title: Ripretinib

abstract: Ripretinib, sold under the brand name Qinlock, is a medication for the treatment of adults with advanced gastrointestinal stromal tumor (GIST), a type of tumor that originates in the gastrointestinal tract. It is taken by mouth. Ripretinib inhibits the activity of the kinases KIT and PDGFRA, which helps keep cancer cells from growing. The most common side effects include alopecia, fatigue, nausea, abdominal pain, constipation, myalgia, diarrhea, decreased appetite, palmar-plantar erythrodysesthesia syndrome and vomiting. Ripretinib was approved for medical use in the United States in May 2020, in Australia in July 2020, and in the European Union in November 2021. Ripretinib is the first new drug specifically approved in the United States as a fourth-line treatment for advanced gastrointestinal stromal tumor (GIST).

text:
# Ripretinib

**Ripretinib**, sold under the brand name **Qinlock**, is a medication for the treatment of adults with advanced gastrointestinal stromal tumor (GIST), a type of tumor that originates in the gastrointestinal tract. It is taken by mouth. Ripretinib inhibits the activity of the kinases KIT and PDGFRA, which helps keep cancer cells from growing.

The most common side effects include alopecia (hair loss), fatigue, nausea, abdominal pain, constipation, myalgia (muscle pain), diarrhea, decreased appetite, palmar-plantar erythrodysesthesia syndrome (a skin reaction in the palms and soles) and vomiting.

Ripretinib was approved for medical use in the United States in May 2020, in Australia in July 2020, and in the European Union in November 2021. Ripretinib is the first new drug specifically approved in the United States as a fourth-line treatment for advanced gastrointestinal stromal tumor (GIST).

## Medical uses

Ripretinib is indicated for the treatment of adults with advanced gastrointestinal stromal tumor (GIST), a type of tumor that originates in the gastrointestinal tract, who have received prior treatment with three or more kinase inhibitor therapies, including imatinib. GIST is type of stomach, bowel, or esophagus tumor.

## Adverse effects

The most common side effects include alopecia (hair loss), fatigue, nausea, abdominal pain, constipation, myalgia (muscle pain), diarrhea, decreased appetite, palmar-plantar erythrodysesthesia syndrome (a skin reaction in the palms and soles) and vomiting.

Ripretinib can also cause serious side effects including skin cancer, hypertension (high blood pressure) and cardiac dysfunction manifested as ejection fraction decrease (when the muscle of the left ventricle of the heart is not pumping as well as normal).

Ripretinib may cause harm to a developing fetus or a newborn baby.

## History

Ripretinib was approved for medical use in the United States in May 2020.

The approval of ripretinib was based on the results of an international, multi-center, randomized, double-blind, placebo-controlled clinical trial (INVICTUS/NCT03353753) that enrolled 129 participants with advanced gastrointestinal stromal tumor (GIST) who had received prior treatment with imatinib, sunitinib, and regorafenib. The trial compared participants who were randomized to receive ripretinib to participants who were randomized to receive placebo, to determine whether progression free survival (PFS) – the time from initial treatment in the clinical trial to growth of the cancer or death – was longer in the ripretinib group compared to the placebo group. During treatment in the trial, participants received ripretinib 150 mg or placebo once a day in 28-day cycles, repeated until tumor growth was found (disease progression), or the participant experienced intolerable side effects. After disease progression, participants who were randomized to placebo were given the option of switching to ripretinib. The trial was conducted at 29 sites in the United States, Australia, Belgium, Canada, France, Germany, Italy, the Netherlands, Poland, Singapore, Spain, and the United Kingdom.

The major efficacy outcome measure was progression-free survival (PFS) based on assessment by blinded independent central review (BICR) using modified RECIST 1.1 in which lymph nodes and bone lesions were not target lesions and a progressively growing new tumor nodule within a pre-existing tumor mass must meet specific criteria to be considered unequivocal evidence of progression. Additional efficacy outcome measures included overall response rate (ORR) by BICR and overall survival (OS). The trial demonstrated a statistically significant improvement in PFS for participants in the ripretinib arm compared with those in the placebo arm (HR 0.15; 95% CI: 0.09, 0.25; p\<0.0001).

The U.S. Food and Drug Administration (FDA) granted the application for ripretinib priority review and fast track designations, as well as breakthrough therapy designation and orphan drug designation. The FDA granted approval of Qinlock to Deciphera Pharmaceuticals, Inc.

## Society and culture

Ripretinib was approved for medical use in the United States in May 2020, and in Australia in July 2020.

In September 2021, the Committee for Medicinal Products for Human Use adopted a positive opinion, recommending the granting of a marketing authorization for the medicinal product Qinlock, intended for the treatment of advanced gastrointestinal stromal tumour (GIST) in people who have received prior treatment with three or more kinase inhibitors. The applicant for this medicinal product is Deciphera Pharmaceuticals (Netherlands) B.V. Ripretinib was approved for medical use in the European Union in November 2021.

## Names

Ripretinib is the International nonproprietary name (INN) and the United States Adopted Name (USAN).

## Further reading

* "Ripretinib". *NCI Drug Dictionary*. National Cancer Institute.
* "Ripretinib". National Cancer Institute. 27 May 2020.
* Clinical trial number *NCT03353753* for "Phase 3 Study of DCC-2618 vs Placebo in Advanced GIST Patients Who Have Been Treated With Prior Anticancer Therapies (invictus)" at ClinicalTrials.gov

## InfoBox

Ripretinib
|  | |
| --- | --- |
| Clinical data | |
| Pronunciation | rip re' ti nib |
| Trade names | Qinlock |
| Other names | DCC-2618 |
| AHFS/Drugs.com | Monograph |
| MedlinePlus | a620035 |
| License data |  |
| Pregnancy
category | * AU: D * Use should be avoided |
| Routes of
administration | By mouth |
| ATC code |  |
| Legal status | |
| Legal status |  |
| Identifiers | |
| IUPAC name * 3-{4-bromo-5-\[1-ethyl-7-(methylamino)-2-oxo-1,2-dihydro-1,6-naphthyridin-3-yl\]-2-fluorophenyl}-1-phenylurea | |
| CAS Number |  |
| PubChem CID |  |
| DrugBank |  |
| ChemSpider |  |
| UNII |  |
| KEGG |  |
| ChEMBL |  |
| CompTox Dashboard (EPA) |  |
| Chemical and physical data | |
| Formula | C24H21BrFN5O2 |
| Molar mass | 510.367 g·mol−1 |
| 3D model (JSmol) |  |
| SMILES * CCN1C(=O)C(=CC2=C1C=C(NC)N=C2)C1=C(Br)C=C(F)C(NC(=O)NC2=CC=CC=C2)=C1 | |
| InChI * InChI=1S/C24H21BrFN5O2/c1-3-31-21-12-22(27-2)28-13-14(21)9-17(23(31)32)16-10-20(19(26)11-18(16)25)30-24(33)29-15-7-5-4-6-8-15/h4-13H,3H2,1-2H3,(H,27,28)(H2,29,30,33) * Key:CEFJVGZHQAGLHS-UHFFFAOYSA-N | |


title: Benton, New York

abstract: Benton is a town in Yates County, New York, United States. The population was 2,836 at the 2010 census. The town is named after an early resident, Levi Benton (1746-1820) The Town of Benton is located in the northeast part of the county. Benton is on the west side of Seneca Lake, north of Penn Yan.

text:
# Benton, New York

**Benton** is a town in Yates County, New York, United States. The population was 2,836 at the 2010 census. The town is named after an early resident, Levi Benton (1746-1820)

The **Town of Benton** is located in the northeast part of the county. Benton is on the west side of Seneca Lake, north of Penn Yan.

## History

Kashanquash, a village of the Seneca tribe, was located in the northeast part of Benton as late as 1779. The region became part of the Phelps and Gorham Purchase.

The town was formed in 1803 from the Town of Jerusalem before the formation of Yates County. Originally called the "Town of Vernon," the name was changed to "Snell" to avoid confusion with another "Vernon." Finally, the name was changed to "Benton," after Levi Benton, thought to be the first settler in the town.

In 1818, the town was reduced in size by the founding of the Town of Milo. A further loss of territory came about in 1851 when the Town of Torrey was created.

The Angus Cobblestone Farmhouse and Barn Complex, Barden Cobblestone Farmhouse, Jephtha Earl Cobblestone Farmhouse, William Nichols Cobblestone Farmhouse, Whitaker House, and Abner Woodworth House are listed on the National Register of Historic Places.

## Geography

According to the United States Census Bureau, the town has a total area of 44.4 square miles (115 km2), of which 41.5 square miles (107 km2) is land and 3.0 square miles (7.8 km2) (6.66%) is water.

The northern town line is the border of Ontario County, and part of the eastern town line, marked by Seneca Lake, is the border of Seneca County.

Benton is in the Finger Lakes region of New York.

New York State Route 14 is a north-south highway along the edge of Seneca Lake, while New York State Route 14A is a north-south highway in the western part of the town. New York State Route 364 crosses the southwestern corner of Benton.

## Demographics

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1820 | 3,357 |  |  |
| 1830 | 3,957 |  | 17.9% |
| 1840 | 3,911 |  | −1.2% |
| 1850 | 3,456 |  | −11.6% |
| 1860 | 2,462 |  | −28.8% |
| 1870 | 2,422 |  | −1.6% |
| 1880 | 2,413 |  | −0.4% |
| 1890 | 2,291 |  | −5.1% |
| 1900 | 2,179 |  | −4.9% |
| 1910 | 2,032 |  | −6.7% |
| 1920 | 1,797 |  | −11.6% |
| 1930 | 1,845 |  | 2.7% |
| 1940 | 1,879 |  | 1.8% |
| 1950 | 1,866 |  | −0.7% |
| 1960 | 2,093 |  | 12.2% |
| 1970 | 2,159 |  | 3.2% |
| 1980 | 1,981 |  | −8.2% |
| 1990 | 2,380 |  | 20.1% |
| 2000 | 2,640 |  | 10.9% |
| 2010 | 2,836 |  | 7.4% |
| 2016 (est.) | 2,803 |  | −1.2% |
| U.S. Decennial Census | | | |

As of the census of 2000, there were 2,640 people, 864 households, and 642 families residing in the town. The population density was 63.6 inhabitants per square mile (24.6/km2). There were 956 housing units at an average density of 23.0 per square mile (8.9/km2). The racial makeup of the town was 98.86% White, 0.42% African American, 0.15% Asian, 0.08% from other races, and 0.49% from two or more races. Hispanic or Latino of any race were 0.42% of the population.

There were 864 households, out of which 35.2% had children under the age of 18 living with them, 62.5% were married couples living together, 8.4% had a female householder with no husband present, and 25.6% were non-families. 20.5% of all households were made up of individuals, and 8.9% had someone living alone who was 65 years of age or older. The average household size was 2.82 and the average family size was 3.29.

In the town, the population was spread out, with 28.4% under the age of 18, 5.6% from 18 to 24, 23.8% from 25 to 44, 22.8% from 45 to 64, and 19.4% who were 65 years of age or older. The median age was 40 years. For every 100 females, there were 96.9 males. For every 100 females age 18 and over, there were 93.2 males.

The median income for a household in the town was $37,500, and the median income for a family was $43,988. Males had a median income of $26,951 versus $23,250 for females. The per capita income for the town was $16,843. About 7.5% of families and 13.5% of the population were below the poverty line, including 25.2% of those under age 18 and 7.3% of those age 65 or over.

## Notable people

## Communities and locations in the Town of Benton

* **Angus**  A hamlet in the southeastern corner of Benton by Seneca Lake on NY Route 14.
* **Bellona**  A hamlet near the northern town line on County Road 15 (Pre-Emption Road).
* **Bellona Station**  A location southwest of Bellona, on Bellona Station Road. Known in the early 1900s as Gage and once home to a United States Post Office, Bellona Station was the location of a Pennsylvania Railroad freight and passenger station until the late 1940s or early 1950s, when the station was destroyed by fire.
* **Benton**  The hamlet of Benton is on NY-14.
* **Benton Center**  A location west of Benton hamlet on County Road 14 at the junction of NY-14A.
* **Ferguson Corners**  A location in the northwestern corner of the town on County Road 2.
* **Havens Corners**  A hamlet northwest of Penn Yan village and east of Benton Center on County Road 14.
* **Kashong Point**  A projection into Seneca Lake, partly in the northeast of Benton.
* Penn Yan  a small part of the Village of Penn Yan is in the south part of the town on NY-14A.

1. "2016 U.S. Gazetteer Files". United States Census Bureau. Retrieved July 5, 2017.
2. "Population and Housing Unit Estimates". Retrieved June 9, 2017.
3. "National Register Information System". *National Register of Historic Places*. National Park Service. March 13, 2009.
4. "Census of Population and Housing". Census.gov. Retrieved June 4, 2015.
5. "U.S. Census website". United States Census Bureau. Retrieved January 31, 2008.

