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Thomas Gradgrind is the notorious school board Superintendent in Dickens's 1854 novel Hard Times who is dedicated to the pursuit of profitable enterprise.[1] His name is used generically to refer to someone who is hard and only concerned with cold facts and numbers.[2]

In the story

[edit]

In the story, Gradgrind is the father of five children, naming them after prominent utilitarians. He also ran a model school where young pupils were treated as machines, or pitchers which were to be filled to the brim with facts.[3] This satirised the Scottish philosopher James Mill who attempted to develop his sons into perfect utilitarians.[4] His physical description personified this characterisation of the rigid and insistent pedagogue,

The speaker's obstinate carriage, square coat, square legs, square shoulders - nay, his very neckcloth, trained to take him by the throat...

— Charles Dickens, Hard Times[5]

In a famous passage, a visiting official asks one of Gradgrind's students, "Suppose you were going to carpet a room. Would you use a carpet having a representation of flowers upon it?" The character Sissy Jupe replies, ingenuously, that she would because, "If you please, Sir, I am very fond of flowers".

"And is that why you would put tables and chairs upon them, and have people walking over them with heavy boots?"

"It wouldn't hurt them, Sir. They wouldn't crush and wither, if you please, Sir. They would be the pictures of what was very pretty and pleasant, and I would fancy..... -"

"Ay, Ay, Ay! But you mustn't fancy," cried the gentleman, quite elated by coming so happily to his point. "That's it! You are never to fancy."
"You are not, Cecilia Jupe," Thomas Gradgrind solemnly repeated, "to do anything of that kind".

"Fact, Fact, Fact!" said the gentleman. And "Fact, Fact, Fact!" repeated Thomas Gradgrind.[3]

References

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Gradgrind

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Thomas Gradgrind is a central character in Charles Dickens' 1854 novel Hard Times, depicted as a retired hardware merchant turned educator who embodies the rigid application of utilitarian principles, insisting on an education system grounded exclusively in empirical facts to the exclusion of imagination, emotion, or "fancy." In the industrial setting of Coketown, Gradgrind founds and oversees a model school where instructors, under his directive, drill students with "facts" as the sole curriculum, famously opening the novel with the declaration: "Now, what I want is, Facts... Plant nothing else, and root out everything else." This philosophy extends to his own family, where he raises his children—particularly daughter Louisa and son Tom—devoid of nurturing or creative influences, viewing sentiment as irrational and counterproductive to practical success. Gradgrind's alliance with the self-made mill owner Josiah Bounderby reinforces his commitment to a worldview prioritizing measurable utility and economic efficiency over human welfare. As the narrative unfolds, Gradgrind's fact-centric approach unravels through personal crises: Tom's embezzlement and flight expose the moral voids in his upbringing, while Louisa's failed marriage reveals the emotional toll of suppressed fancy, compelling Gradgrind to confront the inadequacies of pure rationalism. Dickens leverages Gradgrind's arc—from dogmatic enforcer to humbled advocate for balanced education—to satirize the dehumanizing potential of unrestrained utilitarianism, particularly its manifestation in Victorian-era reforms that prioritized industrial productivity over individual fulfillment. This transformation underscores the novel's broader causal critique: systems ignoring innate human needs for sympathy and creativity foster dysfunction rather than progress.

Character Background

Physical and Personal Description

Thomas Gradgrind is portrayed with a starkly angular and mechanical physique, symbolized by his "square forefinger," "square wall of a " forming the base for his eyebrows, and eyes lodged in "two dark caves" overshadowed by brows. His appears "wide, thin, and hard-set," while his bald is edged with hair bristling "like a of under a wintry ," and the crown bears "knobs, bumps, and every variety of irregularity" resembling a plum-pudding crust. This squared form extends to his attire and build, including a "square coat," "square legs," and "square shoulders," with a neckcloth constricting his throat like an unyielding grasp. In manner, Gradgrind embodies rigid , delivering pronouncements in an "inflexible, dry, and dictatorial voice" accompanied by an "obstinate carriage." He operates as a "man of realities" and "facts and calculations," adhering unswervingly to principles where "two and two are four, and nothing over," rejecting any allowance for deviation. Equipped perpetually with a rule, scales, and , he quantifies through arithmetic alone, presenting even elementary truths as profound and recondite, unmitigated by or . His authoritative presence evokes a "loaded to the muzzle with facts" or a galvanic device primed with mechanical substitutes for warmth.

