title: The Homosexualization of America

abstract: The Homosexualization of America, The Americanization of the Homosexual is a 1982 book about LGBT rights in the United States by the gay rights activist Dennis Altman, in which the author discusses the emergence of gay people as a minority group. The book received positive reviews, crediting Altman with providing a useful discussion of gay people in the United States.

text:
# The Homosexualization of America

***The Homosexualization of America, The Americanization of the Homosexual*** is a 1982 book about LGBT rights in the United States by the gay rights activist Dennis Altman, in which the author discusses the emergence of gay people as a minority group. The book received positive reviews, crediting Altman with providing a useful discussion of gay people in the United States.

## Summary

Altman discusses the increased visibility of gay people in the United States and conflicts over gay rights issues there, basing his account partly on his visits to the country. His two major themes are, "the emergence of homosexuals as a new minority with our own culture, life style, political movement, and claim to legitimacy, and the impact of this minority on the broader society." He argues that gay people have come to see themselves as being similar to an ethnic group and to "claim recognition on the basis of this analogy", and that the United States is being "homosexualized", a process that involves, "the adoption of styles and fashions associated with an increasingly visible and assertive gay minority" and is "changing American society in important ways", such as the gentrification of some urban areas. He identifies Karl Marx and Sigmund Freud as influences, arguing that while is not necessary to adopt all of their views, Marx's ideas are essential to discussing social change and that Freud's ideas are essential to discussing human sexuality.

He writes that by the beginning of the 1980s, some gay men had abandoned the "effeminate style" that had previously characterized gay men and adopted a style involving "a theatrically masculine appearance: denim, leather, and the ubiquitous key rings dangling from the belt." He sees this style as typified by the "super-macho image" of the Village People. He addresses the way homosexuality has been dealt with by newspapers and the film industry. He writes that the American film industry has "had the most difficulty coming to terms with homosexuality" of all media in the United States, and that it usually depicts gay people as either villains or victims. He discusses films, such as *Windows* (1980), *Cruising* (1980), *Fame* (1980), *Making Love* (1982), *Personal Best* (1982), and *Partners* (1982), with gay themes. He discusses books dealing with homosexuality such as the psychologist Alan P. Bell and the sociologist Martin S. Weinberg's *Homosexualities* (1978) and Bell *et al.*′s *Sexual Preference* (1981), offering criticisms of both works. He also includes a chapter-length discussion of, "Sexual Freedom and the End of Romance".

## Publication history

*The Homosexualization of America, The Americanization of the Homosexual* was first published by St. Martin's Press in 1982. It was published in a paperback edition by Beacon Press in 1983 as *The Homosexualization of America*.

## Reception

### Mainstream media

*The Homosexualization of America* received positive reviews from David L. Keyes in *Library Journal* and from *Kirkus Reviews*.

Keyes credited Altman with providing "an excellent synthesis of a wide variety of gay/lesbian issues in a satisfying blend of research and personal experience", and with showing that gay people in the United States have adapted the political process to their advantage by focusing on lobbying for civil rights, and that American society has undergone a change in its sexual behavior and values.

*Kirkus Reviews* wrote that the book was a "discerning account of the coming of age of the gay community (with lesser attention to lesbian women)". It expressed doubt about Altman's view that gay people are "pioneers in human relationships", but considered his bibliography "invaluable for the writings of the last decade" and credited him with covering "difficult ground with intelligence and care."

### Gay media

*The Homosexualization of America* received a positive review from the gay rights activist Ken Popert in *The Body Politic*. The book was also reviewed by the critic Felice Picano in the *New York Native* and by *The Advocate*.

Popert considered the book a sophisticated discussion of gay rights. He credited Altman with providing a clear and straightforward account of the meaning of homosexuality, and analyzing "the way in which the conditions which allow the gay movement to advance also impose limitations on it." Though he noted that Altman's views on this topic were not original, he believed that Altman had performed a useful task by "assembling them in a coherent and popular form" for a "large audience for whom they will be novel, challenging and even unsettling." He praised Altman's chapter on "Sexual Freedom and the End of Romance", calling it the most engaging part of the book, and described the book as a whole as, "very much the product of a mature community, sure of itself, capable of self-criticism, confident of its place in history, and infused with an appropriate sense of mystery and destiny." However, he expressed some minor reservations about Altman's work. He called its title "quirky" and suggested that it might have been chosen to appeal to the "ethnocentric" American market, and also found that Altman sometimes diverted attention from his arguments through excessive citations or digressions.

### Academic journals

*The Homosexualization of America* was discussed by Rhonda R. Rivera in *University of Pennsylvania Law Review*. Rivera credited Altman with discussing the "creation of a homosexual minority" with reference to economic and social factors.

### Other evaluations

The social theorist Jonathan Dollimore argued that *The Homosexualization of America* suggested that "because the prevailing order in some sense requires the denigration of homosexuality" it is not possible for "gay culture to be integrated into the dominant culture" or be accepted by it. Though questioning the historical accuracy of some of Altman's claims, he also credited him with correctly implying that "the negation of desire and the negation of difference are in practice often inseparable". The gay rights activist Will Roscoe argued that Altman was mistaken to maintain that the "minority model of Gay identity and community" is a "new form of social control." He dismissed Altman's advocacy of "universal androgyny and bisexuality" as a "political dead-end."

Altman wrote that *The Homosexualization of America* represented "the high point of my obsession with the gay world of the United States". He recalled that it "barely reached shops in Australia." Altman also recalled that it resulted from his "infatuation with New York and the new gay culture that seemed to be sweeping aside all other ways of being homosexual" and that an editor dismissed his proposal for the book because he "used the Village People as an emblem of how gay styles were changing." He summarized his argument in *The Homosexualization of America* as being that, "normality itself was being remade by the new gay affirmation, which in turn reflected the larger shifts being brought about by new social and economic forces that were shaking up old assumptions around sexuality and gender, most evident in the dramatic opening up of career possibilities for women." The political commentator Andrew Sullivan described *The Homosexualization of America* as, "A pre-AIDS defense of the religious right's nightmare: a culture in which monogamy is not expected in relationships." However, he added that Altman, "describes gay male culture before same-sex marriage became an imaginable option."