42°43′03″N 77°02′37″W / 42.71750°N 77.04361°W / 42.71750; -77.04361

## InfoBox

| Benton, New York | |
| --- | --- |
| Town | |
| Location in Yates County and the state of New York. | |
| Coordinates: 42°43′20″N 77°2′58″W / 42.72222°N 77.04944°W / 42.72222; -77.04944 | |
| Country | United States |
| State | New York |
| County | Yates |
| Area | |
| Total | 44.44 sq mi (115.09 km2) |
| Land | 41.47 sq mi (107.41 km2) |
| Water | 2.96 sq mi (7.68 km2) |
| Elevation | 915 ft (279 m) |
| Population (2010) | |
| Total | 2,836 |
| Estimate (2016) | 2,803 |
| Density | 67.59/sq mi (26.10/km2) |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |
| FIPS code | 36-06002 |
| GNIS feature ID | 0978724 |
| Website | Town Website |


title: Rinkeby murder

abstract: The Rinkeby murder took place on 26 February 2002, when 19-year-old Radu Acsinia was shot to death at Rinkeby station on the Stockholm metro, Sweden. On 23 October 2002, the Svea Court of Appeal in Stockholm found four young men jointly guilty of the murder. The two youngest offenders were each sentenced to four years' youth custody, while the remaining two – brothers Önder Yildiz and Özkan Yildiz (24) – were given prison terms of 10 years and life respectively. The legal case has attracted much attention and been described by Chancellor of Justice, Göran Lambertz, as yet another case that shakes confidence in the judicial system. The Rinkeby Murder Committee – a volunteer network pressing for a retrial of Önder and Özkan Yildiz – was set up by Olle Schubert and Henrik Westander in 2006. In June 2009, lawyer Claes Borgström, representing Özkan, submitted a petition for a new trial to the Supreme Court of Sweden. It appears that, among other things, a number of eyewitnesses have come forward with information that Önder and Özkan Yilmaz were not at the scene of the murder. In 2009 a key prosecution witness also said that he had made false statements about Önder and Özkan Yildiz during the trial. On 14 September 2009, the Supreme Court decided that the Office of the Prosecutor-General should express its opinion on the case. The book Three Brothers (2005), by Christian Holmén and Dick Sundevall, deals with the Rinkeby murder.

text:
# Rinkeby murder

**The Rinkeby murder** took place on 26 February 2002, when 19-year-old Radu Acsinia was shot to death at Rinkeby station on the Stockholm metro, Sweden.

On 23 October 2002, the Svea Court of Appeal in Stockholm found four young men jointly guilty of the murder. The two youngest offenders were each sentenced to four years' youth custody, while the remaining two – brothers Önder Yildiz (then aged 20 years) and Özkan Yildiz (24) – were given prison terms of 10 years and life respectively.

The legal case has attracted much attention and been described by Chancellor of Justice, Göran Lambertz, as *yet another case that shakes confidence in the judicial system*. The Rinkeby Murder Committee – a volunteer network pressing for a retrial of Önder and Özkan Yildiz – was set up by Olle Schubert and Henrik Westander in 2006.

In June 2009, lawyer Claes Borgström, representing Özkan, submitted a petition for a new trial to the Supreme Court of Sweden. It appears that, among other things, a number of eyewitnesses have come forward with information that Önder and Özkan Yilmaz were not at the scene of the murder. In 2009 a key prosecution witness also said that he had made false statements about Önder and Özkan Yildiz during the trial.

On 14 September 2009, the Supreme Court decided that the Office of the Prosecutor-General should express its opinion on the case.

The book *Three Brothers* (2005), by Christian Holmén and Dick Sundevall, deals with the Rinkeby murder.

1. http://www.rinkebymordet.se Archived 2015-11-18 at the Wayback Machine
2. Holmén, Christian; Sundevall Dick (2006). *Tre bröder: \[boken om Rinkebymordet\] / Christian Holmén & Dick Sundevall*. Månpocket. Fakta, 99-0832420-9 (\[Ny, uppdaterad utg.\] ed.). Stockholm: Månpocket. ISBN 91-7232-051-6. 10197725.


title: Rinkeby-Kista

abstract: Rinkeby-Kista is a borough (stadsdelsområde) in Stockholm, Sweden. The borough is located in Västerort.

text:
# Rinkeby-Kista

**Rinkeby-Kista** is a borough (*stadsdelsområde*) in Stockholm, Sweden. The borough is located in Västerort.

## Overview

The districts that make up the borough are Akalla, Husby, Kista, and Rinkeby. The population of Rinkeby-Kista borough is 48,604 as of December 2015.

The borough was formed on January 1, 2007, when Kista borough and Rinkeby borough were merged.

Media related to Rinkeby-Kista at Wikimedia Commons

## InfoBox

| Rinkeby-Kista | |
| --- | --- |
| Borough of Stockholm | |
| Rinkeby | |
| Location of Rinkeby-Kista shown in yellow | |
| Coordinates: 59°24′04″N 17°56′38″E / 59.401°N 17.944°E / 59.401; 17.944 | |
| Country | Sweden |
| Municipality | Stockholm Municipality |
| Municipality subdivision | Västerort |
| Established | 2007 |
| Government | |
| Type | Municipal assembly |
| Municipal commissioner | Bo Sundin (M) |
| Population (2014) | |
| Total | 48,828 |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 163--, 164-- |
| Area code | 08 |
| Website | Stockholm.se |


title: River Shuttle

abstract: The River Shuttle is a small tributary of the River Cray in London, United Kingdom. The river rises at two or more springs between Avery Hill and Eltham in the Royal Borough of Greenwich at the junction of the permeable Blackheath Beds and the denser Woolwich Beds. It flows east through the parkland of Avery Hill, then crosses into the London Borough of Bexley and continues through Parish Wood Park and Hollyoak Wood Park, Willersley Park, Marlborough Park and Sidcup Golf Course, where it feeds a lake in the grounds of Lamorbey Mansion a house now within the Rose Bruford College campus. Continuing east, it flows through Bexley Woods and then follows the south side of the major A2 London-to-Dover road and through the grounds of Beths Grammar School until it flows into the River Cray just south of Hall Place. A walk called the Shuttle Riverway follows the river for its entire length of five miles. This was created following a persistent campaign by Donald Stringer of Brookdale Road. The walk follows the river where possible but also uses woods, parks, alleyways and some linking roads. A tributary, the Wyncham Stream, flows into the Shuttle in Hollyoak Wood Park. Its route from the Sports Grounds on the A20 to Holly Oak Park, takes it past Dulverton Primary School, under the Dartford to London via Sidcup railway line, the Old Farm Avenue allotments and under Halfway Street.

text:
# River Shuttle

The **River Shuttle** is a small tributary of the River Cray in London, United Kingdom.

The river rises at two or more springs between Avery Hill and Eltham in the Royal Borough of Greenwich at the junction of the permeable Blackheath Beds and the denser Woolwich Beds. It flows east through the parkland of Avery Hill, then crosses into the London Borough of Bexley and continues through Parish Wood Park and Hollyoak Wood Park, Willersley Park, Marlborough Park and Sidcup Golf Course, where it feeds a lake in the grounds of Lamorbey Mansion (c. 1750) a house now within the Rose Bruford College campus. Continuing east, it flows through Bexley Woods and then follows the south side of the major A2 London-to-Dover road and through the grounds of Beths Grammar School until it flows into the River Cray just south of Hall Place.

A walk called the Shuttle Riverway follows the river for its entire length of five miles (about 8 km). This was created following a persistent campaign by Donald Stringer of Brookdale Road. The walk follows the river where possible but also uses woods, parks, alleyways and some linking roads.

A tributary, the Wyncham Stream, flows into the Shuttle in Hollyoak Wood Park. Its route from the Sports Grounds on the A20 to Holly Oak Park, takes it past Dulverton Primary School, under the Dartford to London via Sidcup railway line, the Old Farm Avenue allotments and under Halfway Street.

51°26′46″N 0°09′23″E / 51.44611°N 0.15639°E / 51.44611; 0.15639


title: Berk Communications

abstract: Berk Communications is an American public relations firm that works in consumer lifestyle, food and beverage, travel, sports and entertainment. Ron Berkowitz is the company's founder and CEO. The firm's corporate headquarters is in New York City, New York, with an office in Los Angeles, California. In 2021, Berk Communications was ranked 24th on the Global Top 250 PR Agency Ranking.

text:
# Berk Communications

**Berk Communications** is an American public relations firm that works in consumer lifestyle, food and beverage, travel, sports and entertainment. Ron Berkowitz is the company's founder and CEO. The firm's corporate headquarters is in New York City, New York, with an office in Los Angeles, California.

In 2021, Berk Communications was ranked 24th on the Global Top 250 PR Agency Ranking.

## History

Ron Berkowitz founded Berk Communications in 1999. MWWPR acquired a majority stake in Berk Communications in 2015 but the firm continues to operate as an independent subsidiary. The company is best known for representing D'usse Cognac, Kevin Durant, Robinson Canó, CC Sabathia, Roc Nation Sports, Tao Group, Tidal and Alex Rodriguez. Britney Spears hired Berk Communications in 2002 to promote Nyla, Spears' restaurant in Manhattan's Dylan Hotel. In February 2016, Berk signed with The Statler Hotel & Residences as public relations support through the hotel's relaunch. When baseball player Alex Rodriguez announced his retirement in 2016, it was also announced that Berk Communications would continue to work with Rodriguez. Rodriguez first signed with Berk in 2013.

O'Dwyer PR ranked Berk Communications as a top 10 PR Firm in the U.S. in sports and a top 25 PR Firm in the U.S. in food and beverage and travel and economic development.

O'Dwyer ranked Berk Communications as a top 5 PR Firm in the U.S. in sports, top 10 PR Firm in entertainment, and top 30 PR Firm in beauty, fashion and lifestyle, travel & economic development, and food & beverage for 2020.

In January 2017, Marisa Carstens joined Berk Communications from Text100 as a Senior Vice President. In July 2017, Melanie Wadden Van Dusen joined Berk Communications as a Vice President, Sports and Entertainment.

In October 2018, Berk Communications received five awards at the PRNEWS' Agency Elite Awards including a winning campaign in "Thought Leadership" on behalf of Frank Zaccanelli and honorable mentions in "Media Relations" on behalf of Frank Zaccanelli, "Nonprofit" on behalf of The Meatpacking District, and "Publicity" on behalf of D'USSE. The firm also shared a winning campaign with MWWPR in "Multicultural Marketing".

In April 2019, Berk received two nomination for the PRSA-NY Big Apple Awards for the "Best PR Campaign: Marketing Consumer Services (Restaurant/Bar and Retail)" on behalf of The Ainsworth and "Best PR Campaign: Events & Observances (Government, Associations and Nonprofit)" on behalf of the Los Angeles Tourism & Convention Board. In May 2019, the company received a Bronze Stevie Award in "Communications or PR Campaign of the Year – Food & Beverage" on behalf of The Ainsworth from The American Business Awards.

In September 2019, Ryan Mucatel joined Berk Communications as Chief Operating Officer and Executive Vice President. That same month, Berk Communications received an honorable mention award in "Media Relations" on behalf of Grand Isle Resort & Spa at the PRNEWS' Platinum PR Awards. In December 2019, Berk Communications was ranked at No. 44 on The Observer’s annual PR Power 50 List. The firm also added Alex Pitocchelli as a Vice President.

## InfoBox

Berk Communications
|
|  |
| Company type | Subsidiary |
| Industry | Public relations
Advertising
Digital Marketing |
| Founded | 1999 |
| Headquarters | New York City |
| Key people | Ron Berkowitz
(founder and CEO),
Marisa Carstens (SVP),
Melanie Van Dusen (SVP) |
| Owner | MWW |
| Website | berkcommunications.com |


title: Riverside Records discography

abstract: This discography of the Riverside Records label includes the two principal 12" LP series. The main label's mono series had a 12- prefix and the RLP 1100 series consisted of stereo issues of albums also released in mono. The Jazzland subsidiary is also listed, but the earlier 10" series are omitted. They principally were the 1000 series of reissues of early jazz, and the 2500 series of new recordings unrestricted to a single style. Albums issued on the subsidiary Battle, Judson and Washington labels are also omitted, as are the 100 series, 600 series, and 800 series.

text:
# Riverside Records discography

This discography of the **Riverside Records** label includes the two principal 12" LP series. The main label's mono series had a 12- (later RLP 12-) prefix and the RLP 1100 series consisted of stereo issues (not given here) of albums also released in mono. The **Jazzland** subsidiary is also listed, but the earlier 10" series are omitted. They principally were the 1000 series of reissues of early jazz, and the 2500 series of new recordings unrestricted to a single style. Albums issued on the subsidiary Battle (largely gospel), Judson and Washington labels are also omitted, as are the 100 series (12" reissues of early jazz), 600 series (folk music), and 800 series (primarily folk, cabaret, and comedy).

