® Code in category: Extracorporeal membrane oxygenation (ECMO)/extracorporeal life support (ECLS) provided by physician;
(none) $187.38 $281.06 $374.75 (your fee)
(MPPR) $93.69 $140.53 $187.38 (your fee)
(MPPR) $93.69 $##.## $##.##
auto-open Facility 5.370 (Hospital, etc.)
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Award-winning English author Jane Davis shares her successful case study of using book promotion service BookBub to market her literary novels.
There's little doubt about it, BookBub is the Holy Grail of ebook advertising. I have heard them talk about their huge successes in promoting romantic fiction and sci-fi, but I write literary fiction. Would it work for me?
With BookBub, you don't simply hand over your cash. You apply for an advertising slot and wait to hear (a) whether your application is accepted and (b) when it will run. They had turned me down twice in the past, but I hadn't been prepared to give my work away before. My sales figures had never been so low at the beginning of 2016. I knew I had to break the pattern.
Given the date 13 March, I chose to promote A Funeral for an Owl. With only four purchases in the quarter leading up to February 2016, it was my worst performing book. At the same time, I hold great affection for its characters and the story – despite the fact that it lost me a publishing deal!
What does a BookBub ad cost?
Two factors influence the price of a coveted BookBub slot. One is genre. The other is price (either 99p/99c or free). My BookBub ad for UK, US and Canada cost £215 (Literary, free). BookBub also offer advertising in India, but Amazon declined to price-match for that region.
How should I prepare for my ad?
In anticipation of cross-selling opportunities, I wanted to ensure my book descriptions were as appealing as they could be, so I hired J J Marsh to review and improve on my copy.
In order to encourage newsletter sign-ups, I linked to the sign-up page on my website from both the front and back matter, offering a copy of I Stopped Time (with its beautiful artwork by Jessica Bell) in return for an email address.
I made the book free at the end of February. Price-matching is entirely at Amazon's discretion, so if you aren't in KDP Select, do allow plenty of time to negotiate with them. With no advertising, save for social media presence, I was getting an average of 50 free downloads per day. Before the BookBub advert ran, I experimented with a couple of book recommendation sites which had smaller subscriber lists. The maximum downloads per day before the 13th March was 415.
How many downloads can I expect?
BookBub estimated that for literary fiction priced at free, I could expect 16,300 downloads (including the Indian market). The number actually achieved was 27,500 (split 23,000 from Amazon and 4500 from Draft2Digital).
Will downloads convert to reads?
Naturally, I was sceptical. Depending on source, data that suggests that 45-65% of all ebooks remain unread, regardless of whether or not they have been paid for. It seemed fair to estimate that at least half of my downloads would never be read.
Increased visibility. On Amazon, I made it to #8 in the free kindle chart in the UK and #5 in the free kindle chart in the US. However, ranking isn't all.
I even loved the review that referred to it as Death of an Owl.
But something more personal happened. I received five emails from readers who told me that they don't post reviews, but wanted to let me know how much they loved it.
This is a book I had been told the US audience 'wouldn't get'.
Sign-ups to my newsletter. 268 new sign-ups so far, which tells me that at least 268 people who downloaded the eBook have opened it.
How soon after the BookBub advert runs should I change my price?
I took advice that suggested I increase my price (albeit only to 99p/99c) 48 hours after the advert ran, to recoup the cost of the advert. In retrospect, I would say that this was far too early. It would have been interesting to see what happened to the rankings had I left the ebook priced at free. However, the book sold well at 99p for the next two months. After sales had died down, I returned the price to £2.99.
BookBub have plenty of readers – voracious readers – whose appetite is literary fiction.
My thoughts on giving the book away are that this helped me to reach 27,000 readers who might not have discovered me otherwise.
Readers of free fiction post reviews. In fact, I would suggest that this is how readers of free fiction 'pay' for the book. Some are extremely well-written. In other words, BookBub readers are serious readers!
When readers have an option of downloading from Amazon and an alternative,a reasonable percentage will choose the alternative.
It's a great way to kick-start presence on another publishing platform. My book had been for sale on D2D for some time but, interestingly, I'd had very few paid purchases. For the last two months, my royalties has been about the same as from Amazon.
Before investing, it may pay to wait until you have other books to cross-sell. It was the boost in sales of my other books that paid for the ad.
OVER TO YOU If you've used BookBub yourself, do you have any further tips to share based on your own experience? Do you have any questions for Jane? Would you like to recommend alternatives to BookBub? If you're a literary fiction writer like Jane, what other promotion services have you found helpful? We'd love to know, so please feel free to leave your comments.
You've convinced me. I think I'm using it.
Thank you so much for sharing your experience! I'm always happy to hear about results from fellow literary fiction authors, since there seem to be so few of us out there in the self-publishing world.
Great post, very informative – HOWEVER …. this might end soon.
Amazon is cracking down on all these advertising / affiliate programs, they started already to end programs with several competitors of BookBuB – at the same time started Goodreads Deals, which does the same for free.
I feel I should say that the brief I was given was to write a blog on whether BookBub works for literary fiction. Literary fiction is actually one of the cheapest categories. For commercial, historical and genre fiction, expect to pay in excess of £500.
Hi Helena, I had 6 Amazon reviews on .com and 25 on co.uk.
Thanks, Tara. I also struggled to get Amazon to price match, and I know that others have too. All I would say that is BookBub's customer service was great. They offered alternatives of changing the date of the promo or varying it, so that I could work within what Amazon were prepared to give me. BookBub have since turned me down for a further promo that I intended to price at 99p, so it seems clear to me that they like free as that gives the best results. It may be that Amazon's growing reluctance to price match will cause BookBub to change their business model.
Thanks Jane. Very helpful info.
This is a wonderful success story. Unfortunately, as you say, you have to be 'accepted' by bookbub which is not an easy task. My books have not been accepted but maybe someday . . . .
Thank you for sharing how it went. I am considering applying for a BookBub ad and this has convinced me ti is worth giving it a go. I am glad it went well for you and there was a corresponding increase in sales.
I bought "A Funeral for an Owl" at the $0.99 price when I found it after the BookBub feature. Looked like a wonderful read, now I can't wait to read it and am so glad it's in my collection.
I also write Literary Fiction, I have featured my first novel twice on BookBub (literary fiction/free) and both times have been extremely pleased with the results. My other novels sold well during this time, sales on the featured book also continued once it returned to the original price ($2.99), plus the reviews made the price to run the BookBub ad totally worth it. My first novel is with KDP Select so pricing it free has always been easy to do.
However once I ran my second book through a BookBub ad (literary/free), followed the recommendation to first change the price ($4.95) to free on Kobo and Google, only to have a fail with price change on Amazon at the necessary time. (I believe I did the change about a week before the designated promo date, but as soon as I knew BookBub had selected it.) BookBub was very kind, but I had to find a work around to this situation, after exploring my limited options, we ran the ad only featuring Kobo and Google for where to "purchase" for free. Since I couldn't get the title to be available for free on Amazon, I dropped the price to $0.99 there. The results, of course, were not nearly as successful as my previous experience, especially because readers had to go out on their own to find the book on Amazon rather than a simple click. I don't recommend my path, but in the end I did recoup the cost of my ad (or very closely to it).
I would love to hear success stories of authors who used BookBub for a free ad on a non-KDP Select title. Is it just a waiting game, until Amazon changes the price? Do you seek out the BookBub slot first and then try to get the price match? Or do you get the price change first and then seek out the BookBub ad? Or do you change the book to KDP Select for a limited time, and if so what do you do with your other distributing channels during that time?
Great post! Thank you, Jane Davis. Excited for my upcoming read.