Daniel C. Mattson wrote that Altman took an "essentialist" view of homosexuality, something Mattson found a logical consequence of the gay rights movement's objective of "convincing society that homosexuality is as inherent and essential an aspect of man's nature as his skin color and ethnicity."

### Bibliography

Books   Journals   Online articles

## InfoBox

The Homosexualization of America, The Americanization of the Homosexual
| Cover of the first edition | |
| --- | --- |
| Author | Dennis Altman |
| Language | English |
| Subject | LGBT rights in the United States |
| Publisher | St. Martin's Press |
| Publication date | 1982 |
| Publication place | United States |
| Media type | Print (Hardcover and Paperback) |
| Pages | 246 |
| ISBN | 0-8070-4143-2 |


title: Habib Youssouf

abstract: Habib Youssouf is a Comorian footballer who currently plays as a defender for Volcan Club de Moroni. At the youth level he played in the 2016 COSAFA U-20 Cup, scoring against Mozambique.

text:
# Habib Youssouf

**Habib Youssouf** (born 19 February 1998) is a Comorian footballer who currently plays as a defender for Volcan Club de Moroni.

At the youth level he played in the 2016 COSAFA U-20 Cup, scoring against Mozambique.

## Career statistics

### Club

*As of 21 May 2018.*

| Club | Season | League | | | Cup | | Continental | | Other | | Total | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | Division | Apps | Goals | Apps | Goals | Apps | Goals | Apps | Goals | Apps | Goals |
| Volcan Club de Moroni | 2017 | Comoros Premier League | ? | ? | ? | ? | 2 | 0 | ? | ? | 2 | 0 |
| | 2018 | | ? | ? | ? | ? |  | | ? | ? | ? | ? |
| **Career total** | | | ? | ? | ? | ? | 2 | 0 | ? | ? | 2 | 0 |

Notes

### International

*As of matches played 21 May 2018.*

| National team | Year | Apps | Goals |
| --- | --- | --- | --- |
| Comoros | 2017 | 4 | 0 |
| | 2018 | 1 | 0 |
| Total | | 5 | 0 |

1. "FULLTIME – COSAFA U20: Mozambique 2 Comoros 2 – Group D". COSAFA. 9 December 2016. Retrieved 2 November 2020.
2. Habib Youssouf at National-Football-Teams.com

## InfoBox

Habib Youssouf
| Personal information | | | |
| --- | --- | --- | --- |
| Date of birth | (1998-02-19) 19 February 1998 | | |
| Place of birth | Iconi, Comoros | | |
| Height | 1.68 m (5 ft 6 in) | | |
| Position(s) | Defender | | |
| Team information | | | |
| Current team | Volcan Club de Moroni | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2017– | Volcan Club de Moroni |  |  |
| International career | | | |
| 2016 | Comoros U20 | 2 | (1) |
| 2017– | Comoros | 5 | (0) |
| \*Club domestic league appearances and goals, correct as of 11:44, 21 May 2018 (UTC)<br>‡ National team caps and goals, correct as of 11:44, 30 July 2018 (UTC) | | | |


title: Neurophyseta volcanalis

abstract: Neurophyseta volcanalis is a moth in the family Crambidae. It was described by William Schaus in 1920. It is found in Mexico. The wingspan is about 12 mm. The forewings are white with fine brown lines.

text:
# Neurophyseta volcanalis

***Neurophyseta volcanalis*** is a moth in the family Crambidae. It was described by William Schaus in 1920. It is found in Mexico.

The wingspan is about 12 mm. The forewings are white with fine brown lines.

## InfoBox

| *Neurophyseta volcanalis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Genus: | *Neurophyseta* |
| Species: | ***N. volcanalis*** |
| Binomial name | |
| ***Neurophyseta volcanalis***<br>Schaus, 1920 | |
|


title: Rafael Ballesteros

abstract: Rafael Ballesteros is a Spanish poet living in Málaga, Spain. He was a member of Spain's national legislature and helped draft its post-Franco constitution. Ballesteros is the author of numerous works of poetry and criticism, including the collection of poems Los dominios de la emoción which was released in 2003 by Pre-textos. He is also the founder of Editorial Veramar, a publisher of experimental literature in Spain. His poetry has been translated into French, Arabic, Romanian, English, Hungarian and Italian.

text:
# Rafael Ballesteros

**Rafael Ballesteros** (born 1938) is a Spanish poet living in Málaga, Spain. He was a member of Spain's national legislature and helped draft its post-Franco constitution. Ballesteros is the author of numerous works of poetry and criticism, including the collection of poems *Los dominios de la emoción* which was released in 2003 by Pre-textos. He is also the founder of Editorial Veramar, a publisher of experimental literature in Spain. His poetry has been translated into French, Arabic, Romanian, English, Hungarian and Italian.


title: I believe that we will win!

abstract: "I believe that we will win!" is a chant commonly performed at American sporting events. Originating in the Naval Academy Preparatory School, it became a tradition among fans and students of the United States Naval Academy, with other schools later also adapting the phrase. In 2014, the chant gained national recognition as a rallying call among United States men's national soccer team (USMNT) fans for the 2014 FIFA World Cup, becoming an unofficial motto of The American Outlaws supporters' group. The chant is a call and response interaction between two parties. It begins with one call of "I", "I believe", followed by "I believe that", and "I believe that we", before concluding with repeated shouts of "I believe that we will win!"

text:
# I believe that we will win!