## Discography

### 200 series

| Catalog number | Year | Artist | Title | Notes |
| --- | --- | --- | --- | --- |
| RLP 12-201 | 1955 | Thelonious Monk | *Thelonious Monk Plays the Music of Duke Ellington* |  |
| RLP 12-202 | 1955 | Joe Sullivan | *New Solos by an Old Master* |  |
| RLP 12-203 | 1956 | Randy Weston | *Get Happy with the Randy Weston Trio* |  |
| RLP 12-204 | 1956 | Mundell Lowe | *The Mundell Lowe Quartet* |  |
| RLP 12-205 | 1956 | Tony Parenti | *Ragtime!* |  |
| RLP 12-206 | 1956 | Marty Bell & Don Elliott | *The Voice of Marty Bell – The Quartet of Don Elliott* |  |
| RLP 12-207 | 1956 | George Lewis | *Jazz in the Classic New Orleans Tradition* |  |
| RLP 12-208 | 1956 | Mundell Lowe | *Guitar Moods* |  |
| RLP 12-209 | 1956 | Thelonious Monk | *The Unique Thelonious Monk* |  |
| RLP 12-210 | 1956 | Gene Mayl | *Dixieland in Hi Fi* |  |
| RLP 12-211 | 1956 | Wild Bill Davison | *Sweet and Hot* |  |
| RLP 12-212 | 1956 | Ralph Sutton | *Classic Jazz Tradition* |  |
| RLP 12-213 | 1956 | Bob Helm & Lu Watters | *Riverside Roustabouts* |  |
| RLP 12-214 | 1956 | Randy Weston | *With These Hands...* |  |
| RLP 12-215 | 1956 | Conrad Janis | *Dixieland Jam Session* |  |
| RLP 12-216 | 1956 | Sidney Bechet | *Creole Reeds* |  |
| RLP 12-217 | 1956 | Paul Barbarin & Sharkey | *New Orleans Contrasts* |  |
| RLP 12-218 | 1956 | Don Elliot & Rusty Dedrick | *Counterpoint for Six Valves* |  |
| RLP 12-219 | 1956 | Mundell Lowe | *New Music of Alec Wilder* |  |
| RLP 12-220 | 1956 | Bob Corwin | *The Bob Corwin Quartet featuring the Trumpet of Don Elliott* |  |
| RLP 12-221 | 1956 | Matthew Gee | *Jazz by Gee* |  |
| RLP 12-222 | 1956 | Ernie Henry | *Presenting Ernie Henry* |  |
| RLP 12-223 | 1957 | Bill Evans | *New Jazz Conceptions* |  |
| RLP 12-224 | 1956 | Kenny Drew | *Kenny Drew Trio* |  |
| RLP 12-225 | 1957 | Trigger Alpert | *Trigger Happy!* |  |
| RLP 12-226 | 1957 | Thelonious Monk | *Brilliant Corners* |  |
| RLP 12-227 | 1957 | Randy Weston | *Trio and Solo* |  |
| RLP 12-228 | 1957 | Zoot Sims | *Zoot!* |  |
| RLP 12-229 | 1957 | Gigi Gryce | *Gigi Gryce and the Jazz Lab Quintet* |  |
| RLP 12-230 | 1957 | George Lewis | *Jazz at Vespers* |  |
| RLP 12-231 | 1957 | Carl Halen | *Gin Bottle Jazz* |  |
| RLP 12-232 | 1957 | Randy Weston | *Jazz à la Bohemia* |  |
| RLP 12-233 | 1957 | Coleman Hawkins | *The Hawk Flies High* |  |
| RLP 12-234 | 1957 | Herbie Mann | *Sultry Serenade* |  |
| RLP 12-235 | 1957 | Thelonious Monk | *Thelonious Himself* |  |
| RLP 12-236 | 1957 | Kenny Drew | *This Is New* |  |
| RLP 12-237 | 1957 | Clark Terry | *Serenade to a Bus Seat* |  |
| RLP 12-238 | 1957 | Mundell Lowe | *A Grand Night for Swinging* |  |
| RLP 12-239 | 1957 | Kenny Dorham | *Jazz Contrasts* |  |
| RLP 12-240 | 1957 | Bobby Jaspar | *With George Wallington, Idrees Sulieman* |  |
| RLP 12-241 | 1957 | Sonny Rollins | *The Sound of Sonny* |  |
| RLP 12-242 | 1957 | Thelonious Monk | *Monk's Music* |  |
| RLP 12-243 | 1957 | *Various artists* | *Blues for Tomorrow* |  |
| RLP 12-244 | 1957 | *Various artists* | *Jazz for Lovers* |  |
| RLP 12-245 | 1957 | Herbie Mann | *Great Ideas of Western Mann* |  |
| RLP 12-246 | 1957 | Clark Terry | *Duke with a Difference* |  |
| RLP 12-247 | 1957 | Thelonious Monk & Gerry Mulligan | *Mulligan Meets Monk* |  |
| RLP 12-248 | 1957 | Ernie Henry | *Seven Standards and a Blues* |  |
| RLP 12-249 | 1958 | Kenny Drew | *Pal Joey* |  |
| RLP 12-250 | 1958 | Freddie Redd | *San Francisco Suite* |  |
| RLP 12-251 | 1958 | Abbey Lincoln | *That's Him!* |  |
| RLP 12-252 | 1958 | Wilbur Ware | *The Chicago Sound* |  |
| RLP 12-253 | 1958 | Dick Johnson | *Most Likely* |  |
| RLP 12-254 | 1958 | Wynton Kelly | *Piano* |  |
| RLP 12-255 | 1958 | Kenny Dorham | *2 Horns / 2 Rhythm* |  |
| RLP 12-256 | 1958 | Benny Golson | *The Modern Touch* |  |
| RLP 12-257 | 1958 | Toots Thielemans | *Man Bites Harmonica!* |  |
| RLP 12-258 | 1958 | Sonny Rollins | *Freedom Suite* |  |
| RLP 12-259 | 1958 | Dixieland Rhythm Kings | *At the Hi Fi Jazz Band Ball* |  |
| RLP 12-260 | 1958 | Red Onion Jazz Band | *Dance Off Both Your Shoes* |  |
| RLP 12-261 | 1958 | Carl Halen | *Whoopee Makers' Jazz* |  |
| RLP 12-262 | 1958 | Thelonious Monk | *Thelonious in Action* |  |
| RLP 12-263 | 1958 | Evans Bradshaw | *Look Out for Evans Bradshaw!* |  |
| RLP 12-264 | 1958 | Johnny Griffin | *Johnny Griffin Sextet* |  |
| RLP 12-265 | 1958 | Pepper Adams | *10 to 4 at the 5 Spot* |  |
| RLP 12-266 | 1958 | Ernie Henry | *Last Chorus* |  |
| RLP 12-267 | 1958 | *Various artists* | *Riverside Drive* |  |
| RLP 12-268 | 1958 | Marty Grosz | *Hooray for Bix!* |  |
| RLP 12-269 | 1958 | Cannonball Adderley | *Portrait of Cannonball* |  |
| RLP 12-270 | 1958 | Joe Albany & Warne Marsh | *The Right Combination* |  |
| RLP 12-271 | 1958 | Clark Terry Quartet with Thelonious Monk | *In Orbit* |  |
| RLP 12-272 | 1958 | *Various artists* | *Eight Ways to Jazz Cole Porter* |  |
| RLP 12-273 | 1958 | Blue Mitchell | *Big 6* |  |
| RLP 12-274 | 1958 | Johnny Griffin | *Way Out!* |  |
| RLP 12-275 | 1958 | Kenny Dorham | *This Is the Moment!* |  |
| RLP 12-276 | 1958 | John Benson Brooks | *Alabama Concerto* |  |
| RLP 12-277 | 1958 | Abbey Lincoln | *It's Magic* |  |
| RLP 12-278 | 1958 | Chet Baker | *(Chet Baker Sings) It Could Happen to You* |  |
| RLP 12-279 | 1958 | Thelonious Monk | *Misterioso* |  |
| RLP 12-280 | 1958 | Max Roach | *Deeds, Not Words* |  |
| RLP 12-281 | 1958 | Chet Baker | *Chet Baker in New York* |  |
| RLP 12-282 | 1958 | Philly Joe Jones | *Blues for Dracula* |  |
| RLP 12-283 | 1958 | George Lewis | *George Lewis of New Orleans* |  |
| RLP 12-284 | 1958 | *Various artists* | *Saxophone Revolt* |  |
| RLP 12-285 | 1958 | Nat Adderley | *Branching Out* |  |
| RLP 12-286 | 1959 | Cannonball Adderley | *Things Are Getting Better* |  |
| RLP 12-287 | 1959 | Ahmed Abdul-Malik | *Jazz Sahara* |  |
| RLP 12-188 | **N/A** | **Unissued** | **Unissued** |  |
| RLP 12-289 | 1959 | Dixieland Rhythm Kings | *Jazz in Retrospect* |  |
| RLP 12-290 | 1959 | Benny Golson | *The Other Side of Benny Golson* |  |
| RLP 12-291 | 1959 | Bill Evans | *Everybody Digs Bill Evans* |  |
| RLP 12-292 | 1959 | Chet Baker | *Chet Baker Introduces Johnny Pace* |  |
| RLP 12-293 | 1959 | Blue Mitchell | *Out of the Blue* |  |
| RLP 12-294 | 1959 | *Various artists* | *New Blue Horns* |  |
| RLP 12-295 | 1959 | Clark Terry | *Top and Bottom Brass* |  |
| RLP 12-296 | 1959 | Evans Bradshaw | *Pieces of Eighty-Eight* |  |
| RLP 12-297 | 1959 | Kenny Dorham | *Blue Spring* |  |
| RLP 12-298 | 1959 | Wynton Kelly | *Kelly Blue* |  |
| RLP 12-299 | 1959 | Chet Baker | *Chet* |  |
| RLP 12-300 | 1959 | Thelonious Monk | *The Thelonious Monk Orchestra at Town Hall* |  |