Family and Upbringing

Thomas Gradgrind resides with his family at Stone Lodge, a residence emblematic of his ordered, utilitarian worldview. His wife, referred to only as Mrs. Gradgrind, is depicted as a frail and indistinct figure, chronically ill and submissive to her husband's fact-centric principles, who succumbs to her ailments early in the narrative. Gradgrind fathers at least five children, whom he raises strictly according to utilitarian tenets, emphasizing empirical facts over imagination or emotion; these include his eldest daughter Louisa, son Thomas (known as Tom), and younger offspring named after economists such as Adam Smith Gradgrind and Malthus Gradgrind, alongside Jane Gradgrind. This naming convention underscores his devotion to rationalist and political economy figures, reflecting a deliberate indoctrination from infancy. The provides scant details on Gradgrind's own early life or familial origins, portraying him instead as a self-made hardware merchant who amassed wealth through pragmatic before retiring to educational . His children, however, endure a regimented upbringing at his model , where they are drilled in arithmetic, statistics, and "ologies" devoid of or wonder, fostering emotional repression evident in Louisa's and Tom's dissipation. Mrs. Gradgrind's passive acceptance of this system highlights the domestic enforcement of Gradgrind's philosophy, though her death leaves him as the unchallenged patriarch.

Role in Hard Times

Implementation of Educational System

Thomas Gradgrind establishes and oversees a model in the fictional industrial town of Coketown, where the physical environment embodies utilitarian : a plain, vault-like structure with intensely white-washed walls, bare windows, and no decorative elements, designed to eliminate distractions and focus solely on practical instruction. The building's square, rigid form mirrors Gradgrind's own "square" demeanor, reinforcing the system's rejection of irregularity or ornament as antithetical to factual learning. At the outset of the , Gradgrind delivers a directive speech to the and students, insisting, "Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life," positioning the as a mechanism to cultivate rational, fact-driven minds devoid of . He mandates that "plant nothing else, and root out everything else," prohibiting any cultivation of fancy, emotion, or non-empirical thought, with students treated as "little vessels" to be systematically filled with verifiable data. Implementation relies on rigorously trained instructors like Mr. M'Choakumchild, who emerges from an intensive preparatory program equipping him with across , sciences, languages, and , enabling him to dispense facts in a mechanical, comprehensive manner. Lessons emphasize rote and precise definitions, as illustrated when students are quizzed on a : compliant pupil Bitzer recites a clinical description—"Quadruped. Graminivorous. Forty teeth, namely twenty-four grinders, four eye-teeth, and twelve incisive"—while non-conformists like Sissy Jupe falter, unable to suppress intuitive understanding for abstract facts. This approach extends to numbering children (e.g., "Girl number twenty") rather than using names, standardizing them as interchangeable units in a production-line process of . Gradgrind's system draws partial inspiration from contemporary utilitarian reforms, aiming to produce a "self-acting" populace aligned with industrial efficiency, though Dickens portrays its execution as overly reductive, with M'Choakumchild critiqued for knowing "so much" yet teaching "so little" due to the absence of adaptive . Enforcement occurs through constant vigilance against deviations, such as Sissy's emotional references to her father, which Gradgrind deems irrelevant and suppresses to maintain factual purity.