"**I believe that we will win!**" is a chant commonly performed at American sporting events. Originating in the Naval Academy Preparatory School, it became a tradition among fans and students of the United States Naval Academy, with other schools later also adapting the phrase. In 2014, the chant gained national recognition as a rallying call among United States men's national soccer team (USMNT) fans for the 2014 FIFA World Cup, becoming an unofficial motto of The American Outlaws supporters' group.

The chant is a call and response interaction between two parties. It begins with one call of "I", "I believe", followed by "I believe that", and "I believe that we", before concluding with repeated shouts of "I believe that we will win!"

## History

In 1998, Naval Academy Preparatory School (NAPS) student Jay Rodriguez was assigned to create a chant to be used by his platoon and came up with "I believe that we will win!". It was first used during a NAPS basketball game against the United States Military Academy Preparatory School in Newport, Rhode Island. A year later, now a Naval Academy student, Rodriguez taught it to his classmate, cheerleader Corey Strong, who began using it during the 1999 Army–Navy Game; in the fourth quarter of the 19–9 Navy victory, Strong led the 4,000-student Brigade of Midshipmen in the chant. In 2003, the Midshipmen team showed marked improvement over their 3–30 record in the last three years; during a game against the No. 25-ranked Air Force Falcons at FedExField, Navy students began reciting the chant as the Midshipmen won 28–25. In preparation for the Army–Navy Game later that year, Navy sold T-shirts with the phrase written on them. The chant is currently performed by midshipmen in the closing stages of a victory.

The chant eventually spread to other college sports, with fans of the Utah State Aggies men's basketball team adopting its usage in 2009. The Show of San Diego State University and Harvard Crimson students also performed it during games. Fans of various soccer clubs have also recited it, including the New York Red Bulls of Major League Soccer and French team FC Nantes. During the 2016 Ryder Cup, "U-S-A!" chants by American fans interspersed with calls of "I believe that we will win!"

### United States soccer

According to Justin Brunken, co-founder of the U.S. soccer supporters' group The American Outlaws, he first heard the chant during a 2011 U.S. soccer game in Kansas City. He described it as "a chant that just grew from there and caught on and on. It resonated with the crowds across the country and became synonymous with what we believe in." It eventually became a rallying call by fans of the United States national men's soccer team (USMNT). For the 2014 FIFA World Cup, ESPN used the chant in two commercials promoting the Cup, one depicting The American Outlaws and the other featuring figures like Kevin Costner, Ice Cube and Barry Sanders. The cheer was also acknowledged by members of the USMNT, with goalkeeper Tim Howard posting it on his Twitter and receiving almost 60,000 retweets during the 2014 World Cup, Alejandro Bedoya leading FC Nantes fans in it after home games, and former captain Landon Donovan doing so prior to the 2015 FIFA Women's World Cup final. The United States women's national soccer team went on to win the Cup after defeating Japan.

During the 2015 World Cup victory parade for the United States women's national soccer team (USWNT), forward Abby Wambach led fans in a modified call of "I believe that we just won!"

### San Diego State University trademark

Strong, who was taught the chant by Rodriguez, was later stationed in San Diego and earned his Master of Business Administration at San Diego State University (SDSU). In 2011, SDSU clothing store Aztec Shops Ltd. attempted to trademark the phrase. Strong opposed the trademark, stating "everybody would be best served if they removed their attempt to trademark the cheer" and that the Naval Academy would be resisting it. In 2017, the Trademark Trial and Appeal Board rejected the trademark, saying it had been "widely used over a long period of time by various groups."

### Other sports

In 2014, Oakland Athletics fans regaled first baseman Stephen Vogt with a chant inspired by "I believe that we will win!", titled "I believe in Stephen Vogt!"

In 2018, FiveThirtyEight referenced the chant in the title of an article about American's success in recent golf tournaments.

### Non-sports usage

After the death of Osama bin Laden in 2011, the Naval Academy celebrated with Commandant Robert E. Clark II. Clark led the midshipmen in a modified chant of "I believe that we have won!"

The chant has also seen use in protest, such as during the Occupy Wall Street march in 2011. The Florida-based organization Dream Defenders adopted the phrase for protests following the 2012 killing of Trayvon Martin, used during a protest at the Florida state capital in 2012. Phil Agnew of the Dream Defenders also led the chant during the 50th anniversary of the "March on Washington for Jobs and Freedom" in 2013, leading to its nationwide prominence during Black Lives Matter protests between 2012 and 2016.

On April 13, 2020, Pitbull released a promotional single titled "I Believe That We Will Win (World Anthem)" (which samples the "I believe that we will win!" chant) in response to the COVID-19 pandemic. The song inspires those affected by the COVID-19 outbreak to lift themselves up and rise above the situation. The promotional single was premiered in full on April 12 on the virtual TrillerFest, and made its TV debut on April 13 on *Good Morning America*. An accompanying music video was also released. Pitbull is donating all proceeds from song sales, streaming, and views to COVID-19 affiliated nonprofits.


title: Polaris drinking water

abstract: Polaris was the first bottled drinking water brand in Thailand. It was originally produced by North Star Co., Ltd., founded in 1956 by American expatriate Maxine North and deputy foreign minister Rak Panyarachun. The company grew rapidly in the 1960s when the United States stationed large numbers of diplomatic and military personnel in Thailand during the Vietnam War, and expanded to become one of the largest drinking water bottlers in Asia. It dominated the market so much that the Polaris name became a genericized trademark for bottled water in Thailand. However, it encountered internal difficulties and increased competition in the 1990s, and the company, which had been listed on the Stock Exchange of Thailand in 1994, was declared bankrupt and liquidated in 2003.

text:
# Polaris drinking water

**Polaris** was the first bottled drinking water brand in Thailand. It was originally produced by **North Star Co., Ltd.**, founded in 1956 by American expatriate Maxine North and deputy foreign minister Rak Panyarachun. The company grew rapidly in the 1960s when the United States stationed large numbers of diplomatic and military personnel in Thailand during the Vietnam War, and expanded to become one of the largest drinking water bottlers in Asia. It dominated the market so much that the Polaris name became a genericized trademark for bottled water in Thailand. However, it encountered internal difficulties and increased competition in the 1990s, and the company, which had been listed on the Stock Exchange of Thailand in 1994, was declared bankrupt and liquidated in 2003.