### 300 series

| Catalog number | Year | Artist | Title | Notes |
| --- | --- | --- | --- | --- |
| RLP 12-301 | 1959 | Nat Adderley | *Much Brass* |  |
| RLP 12-302 | 1959 | Philly Joe Jones | *Drums Around the World* |  |
| RLP 12-303 | 1959 | Cannonball Adderley | *Cannonball Takes Charge* |  |
| RLP 12-304 | 1959 | Johnny Griffin | *The Little Giant* |  |
| RLP 12-305 | 1959 | Thelonious Monk | *5 by Monk by 5* |  |
| RLP 12-306 | 1959 | Billy Taylor | *Billy Taylor with Four Flutes* |  |
| RLP 12-307 | 1959 | Chet Baker | *Chet Baker Plays the Best of Lerner and Loewe* |  |
| RLP 12-308 | 1959 | Abbey Lincoln | *Abbey Is Blue* |  |
| RLP 12-309 | 1959 | Blue Mitchell | *Blue Soul* |  |
| RLP 12-310 | 1959 | Wes Montgomery | *The Wes Montgomery Trio* |  |
| RLP 12-311 | 1959 | Cannonball Adderley | *The Cannonball Adderley Quintet in San Francisco* |  |
| RLP 12-312 | 1960 | Thelonious Monk | *Thelonious Alone in San Francisco* |  |
| RLP 12-313 | 1960 | Philly Joe Jones | *Showcase* |  |
| RLP 12-314 | 1960 | Jimmy Heath | *The Thumper* |  |
| RLP 12-315 | 1960 | Bill Evans | *Portrait in Jazz* |  |
| RLP 12-316 | 1960 | Julian Priester | *Keep Swingin'* |  |
| RLP 12-317 | 1960 | Bobby Timmons | *This Here Is Bobby Timmons* |  |
| RLP 12-318 | 1960 | Nat Adderley | *Work Song* |  |
| RLP 12-319 | 1960 | Billy Taylor | *Uptown* |  |
| RLP 12-320 | 1960 | Wes Montgomery | *The Incredible Jazz Guitar of Wes Montgomery* |  |
| RLP 12-321 | 1960 | John Lee Hooker | *That's My Story* |  |
| RLP 12-322 | 1960 | Cannonball Adderley | *Them Dirty Blues* |  |
| RLP 12-323 | 1960 | Thelonious Monk | *Thelonious Monk at the Blackhawk* |  |
| RLP 12-324 | 1960 | Sam Jones | *The Soul Society* |  |
| RLP 325 | 1960 | Yusef Lateef | *The Three Faces of Yusef Lateef* |  |
| RLP 326 | 1960 | Barry Harris | *Barry Harris at the Jazz Workshop* |  |
| RLP 12-327 | 1960 | James Clay and David Newman | *The Sound of the Wide Open Spaces!!!!* |  |
| RLP 328 | 1960 | Bev Kelly | *Love Locked Out* |  |
| RLP 329 | 1960 | Dick Morgan | *Dick Morgan at the Showboat* |  |
| RLP 330 | 1960 | Nat Adderley | *That's Right!* |  |
| RLP 331 | 1960 | Johnny Griffin | *The Big Soul-Band* |  |
| RLP 332 | 1960 | Don Wilkerson | *The Texas Twister* |  |
| RLP 333 | 1960 | Jimmy Heath | *Really Big!* |  |
| RLP 334 | 1960 | Bobby Timmons | *Soul Time* |  |
| RLP 335 | 1960 | Mangione Brothers Sextet | *Jazz Brothers* |  |
| RLP 336 | 1960 | Blue Mitchell | *Blue's Moods* |  |
| RLP 337 | 1960 | Yusef Lateef | *The Centaur and the Phoenix* |  |
| RLP 338 | 1961 | Johnny Griffin | *Johnny Griffin’s Studio Jazz Party* |  |
| RLP 339 | 1960 | Billy Taylor | *Warming Up!* |  |
| RLP 340 | 1960 | Clifford Jordan | *Spellbound* |  |
| RLP 341 | 1961 | George Russell | *Stratusphunk* |  |
| RLP 342 | 1961 | Wes Montgomery | *Movin' Along* |  |
| RLP 343 | 1960 | Budd Johnson | *Budd Johnson and the Four Brass Giants* |  |
| RLP 344 | 1960 | Cannonball Adderley | *The Cannonball Adderley Quintet at the Lighthouse* |  |
| RLP 345 | 1961 | Bev Kelly | *In Person* |  |
| RLP 346 | 1961 | Lennie McBrown | *Eastern Lights* |  |
| RLP 347 | 1961 | Dick Morgan | *See What I Mean?* |  |
| RLP 348 | 1961 | Elmer Snowden | *Harlem Banjo!* |  |
| RLP 349 | 1961 | James Clay | *A Double Dose of Soul* |  |
| RLP 350 | 1961 | Roosevelt Wardell | *The Revelation* |  |
| RLP 351 | 1961 | Bill Evans | *Explorations* |  |
| RLP 352 | 1961 | Teri Thornton | *Devil May Care* |  |
| RLP 353 | 1961 | Buck Clayton | *Goin' to Kansas City* |  |
| RLP 354 | 1961 | Barry Harris | *Preminado* |  |
| RLP 355 | 1961 | Cannonball Adderley | *Cannonball Adderley and the Poll Winners* |  |
| RLP 356 | 1961 | *Various artists* | *New Orleans: The Living Legends* |  |
| RLP 357 | 1961 | *Various artists* | *New Orleans: The Living Legends* |  |
| RLP 358 | 1961 | Sam Jones | *The Chant* |  |
| RLP 359 | 1961 | Paul Serrano | *Blues Holiday* |  |
| RLP 360 | 1961 | Dave Pike | *It's Time for Dave Pike* |  |
| RLP 361 | 1961 | The Jazz Five | *The Hooter* |  |
| RLP 362 | 1961 | Montgomery Brothers | *Groove Yard* |  |
| RLP 363 | 1961 | Bobby Timmons | *Easy Does It* |  |
| RLP 364 | 1961 | Sweet Emma Barrett | *New Orleans: The Living Legends* |  |
| RLP 365 | 1961 | Kid Thomas | *New Orleans: The Living Legends* |  |
| RLP 366 | 1961 | Victor Feldman | *Merry Olde Soul* |  |
| RLP 367 | 1961 | Blue Mitchell | *Smooth as the Wind* |  |
| RLP 368 | 1961 | Johnny Griffin | *Change of Pace* |  |
| RLP 369 | 1961 | Jim Robinson | *New Orleans: The Living Legends* |  |
| RLP 370 | 1961 | Bill Pierce & Dede Pierce | *New Orleans: The Living Legends* |  |
| RLP 371 | 1961 | Jazz Brothers | *Hey Baby!* |  |
| RLP 372 | 1961 | Jimmy Heath | *The Quota* |  |
| RLP 373 | 1961 | Eddie "Lockjaw" Davis | *Afro-Jaws* |  |
| RLP 374 | 1961 | Ida Cox | *Blues for Rampart Street* |  |
| RLP 375 | 1961 | George Russell | *Ezz-thetics* |  |
| RLP 376 | 1961 | Bill Evans | *Sunday at the Village Vanguard* |  |
| RLP 377 | 1961 | Cannonball Adderley | *African Waltz* |  |
| RLP 378 | 1961 | Percy Humphrey | *New Orleans: The Living Legends* |  |
| RLP 379 | 1961 | Peter Bocage | *New Orleans: The Living Legends* |  |
| RLP 380 | 1961 | Walter Norris | *The Trio* |  |
| RLP 381 | 1961 | Elmo Hope | *Homecoming!* |  |
| RLP 382 | 1961 | Wes Montgomery | *So Much Guitar* |  |
| RLP 383 | 1961 | Dick Morgan | *Settlin' In* |  |
| RLP 384 | 1961 | Don Friedman | *A Day in the City* |  |
| RLP 385 | 1961 | Louis Cottrell | *New Orleans: The Living Legends* |  |
| RLP 386 | 1961 | Kid Thomas | *New Orleans: The Living Legends* |  |
| RLP 387 | 1961 | Johnny Griffin | *White Gardenia* |  |
| RLP 388 | 1961 | Cannonball Adderley | *The Cannonball Adderley Quintet Plus* |  |
| RLP 389 | 1961 | *Various artists* | *Chicago: The Living Legends* |  |
| RLP 390 | 1961 | *Various artists* | *Chicago: The Living Legends* |  |
| RLP 391 | 1961 | Bobby Timmons | *In Person* |  |
| RLP 392 | 1961 | Barry Harris | *Listen to Barry Harris* |  |
| RLP 393 | 1962 | Jim Robinson | *New Orleans: The Living Legends* |  |
| RLP 394 | 1962 | Bill Pierce & Dede Pierce | *New Orleans: The Living Legends* |  |
| RLP 395 | 1962 | Mark Murphy | *Rah!* |  |
| RLP 396 | 1961 | JFK Quintet | *Jazz Frontiers from Washington* |  |
| RLP 397 | 1962 | Riverside Jazz Stars | *A Jazz Version of Kean* |  |
| RLP 398 | 1961 | Earl Hines | *A Monday Date* |  |
| RLP 399 | 1962 | Bill Evans | *Waltz for Debby* |  |
| RLP 400 | 1962 | Jimmy Heath | *Triple Threat* |  |

### 400 series

| Catalog number | Year | Artist | Title | Notes |
| --- | --- | --- | --- | --- |
| RLP 401 | 1962 | Lil Hardin Armstrong | *Chicago: The Living Legends* |  |
| RLP 402 | 1962 | Meade Lux Lewis | *The Blues Piano Artistry of* |  |
| RLP 403 | 1962 | Little Brother Montgomery | *Chicago: The Living Legends* |  |
| RLP 404 | 1962 | Cannonball Adderley | *The Cannonball Adderley Sextet in New York* |  |
| RLP 405 | 1962 | Jazz Brothers | *Spring Fever* |  |
| RLP 406 | 1962 | Franz Jackson | *Chicago: The Living Legends* |  |
| RLP 407 | 1962 | Milt Jackson & Wes Montgomery | *Bags Meets Wes* |  |
| RLP 408 | 1962 | Elmo Hope | *Hope-Full* |  |
| RLP 409 | 1962 | Elvin Jones | *Elvin!* |  |
| RLP 410 | 1962 | Little Brother Montgomery | *Chicago: The Living Legends* |  |
| RLP 411 | 1962 | Eddie Jefferson | *Letter from Home* |  |
| RLP 412 | 1962 | George Russell | *The Stratus Seekers* |  |
| RLP 413 | 1962 | Barry Harris | *Newer Than New* |  |
| RLP 414 | 1962 | Blue Mitchell | *A Sure Thing* |  |
| RLP 415 | 1962 | Junie Cobb | *New Hometown Band* |  |
| RLP 416 | 1962 | Cannonball Adderley | *Greatest Hits* |  |
| RLP 417 | 1962 | Odetta | *Odetta and the Blues* |  |
| RLP 418 | 1962 | Alberta Hunter | *Chicago: The Living Legends* |  |
| RLP 419 | 1962 | Tadd Dameron | *The Magic Touch* |  |
| RLP 420 | 1962 | Johnny Griffin | *The Kerry Dancers* |  |
| RLP 421 | 1962 | Thelonious Monk | *Greatest Hits* |  |
| RLP 422 | 1962 | Bobby Timmons | *Sweet and Soulful Sounds* |  |
| RLP 423 | 1962 | Mongo Santamaria | *Go Mongo* |  |
| RLP 424 | 1962 | JFK Quintet | *Young Ideas* |  |
| RLP 425 | 1962 | Billie Poole | *Sermonette* |  |
| RLP 426 | 1962 | Albert Wynn | *Chicago: The Living Legends* |  |
| RLP 427 | 1962 | Charlie Byrd | *Latin Impressions* |  |
| RLP 428 | 1962 | Bill Evans | *Moon Beams* |  |
| RLP 429 | 1962 | Milt Jackson | *Big Bags* |  |
| RLP 430 | 1962 | Sweets Edison & Eddie "Lockjaw" Davis | *Jawbreakers* |  |
| RLP 431 | 1962 | Don Friedman | *Circle Waltz* |  |
| RLP 432 | 1962 | Sam Jones | *Down Home* |  |
| RLP 433 | 1962 | Cannonball Adderley | *Know What I Mean?* |  |
| RLP 434 | 1962 | Wes Montgomery | *Full House* |  |
| RLP 435 | 1962 | Barry Harris | *Chasin' the Bird* |  |
| RLP 436 | 1962 | Charlie Byrd | *Bossa Nova Pelos Passaros* |  |
| RLP 437 | 1962 | Johnny Griffin | *Grab This!* |  |
| RLP 438 | 1962 | Art Blakey | *Caravan* |  |
| RLP 439 | 1962 | Blue Mitchell | *The Cup Bearers* |  |
| RLP 440 | 1962 | George Russell | *The Outer View* |  |
| RLP 441 | 1963 | Mark Murphy | *That's How I Love the Blues!* |  |
| RLP 442 | 1963 | Johnny "Hammond" Smith | *Black Coffee* |  |
| RLP 443 | 1963 | Thelonious Monk | *Thelonious Monk in Italy* |  |
| RLP 444 | 1963 | Cannonball Adderley | *Jazz Workshop Revisited* |  |
| RLP 445 | 1963 | Bill Evans | *Interplay* |  |
| RLP 446 | 1963 | Milt Jackson | *Invitation* |  |
| RLP 447 | 1963 | Junior Mance | *Junior's Blues* |  |
| RLP 448 | 1963 | Charlie Byrd | *Byrd's Word!* |  |
| RLP 449 | 1963 | Charlie Byrd | *Byrd in the Wind* |  |
| RLP 450 | 1963 | Charlie Byrd | *Mr. Guitar* |  |
| RLP 451 | 1963 | Charlie Byrd | *The Guitar Artistry of Charlie Byrd* |  |
| RLP 452 | 1963 | Charlie Byrd | *Charlie Byrd at the Village Vanguard* |  |
| RLP 453 | 1963 | Charlie Byrd | *Blues Sonata* |  |
| RLP 454 | 1963 | Charlie Byrd | *Once More! Charlie Byrd's Bossa Nova* |  |
| RLP 455 | 1963 | Cannonball Adderley | *Cannonball's Bossa Nova* |  |
| RLP 456 | 1963 | Johnny Lytle | *Got That Feeling!* |  |
| RLP 457 | 1963 | Sal Nistico | *Comin' On Up* |  |
| RLP 458 | 1963 | Billie Poole | *Confessin' the Blues* |  |
| RLP 459 | 1963 | Wes Montgomery | *Boss Guitar* |  |
| RLP 460 | 1963 | Thelonious Monk | *Two Hours with Thelonious 1* |  |
| RLP 461 | 1963 | Thelonious Monk | *Two Hours with Thelonious 2* |  |
| RLP 462 | 1963 | Johnny Griffin | *Do Nothing 'til You Hear from Me* |  |
| RLP 463 | 1963 | Don Friedman | *Flashback* |  |
| RLP 464 | 1963 | Art Blakey | *Ugetsu* |  |
| RLP 465 | 1963 | Jimmy Heath | *Swamp Seed* |  |
| RLP 466 | 1963 | Johnny "Hammond" Smith | *Mr. Wonderful* |  |
| RLP 467 | 1963 | Charlie Byrd | *Byrd at the Gate* |  |
| RLP 468 | 1963 | Bobby Timmons | *Born to Be Blue!* |  |
| RLP 469 | 1963 | Willie Rodriguez | *Flatjacks* |  |
| RLP 470 | 1963 | Johnny Lytle | *Happy Ground* | reissue of Jazzland JLP 44 |
| RLP 471 | 1964 | Rod Levitt | *The Dynamic Sound Patterns* |  |
| RLP 472 | 1963 | Wes Montgomery | *Fusion! Wes Montgomery with Strings* |  |
| RLP 473 | 1964 | Bill Evans | *How My Heart Sings* |  |
| RLP 474 | 1963 | Nat Adderley | *Little Big Horn* |  |
| RLP 475 | 1964 | Duke Ellington & Billy Strayhorn | *Great Times!* |  |
| RLP 476 | 1963 | Ben Webster & Joe Zawinul | *Soulmates* |  |
| RLP 477 | 1963 | Cannonball Adderley | *Nippon Soul* |  |
| RLP 478 | 1966 | Milt Jackson | *For Someone I Love* |  |
| RLP 479 | 1967 | Johnny Griffin | *Wade in the Water* | rerelease of RLP 331 |
| RLP 480 | 1966 | Johnny Lytle | *The Village Caller!* |  |
| RLP 481 | 1966 | Charlie Byrd | *Byrd Song* |  |
| RLP 482 | 1966 | Johnny "Hammond" Smith | *Open House!* |  |
| RLP 483 | 1966 | Thelonious Monk | *Thelonious Monk Story 1* |  |
| RLP 484 | 1966 | Thelonious Monk | *Thelonious Monk Story 2* |  |
| RLP 485 | 1966 | Don Friedman | *Dreams and Explorations* |  |
| RLP 486 | 1966 | Jimmy Heath | *On the Trail* |  |
| RLP 487 | 1966 | Bill Evans | *At Shelly's Manne-Hole* |  |
| RLP 488 | **N/A** | **Unissued** | **Unissued** | **Unissued** |
| RLP 489 | **N/A** | **Unissued** | **Unissued** | **Unissued** |
| RLP 490 | 1966 | Thelonious Monk | *Thelonious Monk with John Coltrane* |  |
| RLP 491 | 1966 | Thelonious Monk | *Monk in France* |  |
| RLP 492 | 1966 | Wes Montgomery | *Portrait of Wes* |  |
| RLP 493 | 1967 | Art Blakey | *Kyoto* |  |
| RLP 494 | 1967 | Wes Montgomery | *Guitar on the Go* |  |
| RLP 495 | 1967 | Milt Jackson | *Milt Jackson Quintet Live at the Village Gate* |  |
| RLP 496 | 1967 | Johnny "Hammond" Smith | *A Little Taste* |  |
| RLP 497 | **N/A** | **Unissued** | **Unissued** | **Unissued** |
| RLP 498 | 1967 | Charlie Byrd | *Solo Flight* |  |
| RLP 499 | 1967 | Cannonball Adderley | *Cannonball in Europe!* |  |
| RLP 12-500 | **N/A** | **Unissued** | **Unissued** | **Unissued** |