Interactions with Key Characters

Gradgrind's relationship with his daughter Louisa exemplifies the rigid application of his fact-based philosophy, as he educates her to suppress imagination and emotion in favor of utilitarian logic, culminating in his insistence on her marriage to Bounderby despite her reservations. This union, arranged to align with practical alliances between like-minded industrialists, leaves Louisa emotionally unfulfilled, prompting her eventual confession of marital dissatisfaction to Gradgrind, which challenges his worldview and initiates his personal reckoning. His interactions with his son Thomas (Tom) Gradgrind Jr. reveal the failures of an exclusively factual upbringing, as Tom, apprenticed at Bounderby's bank under his father's influence, develops into a self-indulgent and dishonest individual who resorts to theft from the bank and frames the innocent worker Stephen Blackpool to evade consequences. Gradgrind's attempts to shield Tom, including negotiating his flight abroad after the crime's exposure, underscore his paternal favoritism and the unintended moral voids in his system, as Tom's vices directly contradict the disciplined rationality Gradgrind sought to instill. In contrast, Gradgrind's engagement with Cecilia (Sissy) Jupe, the daughter of a circus performer whom he admits to his and household after her father's disappearance, highlights tensions between his empirical doctrine and innate human sentiment. Despite efforts to reeducate Sissy in facts—dismissing her imaginative worldview as irrational—she resists, maintaining loyalty to her circus roots and later demonstrating practical by nursing the ailing Mrs. Pegler and intervening to support Louisa during her crisis, thereby exposing the limitations of Gradgrind's approach through her unyielding empathy. Gradgrind's alliance with Josiah Bounderby, a self-made banker and owner, forms a ideological partnership rooted in mutual advocacy for industrial , with Gradgrind endorsing Bounderby's to Louisa as a merger of rational interests. This friendship fractures when Bounderby's fabricated rags-to-riches narrative unravels, revealing his dependence on a neglected mother—facts that undermine the pair's shared emphasis on verifiable —and compel Gradgrind to confront the deceptions enabled by their joint .

Evolution and Redemption Arc

Gradgrind's character undergoes a profound transformation from unyielding advocate of factual education to a humbled proponent of emotional and imaginative elements, precipitated by the personal failures of his utilitarian philosophy applied to his family. In the early stages of the narrative, he enforces a regimen of "facts" devoid of fancy or sentiment, educating his children Louisa and Tom to suppress imagination in favor of rational calculation, as seen in his establishment of the model school in Coketown. This approach manifests in his insistence that pupils plant nothing but facts in their minds, rejecting any deviation toward wonder or emotion. The catalyst for Gradgrind's evolution emerges through the unraveling of his children's lives under his system. Louisa, raised on facts alone, enters a loveless to Josiah Bounderby in (the novel's temporal setting), questioning her capacity for affection in Book 1, Chapter 15, which begins to unsettle Gradgrind's convictions. This doubt intensifies when Louisa confronts him in Book 2, Chapter 12, attributing her emotional desolation and near-adulterous entanglement with James Harthouse to the barrenness of his teachings, declaring that his facts have left her "a heap of ashes." Concurrently, his son Tom's embezzlement of Bounderby's bank—enabled by a fact-suppressed moral compass—forces Gradgrind to seek aid from the very circus folk he once derided, highlighting the practical inefficacy of his in fostering resilience or ethics. In his redemption, Gradgrind acknowledges the foundational flaws in his during , experiencing a seismic shift where, as he articulates, "the ground on which I stand has ceased to be solid under my feet," leading him to embrace "Faith, Hope, and Charity" over mere data. This culminates in , Chapters 8 and 9, where he reforms his educational and political endeavors, devoting his remaining influence to ameliorate the conditions of the Coketown poor and integrating imaginative elements into learning, marking a pivot from mechanistic to a balanced informed by sorrow and love. His arc underscores Dickens's critique of unchecked , as Gradgrind emerges wiser yet diminished, his prior success as a hardware merchant and yielding to personal humility.

Philosophical Underpinnings

Advocacy for Utilitarian Facts

Thomas Gradgrind embodies a staunch commitment to utilitarian principles, positing that empirical facts form the indispensable foundation for rational , , and societal progress. In the opening of Hard Times, he declares to the assembled students and teachers, "Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life," emphasizing that instruction must exclude or to foster minds capable of utilitarian —maximizing aggregate happiness through verifiable rather than subjective whims. This stance reflects a belief in facts as tools for practical utility, aligned with the era's industrial demands, where knowledge serves economic efficiency and measurable outcomes over abstract ideals. Gradgrind's educational system operationalizes this advocacy by confining curricula to "facts, facts, facts," rejecting any deviation that might encourage fancy. He interrogates pupils on precise, definitional knowledge—for instance, demanding Jupe enumerate a horse's attributes in factual terms, scorning her inability to reduce it to utilitarian specifics like "quadruped" or "graminivorous," which he views as essential for equipping individuals with the analytical tools to navigate real-world applications. By rooting out "everything else" beyond facts, Gradgrind aims to produce citizens whose actions prioritize collective utility, unencumbered by emotional or imaginative distractions that could lead to inefficient or irrational choices. Extending this philosophy to personal upbringing, Gradgrind instructs his children, and Louisa, in exhaustive factual disciplines—"ologies of all kinds from morning to night"—to instill a mechanical adherence to reason, viewing such training as the pathway to self-reliant, utility-maximizing lives in an . He explicitly forbids "wonder," equating it with unproductive fancy, and promotes a where human relations, like Louisa's prospective , are transactions grounded in "all Fact, from first to last," devoid of romantic sentiment to ensure pragmatic alignment with utilitarian ends. This advocacy underscores Gradgrind's conviction that facts, when systematically applied, yield the greatest good by enabling precise foresight and , as evidenced in his own role as a statistical for and .