## Early days

North Star Co., Ltd. was founded on 10 August 1956 by American expatriate Maxine North and her Thai business partner Rak Panyarachun, who was also deputy foreign minister. They had previously established Pure Gas Co., Ltd.—a carbon dioxide producer supplying soft drink manufacturers—in 1952. The gas plant had a good groundwater source for its cooling towers, which North, at the suggestion of a friend in the industry, realized could be used to introduce bottled water to the country. North says the brand name Polaris—the name of the North Star—occurred to her one night while gazing at the outside sky thinking of her late husband Robert.

The business initially found few customers. Local Thais were accustomed to collecting rainwater, which was plentiful, or boiling increasingly available tap water for drinking; bottled water was seen as a needless extravagance. An advertisement for water subscriptions placed in the *Bangkok Post* (then with 3,800 subscribers) returned only three enquiries, just one of which led to a sale. Customers—fifteen in the first month—were mostly limited to hotels, restaurants and the expatriate community.

North was unable to secure bank credit for the initial investment, and had to rely on funding from investors in the new company, in which she earned 23 percent of shares. She ordered 1,200 dozens of bottles from the Owens-Illinois Glass Company and imported machinery for the operation, which drew water from artesian wells and filtered and treated it with chlorine. The business turned out to be financially successful, making a 65 percent net profit in the first year. North noted in a 1957 interview, "Starting was a breeze, but there have been troubles since then in the general frustrations of a non-technical area."

The United States' diplomatic and military presence in Thailand increased sharply in the 1960s as Thailand became its main base of operations in the Vietnam War. This drove up demand for drinking water and greatly benefited Polaris, which had a virtual monopoly on the market. By 1971, North Star was delivering 170,000 litres (45,000 US gal) daily to customers, who numbered 7,600 in Bangkok alone.

Bottled water eventually found a market among Thai customers as the expanding urban middle class increasingly adopted a modern lifestyle. While several smaller producers also arose in response, Polaris continued to dominate the market, so much that the name Polaris became a commonly used genericized trademark for bottled water. By 1990, North Star produced 200 million litres (53M US gal) daily out of its plants in Nonthaburi, Chiang Mai and Hat Yai, making it one of the largest producers of bottled water in Asia. It also exported to Hong Kong, Australia, Malaysia, Singapore and Indonesia.

## Later days

North headed North Star for around thirty years, before handing off its management to Rodolfo U. Alvizo (a Filipino) in 1985. Under Alvizo, the company expanded and diversified in response to rising competition, most notably from beer producer Singha, who had made excursions into the bottled water market. Polaris introduced a soda water product (stepping into Singha territory), and the company also licensed the French soft drink brand Orangina for the Thai market in 1993.

The company was taken public in 1994, and was listed on the Stock Exchange of Thailand as North Star Public Company Limited (NSTAR). However, it began exhibiting management issues the same year, which worsened as the Asian financial crisis hit Thailand in 1997. The company was delisted in 1999, taken into receivership by creditors, and finally declared bankrupt on 2 October 2003, after which it was liquidated.

Polaris's exit from the bottled water market left a vacuum in which five major brands emerged to compete for market share, all operated by long-standing players in the food-and-drink business. Singha, who became the market leader after Polaris left, was joined by Crystal (produced by former Pepsi manufacturer Sermsuk), Pure Life (by Nestlé), Namthip (by Coca-Cola producer ThaiNamthip), and Chang (by ThaiBev, maker of Chang beer).

In 2015, the Polaris brand was revived under North Star International Co., Ltd., a daughter company of North Star originally set up in 1995, which had been restored to the register. However, the company soon went quiet, and failed to submit financial statements to the Department of Business Development from 2016 onwards.


title: Vidya Bhawan Mahila College

abstract: Vidya Bhawan Mahila College is a degree college in Siwan, Bihar, India. It is a constituent unit of Jai Prakash University. The college offers intermediate and three years degree course (TDC) in arts.

text:
# Vidya Bhawan Mahila College

**Vidya Bhawan Mahila College** is a degree college in Siwan, Bihar, India. It is a constituent unit of Jai Prakash University. The college offers intermediate and three years degree course (TDC) in arts.

## History

The college was established in the year 1977.

## Departments

## InfoBox

Vidya Bhawan Mahila College
| विद्या भवन महिला महाविद्यालय | |
| --- | --- |
| Type | Undergraduate Public College |
| Established | 1977 (1977) |
| Location | Siwan, Bihar, 841301 |
| Language | Hindi |


title: Oregon Citizens Alliance

abstract: The Oregon Citizens Alliance (OCA) was a conservative Christian political activist organization, founded by Lon Mabon in the U.S. state of Oregon. It was founded in 1986 as a vehicle to challenge then–U.S. Senator Bob Packwood in the Republican primaries, and was involved in Oregon politics from the late 1980s into the 1990s.

text:
# Oregon Citizens Alliance

The **Oregon Citizens Alliance** (**OCA**) was a conservative Christian political activist organization, founded by Lon Mabon in the U.S. state of Oregon. It was founded in 1986 as a vehicle to challenge then–U.S. Senator Bob Packwood in the Republican primaries, and was involved in Oregon politics from the late 1980s into the 1990s.