## Jazzland discography

| Catalog number | Artist | Title | Notes |
| --- | --- | --- | --- |
| JLP 1 | Gigi Gryce & Donald Byrd | *Gigi Gryce and the Jazz Lab Quintet* | reissue of RLP 12-229 |
| JLP 2 | Zoot Sims | *Zoot!* | AKA Zoot Sims Quintet |
| JLP 3 | Kenny Dorham | *The Swingers* |  |
| JLP 4 | Randy Weston & Art Blakey | *Zulu (Trio and Solo)* |  |
| JLP 5 | Herbie Mann & Jack Sheldon | *Californians* |  |
| JLP 6 | Kenny Drew | *Hard Bop (This Is New)* |  |
| JLP 7 | Clark Terry and Eddie Henry | *Cruisin'* |  |
| JLP 8 | Mundell Lowe | *Low Down Guitar (A Grand Night for Swinging)* |  |
| JLP 9 | Kenny Drew | *Tough Piano Trio* |  |
| JLP 10 | Clark Terry and Kenny Dorham | *Top Trumpets* |  |
| JLP 11 | *Various artists* | *East Coast Sounds* |  |
| JLP 12 | Wilbur Ware | *Chicago Cookers* | reissue of RLP 12-252 |
| JLP 13 | Randy Weston | *Greenwich Village Jazz* | reissue of RLP 12-232 |
| JLP 14 | Kenny Dorham |  |  |
| JLP 15 | Don Elliott | *Double Trumpet Doings* |  |
| JLP 16 | Mel Rhyne | *Organizing* |  |
| JLP 17 | Woody Herman | *The Fourth Herd* |  |
| JLP 18 | Chet Baker | *Chet Baker in Milan* |  |
| JLP 19 | Charlie Rouse | *Takin' Care of Business* |  |
| JLP 20 | Harold Land | *West Coast Blues!* |  |
| JLP 21 | Chet Baker | *Chet Baker with Fifty Italian Strings* |  |
| JLP 22 | Johnny Lytle | *Blue Vibes* |  |
| JLP 23 | Joe Alexander | *Blue Jubilee* |  |
| JLP 24 | Joyce Collins | *Girl Here Plays a Mean Piano* |  |
| JLP 25 | Julian Priester | *Spiritsville* |  |
| JLP 26 | Bernt Rosengren & Lars Werner | *Bombastica* |  |
| JLP 27 | René Thomas | *Guitar Groove* |  |
| JLP 28 | Walter Benton | *Out of This World* |  |
| JLP 29 | Dexter Gordon | *The Resurgence of Dexter Gordon* |  |
| JLP 30 | Junior Mance | *The Soulful Piano of Junior Mance* |  |
| JLP 31 | Eddie Davis & Johnny Griffin | *Tough Tenors* |  |
| JLP 32 | Sonny Red | *Breezing* |  |
| JLP 33 | Harold Land | *Eastward Ho! Harold Land in New York* |  |
| JLP 34 | Tubby Hayes & Ronnie Scott | *The Message from Britain* |  |
| JLP 35 | Les Spann | *Gemini* |  |
| JLP 36 | Paul Gonsalves | *Gettin' Together!* |  |
| JLP 37 | Joe Harriott | *Southern Horizons* |  |
| JLP 38 | Wild Bill Moore | *Wild Bill's Beat* |  |
| JLP 39 | Eddie Davis & Johnny Griffin | *Lookin' at Monk!* |  |
| JLP 40 | Clifford Jordan & Sonny Red | *A Story Tale* |  |
| JLP 41 | Junior Mance | *Junior Mance Trio at the Village Vanguard* |  |
| JLP 42 | Eddie Davis & Johnny Griffin | *Griff & Lock* |  |
| JLP 43 | Bennie Green | *Glidin' Along* |  |
| JLP 44 | Johnny Lytle | *Happy Ground* |  |
| JLP 45 | Don Sleet | *All Members* |  |
| JLP 46 | Thelonious Monk | *Thelonious Monk with John Coltrane* |  |
| JLP 47 | Nat Adderley | *Naturally!* |  |
| JLP 48 | Red Garland | *Bright and Breezy* |  |
| JLP 49 | Joe Harriott | *Free Form* |  |
| JLP 50 | Fats Navarro | *Fats Navarro with the Tadd Dameron Quintet* |  |
| JLP 51 | Don Rendell | *Roarin'* |  |
| JLP 52 | Clifford Jordan | *Starting Time* |  |
| JLP 53 | Junior Mance | *Big Chief!* |  |
| JLP 54 | Wild Bill Moore | *Bottom Groove* |  |
| JLP 55 | George Shearing | *George Shearing and the Montgomery Brothers* |  |
| JLP 56 | Frank Strozier | *Long Night* |  |
| JLP 57 | Chris Anderson | *Inverted Image* |  |
| JLP 58 | Junior Cook | *Junior's Cookin'* |  |
| JLP 59 | Sonny Red | *The Mode* |  |
| JLP 60 | Eddie Davis & Johnny Griffin | *Blues Up & Down* |  |
| JLP 61 | Dorothy Ashby | *Soft Winds* |  |
| JLP 62 | Red Garland | The Nearness of You |  |
| JLP 63 | Junior Mance | *The Soul of Hollywood* |  |
| JLP 64 | Oscar Pettiford | *Last Recordings* |  |
| JLP 65 | *Various artists* | *Great Big Band and Friends* |  |
| JLP 66 | Sal Nistico | *Heavyweights* |  |
| JLP 67 | Johnny Lytle | *Nice and Easy* |  |
| JLP 68 | Tadd Dameron | *1948* |  |
| JLP 69 | Clifford Jordan | *Bearcat* |  |
| JLP 70 | Frank Strozier | *March of the Siamese Children* |  |
| JLP 71 | \[\[Sonny Stitt\]\] | *Low Flame* |  |
| JLP 72 | Sonny Rollins | *Sonny's Time* |  |
| JLP 73 | Red Garland | *Solar* |  |
| JLP 74 | Sonny Red | *Images* |  |
| JLP 75 | Nat Adderley | *In the Bag* |  |
| JLP 76 | Eddie Davis & Johnny Griffin | *Tough Tenor Favorites* |  |
| JLP 77 | Junior Mance | *Happy Time* |  |
| JLP 78 | The Metronomes | *Something Big* |  |
| JLP 79 | Max Roach | *Conversation* |  |
| JLP 80 | Lee Morgan | *Take Twelve* |  |
| JLP 81 | Johnny Lytle | *Moon Child* |  |
| JLP 82 | Kenny Dorham | *And Friends* |  |
| JLP 83 | Wynton Kelly | *Whisper Not* |  |
| JLP 84 | Chuck Mangione | *Recuerdo* |  |
| JLP 85 | Benny Golson | *Reunion (The Modern Touch)* |  |
| JLP 86 | Sonny Rollins | *Shadow Waltz (Freedom Suite)* |  |
| JLP 87 | Red Garland | *Red's Good Groove* |  |
| JLP 88 | Chet Baker | *Polka Dots and Moonbeams (In New York)* |  |
| JLP 92 | Philly Joe Jones | *Drums Around the World* | reissue of RLP-302 |
| JLP 93 | Johnny Griffin | *The Little Giant* |  |
| JLP 96 | Clark Terry Quartet with Thelonious Monk | *In Orbit* |  |
| JLP 97 | Eddie Davis | *Alma Alegre* |  |
| JLP 1001 | *Various artists* | *The Stars of Jazz 1961* |  |


title: Rob Easton

abstract: Rob Easton is a Canadian media personality best known for co-hosting the gay television series Don't Quit Your Gay Job (DQYGJ), that was launched in 2009 on OUTtv. In the series, he competes with his friend and co-host Sean Horlor to master stereotypical gay and non-gay jobs. Each episode features Easton and Horlor competing to see who can be the most successful at a given job. The first season of the show (2009) had six episodes about jobs as bus driver, stripper, equestrian, dominatrix, modelling and drag. The second season featured curling, hockey, policing and extreme wrestling. Prior to DQYGJ, Easton took part in CBC Radio's The Early Edition, in Radio-Canada's Téléjournal Colombie-Britannique, and wrote for Xtra Vancouver and The Georgia Straight, and in 2011 was a story editor for HGTV's Urban Suburban. He worked as cinematographer for How Far Will You Go? a documentary about gay modeling. He also worked with Mado Lamotte in the Montreal drag club Cabaret Mado and is part of the Chor Leoni Men's Choir.

text:
# Rob Easton

**Rob Easton** is a Canadian media personality best known for co-hosting the gay television series *Don't Quit Your Gay Job* (DQYGJ), that was launched in 2009 on OUTtv. In the series, he competes with his friend and co-host Sean Horlor to master stereotypical gay and non-gay jobs. Each episode features Easton and Horlor competing to see who can be the most successful at a given job. The first season of the show (2009) had six episodes about jobs as bus driver, stripper, equestrian, dominatrix, modelling and drag. The second season featured curling, hockey, policing and extreme wrestling.

Prior to DQYGJ, Easton took part in CBC Radio's *The Early Edition*, in Radio-Canada's *Téléjournal Colombie-Britannique*, and wrote for *Xtra Vancouver* and *The Georgia Straight*, and in 2011 was a story editor for HGTV's *Urban Suburban*. He worked as cinematographer for *How Far Will You Go?* a documentary about gay modeling. He also worked with Mado Lamotte in the Montreal drag club *Cabaret Mado* and is part of the Chor Leoni Men's Choir.

## Personal life

Easton grew up on Vancouver Island in Campbell River, which he tries to visit as often as he can. He graduated with a Bachelor of Arts in sociology from the University of Victoria and a Diploma of Technology in broadcast journalism from British Columbia Institute of Technology (BCIT).


title: Rišpet

abstract: Rišpet - LGBT Association Split was a non-governmental organization that advocated for LGBT rights in Croatia, mainly focused on the LGBT citizens of Split. Organization was fairly active in first few years and shrinking portfolio of activities later and stopped being active in 2018.

text:
# Rišpet

**Rišpet - LGBT Association Split** was a non-governmental organization that advocated for LGBT rights in Croatia, mainly focused on the LGBT citizens of Split. Organization was fairly active in first few years and shrinking portfolio of activities later and stopped being active in 2018.

## History

The NGO was established on March 4, 2013, by 2012 Split Pride volunteers.

The word Rišpet was used as local equivalent for Respect.

Rišpet founded LGBT Center Split, small and improvised physical space organized to operate as social center for LGBT community, their families, friends and all those who want to take part in the activities of the Centre. Rišpet also co-organized Split Pride.

The purpose of Rišpet was to deal with problems of violence towards LGBT persons, to empower and educate the community, thereby making it more sensible to LGBT problematics. Rišpet also organized various formal and informal activities for the local LGBT community, including film screenings, thematic workshops, exhibitions, public forums, Pride marches, festivals and conferences in Croatia and the region. Many activities were executed thanks to the volunteers and collaboration with other NGOs, without any financial resources.

Rišpet informed volunteers about the position of LGBT people in Croatia, as well as on methods and possibilities of their participation in the struggle for realization of the rights for a decent life, free of violence and discrimination. It encouraged them to think critically questioning the patriarchy, heteronormativity and the generally process of re-traditionalization and models that inhibit the development of democratic processes based on the principles of equality, justice and freedom. The goal of Rišpet was for the young volunteers to take part as the leaders in various activities of the LGBT center.