Contrast with Fancy and Imagination

Thomas Gradgrind's philosophy rigidly dichotomizes utilitarian facts against fancy and , deeming the latter as frivolous impediments to rational progress. In establishing his model , he mandates an exclusive focus on empirical data, proclaiming, "Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else." This directive explicitly precludes imaginative or fanciful embellishment, which Gradgrind views as unproductive deviations that weaken the mind's capacity for precise calculation and utility. His approach aligns with Benthamite , prioritizing measurable outcomes over subjective , as evidenced by the mechanical repetition of facts in classroom drills devoid of or wonder. The contrast sharpens in Gradgrind's dismissal of fancy as a corrupting influence, particularly when confronting students whose backgrounds foster imaginative thinking. For instance, he rebukes Cecilia Jupe for invoking "wonder" in response to factual queries, insisting she abandon such notions and adhere strictly to verifiable data, reinforcing that "Fact, fact, fact!" must supplant any imaginative interpretation. , in Gradgrind's estimation, risks engendering and inefficiency, as it populates the with unquantifiable elements like emotions or , which he equates with idleness and folly. His own residence exemplifies this , described as a "triumph of fact" unmarred by "any taint of fancy," mirroring the austere functionality he imposes on human development. This opposition underscores Gradgrind's belief that fancy and erode the foundational "reasoning animals" needed for industrial society's demands, potentially leading to social disorder if unchecked by factual discipline. Yet, the illustrates the cost through characters stifled by this , though Gradgrind initially perceives no deficiency, maintaining that facts alone suffice for and practical sufficiency. His philosophy thus frames not as a complementary faculty but as an adversary to be eradicated, ensuring alignment with utilitarian over holistic .

Critical Reception and Analysis

Dickens' Intent and Historical Context

Charles Dickens crafted the character of Thomas Gradgrind in Hard Times (1854) as a satirical embodiment of 's excesses, particularly its application to , which prioritized empirical facts and practical utility while suppressing and . Through Gradgrind's rigid schooling system, Dickens intended to expose the dehumanizing consequences of reducing human development to mere calculable data, arguing that such an approach fostered emotional sterility and societal dysfunction, as evidenced by the novel's portrayal of Gradgrind's own children's psychological distress. This critique targeted the Benthamite principle of utility, which Gradgrind mechanistically applies to suppress "fancy" in favor of "facts," leading Dickens to advocate implicitly for a balanced integrating reason with to prevent the "destruction" he associated with fact-only . Dickens's intent was not wholesale rejection of but a targeted rebuke of its dogmatic extremes, using Gradgrind's eventual personal crisis—triggered by his son Tom's embezzlement and daughter Louisa's marital misery—to illustrate the philosophy's failure in nurturing . The historical context of Hard Times reflects mid-Victorian England's industrial transformation and accompanying educational debates, where rapid urbanization in manufacturing hubs like demanded a trained in rote skills amid widespread child labor and factory exploitation. Dickens drew from contemporary pedagogical trends, including government inspector James Kay-Shuttleworth's reports on public education, which emphasized utilitarian instruction to equip the poor for industrial roles, often through monitorial systems prioritizing discipline and basic arithmetic over holistic development. Published serially in Dickens's own from April to August , the novel responded to the 1853–1854 Preston cotton workers' lockout, mirroring Coketown's labor strife while critiquing the era's fact-centric schooling, which echoed Jeremy Bentham's and James Mill's advocacy for education as a tool for social efficiency rather than individual flourishing. Preceding the 1870 Education Act's expansion of state-funded schooling, Gradgrind's model parodied existing "British and Foreign Schools" and ragged schools, where curricula—focused on measurable outcomes—left little scope for creativity, a concern Dickens amplified through his observations of mechanical instruction's stifling effects on children. This context underscores Dickens's broader aim: to challenge the causal link between unchecked industrial and eroded human empathy, privileging empirical critique over abstract theory.