## Legislative activism

In 1988 the group sponsored Measure 8, an initiative that repealed Governor Neil Goldschmidt's executive order banning discrimination based on sexual orientation in the executive branch of state government. The measure not only repealed the executive order, but also put a statute on the books that prohibited any job protection for gay people in state government. The measure was approved by the voters, 52.7 percent to 47.3 percent. It was the OCA's only statewide victory.

Afterwards, the OCA turned its attention to abortion. It placed Measure 10 on the 1990 general election ballot, which would have required parental notification for a minor's abortion. The measure was defeated, 52.2 percent to 47.8 percent.

In 1992 the OCA returned to the issue of homosexuality, when it proposed Measure 9. This initiative would have amended the Oregon Constitution to prevent what the OCA called "special rights" for homosexuals and bisexuals, by adding a provision that the state "recognizes homosexuality, pedophilia, sadism and masochism as abnormal, wrong, unnatural, and perverse." The ballot measure was defeated, 56 percent to 44 percent. That same year, the Oregon Court of Appeals declared Measure 8 unconstitutional. As a result, the OCA's only statewide victory was nullified.

The OCA promoted similar measures at the local level, both before and after the 1992 election, but those measures were ultimately invalidated by the Oregon Legislative Assembly. It also promoted similar statewide measures with language softer than that of Measure 9. These included Measures 13 and 19 in 1994, and Measure 9 (sometimes referred to as "Son of 9") in 2000.

The organized opposition to 1992's Measure 9 formed the basis of much of the current LGBT rights movement in Oregon, including the organization Basic Rights Oregon.

## Local efforts

After failing to pass Measure 9 in 1992, the OCA turned its attention to passing anti-discrimination bans at the county and municipal level. Couching the debate in terms of forbidding LGBT people from receiving so-called "special rights," the OCA sought not only to block ordinances in these communities but to bar them from spending money to "promote homosexuality." The OCA was successful in passing over two dozen initiatives. However, in 1993 the Oregon Legislative Assembly passed a law prohibiting local governments from considering LGBT rights measures so the ordinances had no legal force. The Oregon Court of Appeals upheld the state law in 1995, and the Oregon Supreme Court denied review. Two weeks after the United States Supreme Court ruled in *Romer v. Evans*, the OCA suspended its efforts for a third statewide ballot initiative.

| Election date | Locale | Measure | Outcome | | | Notes |
| --- | --- | --- | --- | --- | --- | --- |
| May 19, 1992 | Corvallis | 02-06 |  | 4,896 (36.21%) | **8,625 (63.79%)** |  |
| | Springfield | 20-08 |  | **5,929 (55.38%)** | 4,777 (44.62%) | Final official results. |
| May 18, 1993 | Cornelius | 34-5 |  | **956 (61.64%)** | 595 (38.36%) |  |
| June 29, 1993 | Canby |  |  | **1,961 (55.76%)** | 1,556 (44.24%) | Final unofficial results |
| | Junction City | 20-01 |  | **631 (50.12%)** | 628 (49.88%) | Passed by three votes.
The measure was later invalidated by a court,
but a new initiative passed March 22, 1994. |
| | Douglas Co. |  |  |  |  |  |
| | Josephine Co. |  |  | **13,048 (60.47%)** | 8,529 (39.53) | Final unofficial results |
| | Klamath Co. | 18-01 |  | **11,304 (65.87%)** | 5,856 (34.13%) |  |
| | Linn Co. |  |  | **18,197 (69.06%)** | 8,153 (30.94%) | Final unofficial results |
| September 21, 1993 | Creswell | 20-01 |  | **368 (57.86%)** | 268 (42.14%) | Final official results |
| | Estacada | 3-1 |  | **349 (54.45%)** | 292 (45.55%) | Final unofficial results |
| | Lebanon | 22-02 |  | **1,869 (65.24%)** | 996 (34.76%) | Final unofficial results |
| | Medford | 15-2 |  | **8,550 (58.48%)** | 6,070 (41.52%) | Incomplete results |
| | Molalla | 3-2 |  | **443 (54.96%)** | 363 (45.04%) | Final unofficial results |
| | Sweet Home | 22-01 |  | **1,242 (77.33%)** | 364 (22.67%) | Final unofficial results |
| | Jackson Co. | 15-1 |  | **27,621 (59.10%)** | 19,115 (40.90%) | Incomplete results |
| November 9, 1993 | Keizer |  |  | **55%** | 45% |  |
| | Oregon City |  |  | **53%** | 47% |  |
| March 22, 1994 | Albany | 22-3 |  | **5,357 (58.82%)** | 3,750 (41.18%) | Final unofficial results |
| | Junction City | 20-6 |  | **658 (56.97%)** | 497 (43.03%) | Final official results
Replaced a measure passed June 29, 1993 but invalidated in court. |
| | Marion Co. | 24-5 |  | **36,663 (60.77%)** | 23,666 (39.23%) | Final unofficial results |
| | Turner | 22-03 |  | **349 (78.96%)** | 93 (21.04%) | Final unofficial results |
| May 17, 1994 | Cottage Grove | 20-15 |  | **1158 (57.13%)** | 869 (42.87%) | Final official results |
| | Grants Pass |  |  |  |  |  |
| | Gresham | 26-4 |  | 8,035 (50.45%) | **7,891 (49.55%)** |
Charter amendments require 60%. |
| | Oakridge | 20-10 |  | **397 (51.42%)** | 375 (48.58%) | Final official results |
| | Roseburg |  |  | **65%** | 35% | Final unofficial results |
| | Veneta | 20-12 |  | **321 (55.44%)** | 258 (44.56%) | Final official results |
| November 8, 1994 | Lake Co. |  |  |  |  |  |

## Hands Off Washington

In 1993, the OCA intervened in Washington state politics by introducing two ballot measures that would have threatened the employability of persons who were, or were perceived to be, LGBT. An ad hoc grassroots movement called Hands Off Washington was organized in opposition to the measures. The Hands Off Washington campaign repelled both efforts.