## Status

As of 2018 Rišpet is no longer active and organizing of Split Pride and managing of LGBT Center Split have been picked up by group of organizations from the city with the support of City of Split. Organization is officially removed from register of NGOs in February, 2020.

## InfoBox

Rišpet - LGBT Association Split
| Rišpet - LGBT udruga Split | |
| --- | --- |
|
| Formation | 4 March 2013 (2013-03-04) |
| Founder | Former volunteers of Split Pride |
| Founded at | Split |
| Dissolved | 3 February 2020 (2020-02-03) |
| Type | Non-governmental organization |
| Headquarters | Ulica kralja Tomislava 8, Split |
| Location |  |
| Region | Dalmatia |
| Fields | LGBT rights |
| Website | www.facebook.com/RispetLGBT |


title: RjB 20–22

abstract: RjB 20, 21 and 22 were three diesel-hydraulic locomotives operated by Norsk Transport on Rjukanbanen in Norway. They were mostly used for shunting at Rjukan and at Mæl. They were delivered in 1961, and remained in service until 1991 when the line closed; no. 20 remains at Rjukan, while no. 21 was sold to Pepeteries de Golbey of France and no. 22 was transferred to Norsk Hydro at Menstad.

text:
# RjB 20–22

**RjB 20**, **21** and **22** were three diesel-hydraulic locomotives operated by Norsk Transport on Rjukanbanen in Norway. They were mostly used for shunting at Rjukan and at Mæl.

They were delivered in 1961, and remained in service until 1991 when the line closed; no. 20 remains at Rjukan, while no. 21 was sold to Pepeteries de Golbey of France and no. 22 was transferred to Norsk Hydro at Menstad.

## InfoBox

| RjB 20–22 | |
| --- | --- |
| Type and origin  Power type Diesel-hydraulic  Builder Henschel  Serial number 30271–30273  Build date 1961  Total produced 3 | |
| Specifications  Configuration:<br>   AAR C  Gauge 1,435 mm (4 ft 8+12 in)  Length 8.9 m (29 ft)  Loco weight 44 tonnes (43 long tons; 49 short tons) | |
| Performance figures  Maximum speed 60 km/h (37 mph)  Power output 368 kW | |
| Career  Operators Norsk Transport  Official name 20, 21, 22  Locale Rjukanbanen | |


title: Rip, Rig and Panic (album)

abstract: Rip, Rig and Panic is a 1965 jazz album by multi-instrumentalist Roland Kirk. It features a quartet of Kirk, Jaki Byard (piano), Richard Davis (bass), and Elvin Jones (drums); they were described as "the most awesome rhythm section he ever recorded with". The session was held at Rudy Van Gelder's Englewood Cliffs studio. The set is made up primarily of original Kirk compositions. The title of the album was explained by Kirk in the liner notes as follows: "Rip means Rip Van Winkle; it's the way people, even musicians are. They're asleep. Rig means like rigor mortis. That's where a lot of peoples mind are. When they hear me doing things they didn't think I could do they panic in their minds". Kirk made many references to pioneers of jazz. "No Tonic Pres" refers to Lester Young; "From Bechet, Byas, and Fats" is a homage to Sidney Bechet, Don Byas, and Fats Waller; and "Once in a While" was inspired by Clifford Brown. Kirk also mentioned the work of Edgar Varèse, the compositions Poeme electronique and Ionisation, as inspiration for the album. The album's title inspired the name for 1980s English post-punk group Rip Rig + Panic.

text:
# Rip, Rig and Panic (album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *The Penguin Guide to Jazz Recordings* |  |
| *The Rolling Stone Jazz Record Guide* |  |

***Rip, Rig and Panic*** is a 1965 jazz album by multi-instrumentalist Roland Kirk. It features a quartet of Kirk, Jaki Byard (piano), Richard Davis (bass), and Elvin Jones (drums); they were described as "the most awesome rhythm section he ever recorded with". The session was held at Rudy Van Gelder's Englewood Cliffs studio. The set is made up primarily of original Kirk compositions.

The title of the album was explained by Kirk in the liner notes as follows: "Rip means Rip Van Winkle (or Rest in Peace?); it's the way people, even musicians are. They're asleep. Rig means like rigor mortis. That's where a lot of peoples mind are. When they hear me doing things they didn't think I could do they panic in their minds". Kirk made many references to pioneers of jazz. "No Tonic Pres" refers to Lester Young; "From Bechet, Byas, and Fats" is a homage to Sidney Bechet, Don Byas, and Fats Waller; and "Once in a While" was inspired by Clifford Brown. Kirk also mentioned the work of Edgar Varèse, the compositions *Poeme electronique* and *Ionisation*, as inspiration for the album.

The album's title inspired the name for 1980s English post-punk group Rip Rig + Panic.

## Reception

Richard Cook and Brian Morton rated the Emarcy edition of the album, combined with the album *Now Please Don't You Cry, Beautiful Edith*, with the second-highest grade in their *Penguin Guide to Jazz*, and named the combined reissue as part of their suggested “core collection” of essential recordings; AllMusic awarded the album five stars.

## Track listing

*All compositions by Roland Kirk except where indicated.*

1. "No Tonic Pres" – 4:34
2. "Once in a While" (Michael Edwards, Bud Green) – 4:02
3. "From Bechet, Byas, and Fats" – 6:31
4. "Mystical Dream" – 2:39
5. "Rip, Rig & Panic" – 7:00
6. "Black Diamond" (Milt Sealey) – 5:23
7. "Slippery, Hippery, Flippery" – 4:56

* Recorded at Van Gelder Studio, Englewood Cliffs, NJ on January 13, 1965

## Personnel

## InfoBox

| Rip, Rig and Panic | |
| --- | --- |
|  | |
| Studio album by Rahsaan Roland Kirk | |
| Released | December 1965 (1965-12) |
| Recorded | January 13, 1965 |
| Studio | Van Gelder Studio
Englewood Cliffs, New Jersey |
| Genre | Jazz |
| Length | 35:05 |
| Label | Limelight |
| Producer | Jack Tracy |
| Rahsaan Roland Kirk chronology | |
| *I Talk with the Spirits*
(1965) ***Rip, Rig and Panic***
(1965) *Here Comes the Whistleman*
(1965) | |


title: Berlin 1881 chess tournament

abstract: The Deutscher Schachbund had been founded in Leipzig on July 18, 1877. When the next meeting took place in the Schützenhaus, Leipzig on July 15, 1879, sixty-two clubs had become members of the federation. Hofrat Dr. Rudolf von Gottschall became Chairman and Hermann Zwanzig the General Secretary. When foreign players were invited to Berlin in 1881, an important and successful formula was completed. A master tournament was organised every second year, and Germans could partake in many groups and their talents qualified for master tournaments by a master title in the Hauptturnier. The Berlin 1881 chess tournament, organised by Hermann Zwanzig and Emil Schallopp, took place in Berlin from August 29 to September 17, 1881.

text:
# Berlin 1881 chess tournament

The *Deutscher Schachbund* (DSB, the German Chess Federation) had been founded in Leipzig on July 18, 1877. When the next meeting took place in the *Schützenhaus*, Leipzig on July 15, 1879, sixty-two clubs had become members of the federation. Hofrat Dr. Rudolf von Gottschall became Chairman and Hermann Zwanzig the General Secretary. When foreign players were invited to Berlin in 1881, an important and successful formula was completed. A master tournament was organised every second year, and Germans could partake in many groups and their talents qualified for master tournaments by a master title in the Hauptturnier.

The **Berlin 1881 chess tournament** (the second DSB Congress,*2.DSB-Kongreß*), organised by Hermann Zwanzig and Emil Schallopp, took place in Berlin from August 29 to September 17, 1881.

## Masters Tournament

The final standings and crosstable:

| # | Player | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | Total |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Joseph Henry Blackburne (United Kingdom) | x | 1 | 1 | 1 | 0 | ½ | 1 | 1 | ½ | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 14 |
| 2 | Johannes Hermann Zukertort (German Empire) | 0 | x | ½ | 1 | ½ | 1 | 1 | 1 | ½ | 1 | 0 | 0 | 1 | 1 | ½ | 1 | 1 | 11 |
| 3 | Szymon Winawer (Russian Empire) | 0 | ½ | x | 0 | 1 | 0 | 1 | ½ | 1 | 1 | 1 | 0 | 1 | 1 | ½ | 1 | 1 | 10½ |
| 4 | Mikhail Chigorin (Russian Empire) | 0 | 0 | 1 | x | 0 | 0 | 0 | ½ | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 10½ |
| 5 | James Mason (United States) | 1 | ½ | 0 | 1 | x | ½ | ½ | 0 | ½ | 1 | 0 | 1 | 0 | 1 | 1 | ½ | 1 |  |
| 6 | Alexander Wittek (Austria-Hungary) | ½ | 0 | 1 | 1 | ½ | x | ½ | 1 | ½ | 0 | 1 | 0 | ½ | 1 | 0 | 1 | 1 |  |
| 7 | Johannes Minckwitz (German Empire) | 0 | 0 | 0 | 1 | ½ | ½ | x | 1 | ½ | 0 | 0 | 1 | ½ | 1 | 1 | 1 | ½ |  |
| 8 | Jacques Schwarz (Austria-Hungary) | 0 | 0 | ½ | ½ | 1 | 0 | 0 | x | 1 | 1 | ½ | 1 | 0 | ½ | 1 | ½ | 1 |  |
| 9 | Johann Nepomuk Berger (Austria-Hungary) | ½ | ½ | 0 | 0 | ½ | ½ | ½ | 0 | x | 0 | 0 | 1 | 1 | ½ | 1 | 1 | 1 | 8 |
| 10 | Louis Paulsen (German Empire) | 0 | 0 | 0 | 0 | 0 | 1 | 1 | 0 | 1 | x | ½ | 1 | ½ | 1 | ½ | ½ | 1 | 8 |
| 11 | Wilfried Paulsen (German Empire) | 0 | 1 | 0 | 0 | 1 | 0 | 1 | ½ | 1 | ½ | x | 0 | ½ | ½ | 0 | ½ | 1 |  |
| 12 | Emil Schallopp (German Empire) | 0 | 1 | 1 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 1 | x | 1 | 0 | 1 | 0 | 1 | 7 |
| 13 | Fritz Riemann (German Empire) | 0 | 0 | 0 | 0 | 1 | ½ | ½ | 1 | 0 | ½ | ½ | 0 | x | 0 | 1 | ½ | 1 |  |
| 14 | Carl Wemmers (German Empire) | 0 | 0 | 0 | 0 | 0 | 0 | 0 | ½ | ½ | 0 | ½ | 1 | 1 | x | 1 | 1 | 1 |  |
| 15 | Josef Noa (Austria-Hungary) | 0 | ½ | ½ | 0 | 0 | 1 | 0 | 0 | 0 | ½ | 1 | 0 | 0 | 0 | x | 1 | 1 |  |
| 16 | Carl Friedrich Schmid (Russian Empire) | 0 | 0 | 0 | 0 | ½ | 0 | 0 | ½ | 0 | ½ | ½ | 1 | ½ | 0 | 0 | x | 0 |  |
| 17 | H. von Schuetz (German Empire) | 0 | 0 | 0 | 0 | 0 | 0 | ½ | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 1 | x |  |
| 18 | Karl Pitschel (Austria-Hungary) | - | - | 0 | 0 | - | - | - | - | 0 | - | - | - | - | - | - | - | - |  |

## Hauptturnier A

The *Haupturnier A* was won by Curt von Bardeleben, who earlier beat Berthold Lasker, Siegbert Tarrasch and Seger, in a preliminary group.

The final results:

1. Bardeleben 2½/3 (won a preliminary group, scoring 3/3)

2. Specht 2/3 (won a prel. group, scoring 2/3)

3. Kist 1½/3 (won a prel. group, scoring 2/2)

4. Reif 0/3 (won a prel. group, scoring 2/3)


title: Best O' Boingo

abstract: Best O' Boingo is the second greatest hits album from American new wave band Oingo Boingo, released in 1991 by MCA Records. It features songs recorded during the band's years on MCA Records, from 1984's So-Lo through 1990's Dark at the End of the Tunnel. As such, the songs from the period when the band was on I.R.S. Records—as well as several others—are represented here by their re-recorded versions from the 1988 "live in the studio" album Boingo Alive.

text:
# Best O' Boingo

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

***Best O' Boingo*** is the second greatest hits album from American new wave band Oingo Boingo, released in 1991 by MCA Records. It features songs recorded during the band's years on MCA Records, from 1984's *So-Lo* through 1990's *Dark at the End of the Tunnel*. As such, the songs from the period when the band was on I.R.S. Records—as well as several others—are represented here by their re-recorded versions from the 1988 "live in the studio" album *Boingo Alive*.