text:
Q: Stencyl.Desktop not working I have installed Stencyl on ubuntu and it is perfectly working fine from terminal commands, after making some amendments in Stencyl file. Now i want to make desktop entry for the Stencyl and wish to put the icon in the launchpad, i have prepared stencyl.desktop in /usr/share/applications/   as

[Desktop Entry]
Name=Stencyl
Type=Application
Exec=/opt/Stencyl/Stencyl
Terminal=true
Icon=/opt/Stencyl/icon.xpm
Comment=Game Development Environment
NoDisplay=false
Categories=Development;IDE
Name[en]=stencyl.desktop

and have drag and drop to the launchpad, Icon is not executing Stencyl application, if i run the same application from terminal, it is working fine and giving following results also

amulbhatia@Nadar:/opt/Stencyl$ ./Stencyl
[LOG] The Stencyl workspace is: /home/amulbhatia/
[LOG] lang/locales.txt
[LOG] Locales: {de=German, it=Italian, test=test, pt=Portuguese, fr=French, en=English, ru=Russian, gr=Greek, es=Spanish}
[LOG] Reading... global-phrases
[LOG] Bad - Line #: 98
[LOG] Finished reading lang/en/global-phrases.lang
[LOG] Reading... global-errors
[LOG] Finished reading lang/en/global-errors.lang
[LOG] Reading... global-menu
[LOG] Finished reading lang/en/global-menu.lang
[LOG] Reading... global-welcome
.
.
.

Any help in preparing desktop entry is highly appreciated

A: You need to add Path=/opt/Stencyl to the .desktop file.

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