## 1996 Senate race

In the 1996 U.S. Senate special election to succeed Senator Packwood, the OCA endorsed Gordon Smith over Ron Wyden in the race. Critics faulted Smith for failing to take a strong stand against the OCA, and he was defeated by Wyden. When Smith made a second run for the Senate a few months later after incumbent Mark Hatfield had retired, Mabon ran against Smith. *The Oregonian* cited Mabon's candidacy as a key component of Smith's attempt in the second race to establish himself as a centrist, contributing to his victory over Democrat Tom Bruggere.


abstract:
The individual modern pentathlon at the 1972 Summer Olympics was one of two modern pentathlon events, along with the team competition. As usual in Olympic modern pentathlon, one competition was held and each competitor's score was included to the Individual competition event results table and was also added to his teammates' scores to be included to the Team competition event results table. This competition consisted of 5 disciplines:
  - Equestrian, held on August 27
  - Fencing, held on August 28
  - Shooting, held on August 29
  - Swimming, held on August 30
  - Cross-country, held on August 31

text:
# Modern pentathlon at the 1972 Summer Olympics – Men's individual

The **individual modern pentathlon at the 1972 Summer Olympics** was one of two modern pentathlon events (both for men), along with the team competition. As usual in Olympic modern pentathlon, one competition was held and each competitor's score was included to the *Individual competition* event results table and was also added to his teammates' scores to be included to the *Team competition* event results table. This competition consisted of 5 disciplines:

* *Equestrian*, held on August 27
* *Fencing*, held on August 28
* *Shooting*, held on August 29
* *Swimming*, held on August 30
* *Cross-country*, held on August 31

## Results

| Rank | Pentathlete | Nation |  |  |  |  |  | Total |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
|  | András Balczó | Hungary | 1060 | 1057 | 956 | 1060 | 1279 | 5412 |
|  | Boris Onischenko | Soviet Union | 945 | 1076 | 1066 | 1128 | 1120 | 5335 |
|  | Pavel Lednev | Soviet Union | 1060 | 1019 | 1022 | 1092 | 1135 | 5328 |
| 4 | Jeremy Robert Fox | Great Britain | 1100 | 1019 | 868 | 1024 | 1300 | 5311 |
| 5 | Vladimir Shmelyov | Soviet Union | 920 | 962 | 1022 | 1176 | 1222 | 5302 |
| 6 | Björn Ferm | Sweden | 1100 | 943 | 978 | 1112 | 1150 | 5283 |
| 7 | Heiner Thade | West Germany | 1065 | 962 | 956 | 1012 | 1150 | 5145 |
| 8 | Risto Hurme | Finland | 950 | 981 | 1044 | 1068 | 1051 | 5094 |
| 9 | Charles Richards | United States | 1060 | 753 | 956 | 1260 | 1045 | 5074 |
| 10 | Michel Gueguen | France | 1100 | 848 | 846 | 1152 | 1126 | 5072 |
| 11 | John Fitzgerald | United States | 1090 | 848 | 868 | 1204 | 1060 | 5070 |
| 12 | Zsigmond Villányi | Hungary | 975 | 981 | 868 | 1100 | 1123 | 5047 |
| 13 | Ryszard Wach | Poland | 1100 | 715 | 956 | 1076 | 1126 | 4973 |
| 14 | Jørn Steffensen | Denmark | 1005 | 791 | 934 | 1028 | 1129 | 4887 |
| 15 | Pál Bakó | Hungary | 940 | 772 | 912 | 1120 | 1135 | 4879 |
| 16 | Mario Medda | Italy | 895 | 753 | 1088 | 1040 | 1087 | 4863 |
| 17 | Veikko Salminen | Finland | 1015 | 772 | 714 | 1216 | 1135 | 4852 |
| 18 | Wolfgang Leu | Austria | 1085 | 848 | 934 | 1012 | 973 | 4852 |
| 19 | Martti Ketelä | Finland | 1045 | 810 | 912 | 1016 | 1066 | 4849 |
| 20 | Walter Esser | West Germany | 1000 | 829 | 824 | 1080 | 1093 | 4826 |
| 21 | Janusz Pyciak-Peciak | Poland | 1070 | 905 | 560 | 1060 | 1222 | 4817 |
| 22 | Jean-Pierre Giudicelli | France | 960 | 658 | 868 | 1084 | 1237 | 4807 |
| 23 | Dumitru Spirlea | Romania | 975 | 810 | 1022 | 932 | 1015 | 4754 |
| 24 | Bo Jansson | Sweden | 1005 | 848 | 780 | 1076 | 1030 | 4739 |
| 25 | Hans-Gunnar Liljenwall | Sweden | 1020 | 867 | 670 | 1048 | 1099 | 4704 |
| 26 | Georgi Stoyanov | Bulgaria | 1100 | 734 | 890 | 944 | 1027 | 4695 |
| 27 | Hole Rößler | West Germany | 945 | 696 | 846 | 1140 | 1051 | 4678 |
| 28 | Urs Hugi | Switzerland | 1075 | 962 | 846 | 952 | 826 | 4661 |
| 29 | Scott Taylor | United States | 965 | 677 | 626 | 1100 | 1288 | 4656 |
| 30 | Raoul Gueguen | France | 930 | 772 | 824 | 1016 | 1096 | 4638 |
| 31 | Masaru Sakano | Japan | 1050 | 582 | 846 | 972 | 1177 | 4627 |
| 32 | Robert Gordon Barrie | Australia | 1030 | 544 | 912 | 1132 | 982 | 4600 |
| 33 | Yuso Makihira | Japan | 1005 | 753 | 736 | 876 | 1213 | 4583 |
| 34 | Giovanni Perugini | Italy | 1065 | 810 | 736 | 1024 | 946 | 4581 |
| 35 | Peter Zobl-Wessely | Austria | 880 | 791 | 846 | 908 | 1120 | 4545 |
| 36 | Barry Lillywhite | Great Britain | 1070 | 829 | 582 | 1052 | 994 | 4527 |
| 37 | Klaus Petersen | Denmark | 990 | 753 | 692 | 1108 | 949 | 4492 |
| 38 | Marian Cosmescu | Romania | 1045 | 658 | 824 | 996 | 967 | 4490 |
| 39 | Nicolo Deligia | Italy | 1055 | 715 | 736 | 912 | 1069 | 4487 |
| 40 | Stanislaw Skwira | Poland | 785 | 791 | 846 | 1160 | 904 | 4486 |
| 41 | Peter Neville Macken | Australia | 770 | 677 | 956 | 896 | 1150 | 4449 |
| 42 | Gilberto Toledano Sanchez | Mexico | 1090 | 772 | 670 | 908 | 988 | 4428 |
| 43 | Eduarde Olivera Lastra | Mexico | 960 | 734 | 868 | 1020 | 844 | 4426 |
| 44 | Bruno Jerebicnik | Austria | 835 | 848 | 824 | 908 | 1000 | 4415 |
| 45 | Hans Müler | Switzerland | 965 | 696 | 846 | 948 | 937 | 4392 |
| 46 | Jan Bekkenk | Netherlands | 930 | 677 | 692 | 1008 | 1084 | 4391 |
| 47 | Robert Lawson Phelps | Great Britain | 955 | 658 | 736 | 1000 | 1036 | 4385 |
| 48 | Albert Covacs | Romania | 815 | 582 | 714 | 1204 | 1066 | 4381 |
| 49 | Akira Kubo | Japan | 860 | 677 | 912 | 880 | 1042 | 4371 |
| 50 | Velko Bratanov | Bulgaria | 785 | 658 | 956 | 916 | 1024 | 4339 |
| 51 | Beat Ganz | Switzerland | 1030 | 639 | 670 | 888 | 1096 | 4323 |
| 52 | René Heitmann | Denmark | 910 | 658 | 626 | 1008 | 988 | 4190 |
| 53 | Rob Vonk | Netherlands | 870 | 506 | 692 | 1208 | 877 | 4153 |
| 54 | Scott Scheuermann | Canada | 1005 | 430 | 824 | 1044 | 769 | 4072 |
| 55 | Juan José Castilla Ramos | Mexico | 935 | 601 | 714 | 752 | 1012 | 4014 |
| 56 | Kenneth Maaten | Canada | 880 | 544 | 780 | 792 | 991 | 3987 |
| 57 | Angel Pepeliankov | Bulgaria | 1060 | 696 | 0 | 1080 | 1135 | 3971 |
| 58 | Henk Krediet | Netherlands | 985 | 867 | 802 | 0 | 1132 | 3786 |
| 59 | George Skene | Canada | 0 | 487 | 714 | 1108 | 988 | 3297 |