## Track listing

All tracks are written by Danny Elfman

| No. | Title | Original release | Length |
| --- | --- | --- | --- |
| 1. | "Dead Man's Party" | *Boingo Alive* (1988) | 6:24 |
| 2. | "When the Lights Go Out" | *Dark at the End of the Tunnel* (1990) | 4:11 |
| 3. | "Gratitude" | Danny Elfman's *So-Lo* (1984) | 5:14 |
| 4. | "Skin" | *Dark at the End of the Tunnel* (1990) | 4:40 |
| 5. | "Flesh 'N Blood" | Previously unreleased single remix. Originally from *Dark at the End of the Tunnel* (1990). | 4:09 |
| 6. | "Not My Slave" | *BOI-NGO* (1987) | 4:46 |
| 7. | "Stay" | *Dead Man's Party* (1985) | 3:38 |
| 8. | "Sweat" | *Boingo Alive* (1988) | 4:31 |
| 9. | "No Spill Blood" | *Boingo Alive* (1988) | 4:34 |
| 10. | "Out of Control" | *Dark at the End of the Tunnel* (1990) | 4:10 |
| 11. | "Weird Science" | *Dead Man's Party* (1985) | 6:06 |
| 12. | "No One Lives Forever" | *Boingo Alive* (1988) | 4:08 |
| 13. | "Wild Sex (in the Working Class)" | *Boingo Alive* (1988) | 4:17 |
| 14. | "Just Another Day" | *Dead Man's Party* (1985) | 5:14 |
| 15. | "Who Do You Want to Be" | *Boingo Alive* (1988) | 3:21 |
| 16. | "Only a Lad" | *Boingo Alive* (1988) | 3:50 |
| 17. | "Goodbye-Goodbye" | *Boingo Alive* (1988) | 3:29 |
| Total length: | | | 76:51 |

## Personnel

**Oingo Boingo**

**Additional musicians**

* Bruce Fowler – trombone
* Mike Bacich – keyboards (tracks 7, 11)

**Technical**

* Danny Elfman – co-producer (tracks 1–17)
* Steve Bartek – co-producer (tracks 1–17)
* John Avila – co-producer (tracks 1–2, 4–17)
* Paul Ratajczak – co-producer (track 3)
* Bill Jackson – engineer, mixing (tracks 1, 6, 9, 13–14, 16–17)
* Mark Camins – mixing (track 3)
* Jay Burnett – mixing (track 3)
* Chris Lord-Alge – mixing (tracks 2, 4–5, 10)
* Jim Scott – mixing (tracks 8, 12, 15)
* David Leonard – mixing (track 11)
* Michael Frondelli – mixing (track 7)
* Vartan – art direction
* Sunja Park – design
* Georganne Deen – cover art, logo

## InfoBox

| Best O' Boingo | |
| --- | --- |
|  | |
| Greatest hits album by Oingo Boingo | |
| Released | September 17, 1991 |
| Recorded | 1984–1990 |
| Genre |  |
| Length | 76:51 |
| Label | MCA |
| Producer | Danny Elfman, Steve Bartek, John Avila, Paul Ratajczak |
| Oingo Boingo chronology | |
| *Stay*
(1990) ***Best O' Boingo***
(1991) *Boingo*
(1994) | |


title: Best response

abstract: In game theory, the best response is the strategy which produces the most favorable outcome for a player, taking other players' strategies as given. The concept of a best response is central to John Nash's best-known contribution, the Nash equilibrium, the point at which each player in a game has selected the best response to the other players' strategies.

text:
# Best response

In game theory, the **best response** is the strategy (or strategies) which produces the most favorable outcome for a player, taking other players' strategies as given. The concept of a best response is central to John Nash's best-known contribution, the Nash equilibrium, the point at which each player in a game has selected the best response (or one of the best responses) to the other players' strategies.

## Correspondence

**Reaction correspondences**, also known as best response correspondences, are used in the proof of the existence of mixed strategy Nash equilibria. Reaction correspondences are not "reaction functions" since functions must only have one value per argument, and many reaction correspondences will be undefined, i.e., a vertical line, for some opponent strategy choice. One constructs a correspondence *b*(·), for each player from the set of opponent strategy profiles into the set of the player's strategies. So, for any given set of opponent's strategies σ−i, *bi*(*σ−i*) represents player i's best responses to σ−i.

Response correspondences for all 2 × 2 normal form games can be drawn with a line for each player in a unit square strategy space. Figures 1 to 3 graphs the best response correspondences for the stag hunt game. The dotted line in Figure 1 shows the optimal probability that player Y plays 'Stag' (in the y-axis), as a function of the probability that player X plays Stag (shown in the x-axis). In Figure 2 the dotted line shows the optimal probability that player X plays 'Stag' (shown in the x-axis), as a function of the probability that player Y plays Stag (shown in the y-axis). Note that Figure 2 plots the independent and response variables in the opposite axes to those normally used, so that it may be superimposed onto the previous graph, to show the Nash equilibria at the points where the two player's best responses agree in Figure 3.

There are three distinctive reaction correspondence shapes, one for each of the three types of symmetric 2 × 2 games: coordination games, discoordination games, and games with dominated strategies (the trivial fourth case in which payoffs are always equal for both moves is not really a game theoretical problem). Any payoff symmetric 2 × 2 game will take one of these three forms.

### Coordination games

Games in which players score highest when both players choose the same strategy, such as the stag hunt and battle of the sexes, are called coordination games. These games have reaction correspondences of the same shape as Figure 3, where there is one Nash equilibrium in the bottom left corner, another in the top right, and a mixing Nash somewhere along the diagonal between the other two.

### Anti-coordination games

Games such as the game of chicken and hawk-dove game in which players score highest when they choose opposite strategies, i.e., discoordinate, are called anti-coordination games. They have reaction correspondences (Figure 4) that cross in the opposite direction to coordination games, with three Nash equilibria, one in each of the top left and bottom right corners, where one player chooses one strategy, the other player chooses the opposite strategy. The third Nash equilibrium is a mixed strategy which lies along the diagonal from the bottom left to top right corners. If the players do not know which one of them is which, then the mixed Nash is an evolutionarily stable strategy (ESS), as play is confined to the bottom left to top right diagonal line. Otherwise an uncorrelated asymmetry is said to exist, and the corner Nash equilibria are ESSes.

### Games with dominated strategies

Games with dominated strategies have reaction correspondences which only cross at one point, which will be in either the bottom left, or top right corner in payoff symmetric 2 × 2 games. For instance, in the single-play prisoner's dilemma, the "Cooperate" move is not optimal for any probability of opponent Cooperation. Figure 5 shows the reaction correspondence for such a game, where the dimensions are "Probability play Cooperate", the Nash equilibrium is in the lower left corner where neither player plays Cooperate. If the dimensions were defined as "Probability play Defect", then both players best response curves would be 1 for all opponent strategy probabilities and the reaction correspondences would cross (and form a Nash equilibrium) at the top right corner.

### Other (payoff asymmetric) games

A wider range of reaction correspondences shapes is possible in 2 × 2 games with payoff asymmetries. For each player there are five possible best response shapes, shown in Figure 6. From left to right these are: dominated strategy (always play 2), dominated strategy (always play 1), rising (play strategy 2 if probability that the other player plays 2 is above threshold), falling (play strategy 1 if probability that the other player plays 2 is above threshold), and indifferent (both strategies play equally well under all conditions).

While there are only four possible types of payoff symmetric 2 × 2 games (of which one is trivial), the five different best response curves per player allow for a larger number of payoff asymmetric game types. Many of these are not truly different from each other. The dimensions may be redefined (exchange names of strategies 1 and 2) to produce symmetrical games which are logically identical.

### Matching pennies

One well-known game with payoff asymmetries is the matching pennies game. In this game one player, the row player (graphed on the y dimension) wins if the players coordinate (both choose heads or both choose tails) while the other player, the column player (shown in the x-axis) wins if the players discoordinate. Player Y's reaction correspondence is that of a coordination game, while that of player X is a discoordination game. The only Nash equilibrium is the combination of mixed strategies where both players independently choose heads and tails with probability 0.5 each.

## Dynamics

In evolutionary game theory, **best response dynamics** represents a class of strategy updating rules, where players strategies in the next round are determined by their best responses to some subset of the population. Some examples include:

* In a large population model, players choose their next action probabilistically based on which strategies are best responses to the population as a whole.
* In a spatial model, players choose (in the next round) the action that is the best response to all of their neighbors.

Importantly, in these models players only choose the best response on the next round that would give them the highest payoff *on the next round*. Players do not consider the effect that choosing a strategy on the next round would have on future play in the game. This constraint results in the dynamical rule often being called **myopic best response**.

In the theory of potential games, **best response dynamics** refers to a way of finding a Nash equilibrium by computing the best response for every player:

**Theorem**  In any finite potential game, best response dynamics always converge to a Nash equilibrium.

## Smoothed

Instead of best response correspondences, some models use **smoothed best response functions**. These functions are similar to the best response correspondence, except that the function does not "jump" from one pure strategy to another. The difference is illustrated in Figure 8, where black represents the best response correspondence and the other colors each represent different smoothed best response functions. In standard best response correspondences, even the slightest benefit to one action will result in the individual playing that action with probability 1. In smoothed best response as the difference between two actions decreases the individual's play approaches 50:50.

There are many functions that represent smoothed best response functions. The functions illustrated here are several variations on the following function:

$\frac {e^{E(1)/\gamma }{e^{E(1)/\gamma }+e^{E(2)/\gamma }}}$

where *E*(*x*) represents the expected payoff of action x, and γ is a parameter that determines the degree to which the function deviates from the true best response (a larger γ implies that the player is more likely to make 'mistakes').

There are several advantages to using smoothed best response, both theoretical and empirical. First, it is consistent with psychological experiments; when individuals are roughly indifferent between two actions they appear to choose more or less at random. Second, the play of individuals is uniquely determined in all cases, since it is a correspondence that is also a function. Finally, using smoothed best response with some learning rules (as in Fictitious play) can result in players learning to play mixed strategy Nash equilibria.

### Bibliography

* Ellison, G. (1993), "Learning, Local Interaction, and Coordination" (PDF), *Econometrica*, **61** (5): 1047–1071, doi:10.2307/2951493, JSTOR 2951493
* Fudenberg, D.; Levine, David K. (1998), *The Theory of Learning in Games*, Cambridge, Massachusetts: MIT Press
* Fudenberg, Drew; Tirole, Jean (1991), *Game Theory*, Cambridge, Massachusetts: MIT Press, ISBN 9780262061414 Book preview.
* Gibbons, R. (1992), *A Primer in Game Theory*, Harvester-Wheatsheaf, S2CID 10248389
* Nash, John F. (1950), "Equilibrium points in *n*-person games", *Proceedings of the National Academy of Sciences of the United States of America*, **36** (1): 48–49, Bibcode:1950PNAS...36...48N, doi:10.1073/pnas.36.1.48, PMC 1063129, PMID 16588946
* Nisan, N.; Roughgarden, T.; Tardos, É.; Vazirani, V. V. (2007), *Algorithmic Game Theory* (PDF), New York: Cambridge University Press
* Osborne, M. J.; Rubinstein, Ariel (1994), *A Course in Game Theory*, Cambridge, Massachusetts: MIT Press
* Young, H. P. (2005), *Strategic Learning and Its Limits*, Oxford University Press


title: Best value procurement

abstract: Best value procurement (BVP) is a procurement method that looks at factors other than only price, such as quality and expertise, when selecting vendors or contractors. In a best value system, the value of procured goods or services can be simply described as a comparison of costs and benefits. A contractor or vendor is thus selected through a process of researching the vendors or contractors before a detailed project plan is made. Although BVP is a new procurement method, it does build on procuring and tendering according to the MEAT principle. The principle enables the contracting authority to take account of criteria that reflect qualitative, technical and sustainable aspects of the tender submission as well as price when reaching an award decision. The BVP approach is based on the conviction that minimizing risks or eliminating risks when allocated information is effectively used for a proper choice. This means the more information that is available and the better it is utilized, the better the future can be predicted and the fewer decisions or risks have to be made. BVP is based upon natural law. Rather than changing and manipulating people, one can understand the nature of transactions which then can be anticipated on using expertise to a maximum, with minimum risks and maximum value as a result. Typically values are assigned to factors such as price, past performance, schedule, and vision. These values are tabulated for each potential vendor or contractor and one will come out on top.

text:
# Best value procurement

**Best value procurement** (**BVP**) is a procurement method that looks at factors other than only price, such as quality and expertise, when selecting vendors or contractors.

In a best value system, the *value* of procured goods or services can be simply described as a comparison of costs and benefits. A contractor or vendor is thus selected through a process of researching the vendors or contractors before a detailed project plan is made.

Although BVP is a new procurement method, it does build on procuring and tendering according to the MEAT principle (most economically advantageous tender). The principle enables the contracting authority to take account of criteria that reflect qualitative, technical and sustainable aspects of the tender submission as well as price when reaching an award decision.

The BVP approach is based on the conviction that minimizing risks or eliminating risks when allocated information is effectively used for a proper choice. This means the more information that is available and the better it is utilized, the better the future can be predicted and the fewer decisions or risks have to be made.

BVP is based upon natural law. Rather than changing and manipulating people, one can understand the nature of transactions which then can be anticipated on using expertise to a maximum, with minimum risks and maximum value as a result.

Typically values are assigned to factors such as price, past performance, schedule, and vision.