Strengths of Gradgrind's Approach

Gradgrind's emphasis on empirical facts and rational calculation in promotes a disciplined mindset geared toward practical outcomes, enabling students to navigate complex industrial realities with precision rather than emotional whimsy. By prioritizing measurable knowledge such as and mechanics over imaginative pursuits, his system cultivates skills essential for economic productivity and technological advancement in the , where Britain's industrial supremacy relied on a proficient in quantifiable disciplines. This approach aligns with utilitarian tenets that actions should maximize utility for the greatest number, fostering self-reliant individuals capable of contributing to societal progress through evidence-based reasoning rather than unfounded sentiment. Within the narrative of Hard Times, the efficacy of Gradgrind's method is evident in characters like Bitzer, who thrives under its rigor, demonstrating cold efficiency in tasks requiring factual recall and logical application, such as and argumentation. Gradgrind himself embodies this success, rising to political influence as a through adherence to calculated , underscoring how fact-centric training can yield tangible professional achievements in a merit-based system. From a utilitarian perspective, such schooling serves as a positive communal force by producing reliable functionaries who uphold order and efficiency, countering the chaos potentially wrought by unchecked fancy or irrationality. Historically, Gradgrind's model reflects broader Victorian pushes toward basic and vocational training, which empirical studies link to improved and reduced ignorance-driven errors in labor-intensive sectors. By grounding in verifiable truths, it mitigates risks of or , prioritizing causal mechanisms—such as supply-demand dynamics—over abstract ideals, thereby equipping learners for real-world causal chains in and . This rational framework, though caricatured by Dickens, underpins advancements in science and industry that propelled 19th-century progress, validating its core utility despite excesses.

Criticisms and Limitations

Gradgrind's utilitarian emphasis on facts to the exclusion of emotion and has been critiqued for dehumanizing individuals by reducing them to mechanical processors of , akin to treating factory workers as mere "Hands" devoid of personal agency or welfare. This approach fosters emotional repression, as evidenced by the stunted development of Gradgrind's own children: Louisa endures a loveless to Bounderby driven by calculated , resulting in profound distress and vulnerability, while Tom resorts to and due to unchecked unmitigated by moral or imaginative restraint. Further limitations arise from the system's suppression of fancy and empathy, producing unfeeling adherents like Bitzer, who defines a horse in sterile factual terms—"Quadruped. Graminivorous. Forty teeth"—and prioritizes personal gain over loyalty or compassion, refusing aid to Tom even under pressure. In contrast, Sissy Jupe, raised outside this regime with exposure to wonder and intuition, demonstrates greater resilience and ethical intuition, underscoring the philosophy's failure to cultivate holistic judgment capable of navigating real-world complexities beyond quantifiable . Ultimately, these flaws culminate in personal and systemic disillusionment, as Gradgrind himself confronts the inadequacy of his methods amid familial ruin and societal inequities, leading to his breakdown and partial abandonment of the fact-only creed in favor of acknowledging and imagination's roles in human fulfillment. This evolution reveals the rigid philosophy's inability to adapt or sustain long-term viability, reducing its proponents to ineffectual caricatures when confronted with life's irrational elements.