## InfoBox

| Men's individual modern pentathlon<br>at the Games of the XX Olympiad | |
| --- | --- |
| Dates | August 27–31 |
| Competitors | 59 from 20 nations |
| Medalists | |
| András Balczó  Hungary  Boris Onischenko  Soviet Union  Pavel Lednev  Soviet Union | |
|


title: The Handmaid's Tale (film)

abstract: The Handmaid's Tale is a 1990 dystopian film adapted from Canadian author Margaret Atwood's 1985 novel of the same name. Directed by Volker Schlöndorff, the film stars Natasha Richardson (Offred), Faye Dunaway, Robert Duvall, Aidan Quinn (Nick), and Elizabeth McGovern (Moira). The screenplay was written by playwright Harold Pinter. The original music score was composed by Ryuichi Sakamoto. The film was entered into the 40th Berlin International Film Festival. It is the first filmed adaptation of the novel, succeeded by the Hulu television series which began streaming in 2017. The film adaptation of The Handmaid's Tale faced numerous challenges in its development, with screenwriter Harold Pinter expressing dissatisfaction with the final product due to significant alterations from his original script. Pinter had contributed only part of the screenplay and ultimately gave the director and author carte blanche to make changes. He tried to have his name removed from the credits but was unsuccessful. The film's reception was mixed, with an approval rating of 30% on Rotten Tomatoes, and critics expressing uncertainty about the movie's message and themes.

text:
# The Handmaid's Tale (film)

***The Handmaid's Tale*** is a 1990 dystopian film adapted from Canadian author Margaret Atwood's 1985 novel of the same name. Directed by Volker Schlöndorff, the film stars Natasha Richardson (Offred), Faye Dunaway (Serena Joy), Robert Duvall (The Commander), Aidan Quinn (Nick), and Elizabeth McGovern (Moira). The screenplay was written by playwright Harold Pinter. The original music score was composed by Ryuichi Sakamoto. The film was entered into the 40th Berlin International Film Festival. It is the first filmed adaptation of the novel, succeeded by the Hulu television series which began streaming in 2017.

The film adaptation of *The Handmaid's Tale* faced numerous challenges in its development, with screenwriter Harold Pinter expressing dissatisfaction with the final product due to significant alterations from his original script. Pinter had contributed only part of the screenplay and ultimately gave the director and author carte blanche to make changes. He tried to have his name removed from the credits but was unsuccessful.

The film's reception was mixed, with an approval rating of 30% on Rotten Tomatoes, and critics expressing uncertainty about the movie's message and themes.