These values are tabulated for each potential vendor or contractor and one will come out on top.

## Benefits of BVP

This system is claimed to be beneficial because it needs less decision-making, prepares for the future, and minimizes risk. Even if risks occur, they can be effectively controlled or managed.

One of the most important aspects of best value procurement is looking at past performance. It has a vision and method for procuring and tendering in which the main focus is not price, but the performance of market parties.

If a client is looking to build a five million dollar building, it is important to see if potential vendors have completed projects on such a scale. This will prevent clients from selecting vendors based on a low bid.

Best value procurement is allowed for US federal government projects under the Federal Acquisition Regulation and 10 USC § 2304.

## Uses of BVP Around the World

The BVP system was developed in the United States. This system has been practiced in many projects in the US as well as in other countries, such as the United Kingdom and the Netherlands.

In the Netherlands, BVP is known as "prestatie inkoop," which translates as "performance procurement."

## Choosing factors for BVP

The process of choosing the factors to guide procurement toward best value has three stages: identifying the possibilities, choosing relevant factors, and assigning values, or "weights".

vbpcommunity.eu


title: Road Safety Act 2006

abstract:
The Road Safety Act 2006 is an Act of the Parliament of the United Kingdom. The provisions contained in the Act are designed to improve road safety and help achieve casualty reduction targets. The Government’s strategy for improving road safety was set out in the framework paper "Tomorrow's Roads – safer for everyone". The aim is to improve road safety and achieve casualty reduction targets of 40% of those killed and seriously injured and 50% reduction for children by 2010. The Act creates a new criminal offence of causing death by careless, or inconsiderate, driving. This offence was introduced because of public concern about deaths on the roads and the minimal sentence allowed under the law as it was before the introduction of the Act. A person can now be sentenced summarily to 12 months or 6 months or a fine both or on indictment to 5 years or a fine or both. The Act also increased the penalty for use of a hand-held mobile phone or similar device. Section 26 provides for an obligatory endorsement for the offence. The provisions of the Act cover:
  - Drink driving
  - Speeding
  - New offences
  - Penalties and enforcement
  - Driver training
  - Driver fatigue
  - Driver and vehicle licensing
  - Motor insurance

text:
# Road Safety Act 2006

The **Road Safety Act 2006** (c 49) is an Act of the Parliament of the United Kingdom. The provisions contained in the Act are designed to improve road safety and help achieve casualty reduction targets. The Government’s strategy for improving road safety was set out in the framework paper "Tomorrow's Roads – safer for everyone". The aim is to improve road safety and achieve casualty reduction targets of 40% of those killed and seriously injured and 50% reduction for children by 2010.

The Act creates a new criminal offence of causing death by careless, or inconsiderate, driving. This offence was introduced because of public concern about deaths on the roads and the minimal sentence allowed under the law as it was before the introduction of the Act. A person can now be sentenced summarily to 12 months (in England and Wales) or 6 months or a fine both or on indictment to 5 years or a fine or both. The Act also increased the penalty for use of a hand-held mobile phone or similar device. Section 26 provides for an obligatory endorsement (with disqualification at the court's discretion) for the offence.

The provisions of the Act cover:

* Drink driving
* Speeding
* New offences
* Penalties and enforcement
* Driver training
* Driver fatigue
* Driver and vehicle licensing
* Motor insurance

## Section 61 - Commencement

The following orders have been made under this section:

## InfoBox

Road Safety Act 2006
| Parliament of the United Kingdom | |
| --- | --- |
| Long title | An Act to make provision about road traffic, registration plates, vehicle and driver information, hackney carriages and private hire vehicles, and trunk road picnic areas. |
| Citation | 2006 c 49 |
| Dates | |
| Royal assent | 8 November 2006 |
| History of passage through Parliament | |
| Text of statute as originally enacted | |
| Revised text of statute as amended | |


title: Ripiphorinae

abstract: Ripiphorinae is a subfamily of wedge-shaped beetles in the family Ripiphoridae. There are at least 2 genera and 40 described species in Ripiphorinae.

text:
# Ripiphorinae

**Ripiphorinae** is a subfamily of wedge-shaped beetles in the family Ripiphoridae. There are at least 2 genera and 40 described species in Ripiphorinae.

## Genera

These two genera belong to the subfamily Ripiphorinae:

Data sources: i = ITIS, c = Catalogue of Life, g = GBIF, b = Bugguide.net

## Further reading

## InfoBox

| Ripiphorinae | |
| --- | --- |
|  | |
| *Macrosiagon cruenta* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Ripiphoridae |
| Subfamily: | Ripiphorinae<br>Gemminger & Harold, 1870 |
|


title: Ripiphorus diadasiae

abstract: Ripiphorus diadasiae is a species of wedge-shaped beetle in the family Ripiphoridae. It is found in North America.

text:
# Ripiphorus diadasiae

***Ripiphorus diadasiae*** is a species of wedge-shaped beetle in the family Ripiphoridae. It is found in North America.

## Further reading

* Lobl, I.; Smetana, A., eds. (2013). *Catalogue of Palaearctic Coleoptera, Volume 5: Tenebrionoidea*. Apollo Books. ISBN 978-90-04-26090-0.

## InfoBox

| *Ripiphorus diadasiae* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Ripiphoridae |
| Genus: | *Ripiphorus* |
| Species: | ***R. diadasiae*** |
| Binomial name | |
| ***Ripiphorus diadasiae***<br>Linsley & MacSwain, 1950 | |
|
| Synonyms | |
| * *Rhipiphorus diadasiae*  Linsley and MacSwain, 1950 | |


title: Bess Houdini

abstract: Wilhelmina Beatrice "Bess" Houdini was an American stage assistant and wife of Harry Houdini.

text:
# Bess Houdini

**Wilhelmina Beatrice** "**Bess**" **Houdini** (née **Rahner**; January 23, 1876 – February 11, 1943) was an American stage assistant and wife of Harry Houdini.

## Biography

Wilhelmina Beatrice Rahner was born in Brooklyn, New York (before New York City was consolidated), in 1876 to German immigrants Gebhard Rahner (a cabinet maker) and Balbina Rahner (née Bugel).

Bess was working at Coney Island in a song and dance act called The Floral Sisters when she was first courted by Houdini's younger brother, Theo (a.k.a. Theodore Hardeen). But it was the older Houdini brother, Harry, that she fell in love with and married on June 22, 1894. The pair worked as The Houdinis for several years before Houdini hit it big as The Handcuff King. But he and Bess continued to occasionally perform their signature trick, Metamorphosis, throughout his career. Bess also looked after their menagerie of pets, collected dolls, and made the costumes for Houdini's full evening roadshow. The Houdinis remained childless throughout their marriage. Bess's niece, Marie Hinson Blood, said Bess suffered from a medical condition that prevented her from having children.

After Houdini died on October 31, 1926, Bess opened a tea house in New York, and briefly performed a vaudeville act in which she froze a man in ice.

She moved to Inwood, Manhattan, and would try to contact Harry during seances, with a code that only the two of them knew about, to be sure that the spirit medium was not a fraud. The code was: "Rosabelle – answer – tell – pray answer – look – tell – answer answer – tell."

"Rosabelle" was the name of the song Bess sang in her act when they first met, and the word was also inscribed inside her wedding band. The other words correspond to elements of the secret spelling code they had devised to pass information during a mentalism act, with suitable pauses between cues. Each word or word pair equals a letter: A (or 1) was represented by PRAY, B (2) by ANSWER, C (3) by SAY, D by NOW, E by TELL, F by PLEASE, G by SPEAK, H by QUICKLY, I by LOOK and J (number 10, or 0 in combination) by BE QUICK. So the word "answer" on its own indicated "B", while the 22nd letter of the alphabet ("V") was represented by "answer answer". Hence the Houdinis' secret phrase spelled out the word "BELIEVE".

In the 1930s she moved to Hollywood, California, and worked to promote Houdini's memory along with her manager and partner, Edward Saint. On Halloween 1936, Bess and Saint conducted a "Final Houdini Séance" on the roof of the Knickerbocker Hotel in Hollywood. At the conclusion of the failed séance, beside a photograph of Houdini, she put out the candle that was said to have burned for ten years. In 1943 she said "ten years \[was\] long enough to wait for any man."

After the 1936 séance, Bess asked Walter B. Gibson—writer of the mystery series *The Shadow* and a friend, confidant, publicist and ghostwriter for Houdini—to carry on the yearly tribute. He held them for many years at New York's Magic Towne House with such magical notables as Houdini biographer Milbourne Christopher. Before he died, Gibson passed on the tradition to Dorothy Dietrich.

Bess Houdini died from a heart attack on February 11, 1943, while in Needles, California, aboard an eastbound train traveling from Los Angeles to New York City. She was 67 years old. Her family would not allow her to be interred with her late husband at the Machpelah Cemetery in Queens, New York, as she had been raised a Roman Catholic and he was a Jew. She is interred instead at Gate of Heaven Cemetery in Hawthorne, New York.

### In film

Bess Houdini appeared as herself in the 1938 film *Religious Racketeers* (a.k.a. *Mystic Circle Murder*) directed by Frank O'Conner and produced by Fanchon Royer. In the film, she expressed her belief that communication with those who have died is impossible. The film sparked controversy among spiritualists, but was praised by magicians. It was released on DVD in 2006 by Alpha Video.

Bess has been portrayed in film by Janet Leigh (*Houdini*, 1953), Sally Struthers (*The Great Houdini*, 1976), Stacy Edwards (*Houdini*, 1998), and Kristen Connolly (*Houdini*, 2014). On stage, she has been played by Judith Bruce (*Man of Magic*, 1966), Viviane Thomas (*Houdini – A Circus Opera*, 1979), Kim Lores (*The Great Houdini*, 1999), and Evanna Lynch ("Houdini", 2013).

### In music

The Kate Bush song "Houdini" from her 1982 album *The Dreaming* is about the story of Bess Houdini and her attempts to communicate with her deceased husband Harry.

The My Chemical Romance song "This Is How I Disappear" was inspired by the séance performed by Houdini to contact her dead husband, Harry.

Bálint Varga and Lia Barcellona Tamborra's 2020 album musical/audiobook *d'Illusion: The Houdini Musical* depicts Harry and Bess's relationship as part of the plot. She is portrayed by Quiana Holmes.

## InfoBox

| Bess Houdini | |
| --- | --- |
| Houdini in the early 1900s | |
| Born | Wilhelmina Beatrice Rahner
(1876-01-23)January 23, 1876
Brooklyn, New York, U.S. |
| Died | February 11, 1943(1943-02-11) (aged 67)
Needles, California, U.S. |
| Resting place | Gate of Heaven Cemetery, Hawthorne, New York, U.S. |
| Spouse | Harry Houdini  (m. 1894; died 1926) |


title: Betsileo sportive lemur

abstract: The Betsileo sportive lemur is a sportive lemur endemic to Madagascar. Like all members of its genus, it is nocturnal and largely folivorous. It is threatened by habitat loss.

text:
# Betsileo sportive lemur

The **Betsileo sportive lemur** (***Lepilemur betsileo***) is a sportive lemur endemic to Madagascar. Like all members of its genus, it is nocturnal and largely folivorous. It is threatened by habitat loss.

## Taxonomy and phylogenetics

The Betsileo sportive lemur was described in 2006 based on genetic samples and morphometrics collected in 2000 and 2004. The specific epithet *betsileo* is in reference to the Betsileo people. Genetic analyses show that the Betsileo sportive lemur is a sister species to James' sportive lemur.

## Description

The Betsileo sportive lemur is predominantly grayish to reddish-brown, with the back darker than the underside. The tail is black, contrasting sharply with the rest of the body. The lower face below the mouth is white, while the rest of the face is gray. The fur in the ear auricle is light and bordered by dark hairs along the outer edge.

The species is relatively large. The head-body length measures 25 cm and the tail length is 28 cm, which combined together gives a total length of 53 cm. It weighs 1.1-1.2 kg.

## Distribution and habitat

The Betsileo sportive lemur is only known from the Fandriana region of central-eastern Madagascar. While the northern and southern limits of its range have yet to be identified, they are suspected to be the Mangoro/Onive and Namorona rivers, respectively. Using niche modeling, a 2018 study estimated the species to occupy 1,167 km2 and have a population size of approximately 2,315 individuals. Within its range, it inhabits rainforests.

## Threats and conservation

The main threats to the Betsileo sportive lemur is habitat loss due to agricultural practices, use and modification of biological resources, and unsustainable levels of hunting. The only protected area in which it is known to be present is the Bemosary Classified Forest in the Fandriana-Vondrozo Corridor.

## InfoBox

| Betsileo sportive lemur | |
| --- | --- |
| Conservation status | |
|
Endangered  (IUCN 3.1) | |
| CITES Appendix I (CITES) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Mammalia |
| Order: | Primates |
| Suborder: | Strepsirrhini |
| Family: | Lepilemuridae |
| Genus: | *Lepilemur* |
| Species: | ***L. betsileo*** |
| Binomial name | |
| ***Lepilemur betsileo***
Louis *et al.*., 2006 | |
|
|  | |
| Distribution of *L. betsileo* | |