Cultural and Modern Legacy

Metaphorical Usage in Discourse

The name "Gradgrind" or the adjective "Gradgrindian" has become a pejorative metaphor in modern discourse for individuals or systems enforcing rigid, utilitarian approaches that prioritize empirical data, metrics, and factual instruction over creativity, emotional development, or contextual nuance. This invocation draws directly from Dickens's portrayal of Thomas Gradgrind as an advocate of "facts" devoid of "fancy," extended to critique policies seen as dehumanizing. In British educational debates during the 2010s, former Education Secretary was repeatedly labeled a "Gradgrind" by opponents for his reforms, which emphasized , standardized testing, and chronological teaching over thematic or skills-based methods. Critics argued these changes risked boring students and stifling imagination, echoing Gradgrind's model school, with one 2013 report warning of increased truancy from an overly prescriptive . Similarly, in 2018, Guardian columnist decried a "Gradgrind ethos" in schools, citing the system's fixation on exam results and data tracking, which left 4,500 pupils with without placements that year, prioritizing league tables over individual welfare. The metaphor has also appeared in American contexts to assail data-driven educational shifts. A 2011 New York Times opinion piece likened U.S. public schools' reduction of recess time—in favor of extended instruction and testing—to Gradgrind's fact-only regime, arguing it undermined play's role in cognitive and social growth despite evidence of recess benefits for attention and behavior. Such usages highlight persistent critiques of in policy, where Gradgrind symbolizes the perils of causal —treating human outcomes as mere aggregates of measurable inputs—though proponents of fact-based reforms counter that flourishes only on a foundation of verified . This rhetorical deployment often emanates from outlets skeptical of metrics, reflecting ideological divides rather than uniform empirical consensus on optimal .

Influence on Educational Debates

The character of Thomas Gradgrind has been invoked in educational debates as a symbol of utilitarian that prioritizes empirical facts and over , , and emotional development. Coined as "Gradgrindery," this approach critiques systems emphasizing measurable outcomes, such as standardized testing and data-driven curricula, which proponents argue stifle holistic student growth. In the , columnist applied the term in 2018 to decry the "Gradgrind ethos" in state schools, where intense exam pressures and delays in special educational needs placements—over 4,500 children awaiting external placements that year—exacerbate systemic failures, echoing Dickens' portrayal of dehumanizing instruction. In the United States, Gradgrind's has been referenced to oppose reductions in recess and playtime amid reforms. A 2011 analysis likened post-No Child Left Behind policies, which prioritized academic drills over unstructured activities, to Gradgrind's insistence on facts, noting that despite evidence of recess benefits for cognitive and , many districts cut it to allocate more time for testable subjects. Similarly, critiques of STEM-centric mandates have drawn on Gradgrind to argue against de-emphasizing and , as seen in 2015 discussions updating his mantra to "" in state-level reforms favoring quantifiable metrics over broader capacities. These references extend to broader discourse on , contrasting Gradgrind's —satirized in Hard Times () for suppressing fancy—with modern frameworks like Daniel Goleman's, which advocate integrating affective education to counter mechanistic models. Academic analyses, such as those tracing Victorian utilitarianism's legacy, highlight how Gradgrind embodies ongoing tensions between evidence-based efficiency and the risks of emotional neglect, influencing calls for balanced curricula that incorporate play, narrative, and alongside facts. While some defend fact-heavy methods for building foundational skills, the character's enduring use underscores skepticism toward policies that treat students as vessels for data rather than developing individuals.

Representations in Adaptations

In the 1977 BBC television miniseries adaptation of Hard Times, directed by , Patrick Allen portrayed Thomas Gradgrind as a retired merchant whose life revolves around , , and an unyielding commitment to empirical facts, reflecting the character's utilitarian rigidity in educating his children. This depiction emphasizes Gradgrind's initial dismissal of , aligning with Dickens' portrayal of him as a proponent of fact-based that stifles emotional development. The television , featuring in the role of Gradgrind, presents him as a local MP and who enforces a utilitarian upbringing on his daughter Louisa and son Tom, prioritizing reason and quantifiable data while rejecting fancy or sentiment. Peck's performance highlights Gradgrind's following personal and familial failures, underscoring the narrative arc of transformation from dogmatic fact-worship to a grudging acknowledgment of human complexity. Stage adaptations have similarly captured Gradgrind's pedantic demeanor. In a 1987 theatrical production, Jarion Monroe embodied Gradgrind's fact-bound , drilling utilitarian principles into his students and family, which isolates him from until external pressures force reevaluation. A 2012 stage version featured David Janoviak as a bespectacled, pompous Gradgrind, emphasizing his obsessive focus on facts as both authoritative and ultimately self-defeating in addressing real-world contingencies. These portrayals consistently depict Gradgrind's as a critique of over-reliance on abstracted without empirical validation in human affairs.

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  59. https://www.oregonlive.com/performance/2012/05/hard_times_review_four_actors.html
  60. https://www.backstage.com/magazine/article/hard-times-2-57427/
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