## Plot

In the near future, war rages across the Republic of Gilead (formerly the United States of America) and pollution has rendered 99% of the population sterile. Kate is a woman who attempts to emigrate to Canada with her husband Luke and daughter Jill. As they attempt to cross the border by foot on a dirt road, the Gilead Border Guard orders them to turn back or they will open fire. Luke draws their fire, telling Kate to run, and is shot. Kate is captured, while Jill wanders off into the back country, confused and unaccompanied. The authorities take Kate to a training facility with several other women, where the women are trained to become Handmaids, who are concubines for the privileged but barren couples who run the country's religious fundamentalist regime. Although she resists indoctrination into the cult of the Handmaids, which mixes Old Testament orthodoxy with scripted group chanting and ritualized violence, Kate is soon assigned to the home of "the Commander" (Fred) and his cold, inflexible wife, Serena Joy. There she is named "Offred" ("of Fred").

Her role as the Fred's latest concubine is emotionless, as she lies between Serena Joy's legs while the Commander rapes her, the couple hoping that she will bear them a child. Kate continually longs for her earlier life, but nightmares of her husband's death and her daughter's disappearance haunt her. A doctor explains that many of Gilead's male leaders are as sterile as their wives. Desperately wanting a baby, Serena Joy persuades Kate to risk the punishment for fornication (death by hanging) in order to be fertilized by another man who may impregnate her and consequently spare her life. When Kate agrees to this, Serena Joy informs Kate that her daughter Jill is alive, and provides a recent photograph of her living in another commander's household, but tells Kate she can never see her daughter. Fred also tries to get closer to Kate, sensing that if she enjoyed herself more she would become a better handmaid. Exploiting Kate's background as a librarian, he gets her hard-to-obtain items and allows her into his private library. However, during a night out, Fred has sex with Kate in an unauthorized manner. The other man selected by Serena Joy turns out to be Nick, Fred's sympathetic chauffeur. Kate grows attached to Nick and eventually becomes pregnant with his child.

Kate ultimately kills Fred, and a police unit then arrives to take her away. Believing the policemen are members of the Eyes, the government's secret police, she realizes that they are soldiers from the resistance movement (Mayday), of which Nick is also a part. Kate then flees with them, parting from Nick in an emotional scene.

Now free once again and wearing non-uniform clothes, but facing an uncertain future, a pregnant Kate is living by herself in a trailer while receiving intelligence reports from the rebels. Wondering if — and hoping that — she and Nick will be reunited, she resolves, with the rebels' help, to find her daughter.

## Cast

## Development

### Writing

According to Steven H. Gale, in his book *Sharp Cut*, "the final cut of *The Handmaid's Tale* is less a result of Pinter's script than any of his other films. He contributed only part of the screenplay: reportedly he 'abandoned writing the screenplay from exhaustion.' … Although he tried to have his name removed from the credits because he was so displeased with the movie (in 1994 he told me that this was due to the great divergences from his script that occur in the movie), … his name remains as screenwriter".

Gale observes further that "while the film was being shot, director Volker Schlöndorff", who had replaced the original director Karel Reisz, "called Pinter and asked for some changes in the script"; however, "Pinter recall\[ed\] being very tired at the time, and he suggested that Schlöndorff contact Atwood about the rewrites. He essentially gave the director and author *carte blanche* to accept whatever changes that she wanted to institute, for, as he reasoned, 'I didn't think an author would want to fuck up her own work.' … As it turned out, not only did Atwood make changes, but so did many others who were involved in the shoot". Gale points out that Pinter told his biographer Michael Billington that

> It became … a hotchpotch. The whole thing fell between several shoots. I worked with Karel Reisz on it for about a year. There are big public scenes in the story and Karel wanted to do them with thousands of people. The film company wouldn't sanction that so he withdrew. At which point, Volker Schlöndorff came into it as director. He wanted to work with me on the script, but I said I was absolutely exhausted. I more or less said, 'Do what you like. There's the script. Why not go back to the original author if you want to fiddle about?' He did go to the original author. And then the actors came into it. I left my name on the film because there was enough there to warrant it—just about. But it's not mine'.

In an essay on Pinter's screenplay for *The French Lieutenant's Woman*, in *The Films of Harold Pinter*, Gale discusses Pinter's "dissatisfaction with" the "kind of alteration" that occurs "once the script is tinkered with by others" and "it becomes collaborative to the point that it is not his product any more or that such tinkering for practical purposes removes some of the artistic element"; he adds: "Most notably *The Handmaid's Tale*, which he considered so much altered that he has refused to allow the script to be published, and *The Remains of the Day*, which he refused to allow his name to be attached to for the same reason …" (84n3).

#### Pinter's screenplay

Christopher C. Hudgins discusses further details about why "Pinter elected not to publish three of his completed filmscripts, *The Handmaid's Tale*, *The Remains of the Day* and *Lolita*," all of which Hudgins considers "masterful filmscripts" of "demonstrable superiority to the shooting scripts that were eventually used to make the films"; fortunately ("We can thank our various lucky stars"), he says, "these Pinter filmscripts are now available not only in private collections but also in the Pinter Archive at the British Library." In this essay, which he first presented as a paper at the 10th Europe Theatre Prize symposium, Pinter: Passion, Poetry, Politics, held in Turin, Italy, in March 2006, Hudgins "examin\[es\] all three unpublished filmscripts in conjunction with one another" and "provides several interesting insights about Pinter's adaptation process".

#### Richardson's views

In a retrospective account written after Natasha Richardson's death, for CanWest News Service, Jamie Portman cites Richardson's view of the difficulties involved with making Atwood's novel into a film script:

> Richardson recognized early on the difficulties in making a film out of a book which was "so much a one-woman interior monologue" and with the challenge of playing a woman unable to convey her feelings to the world about her, but who must make them evident to the audience watching the movie. … She thought the passages of voice-over narration in the original screenplay would solve the problem, but then Pinter changed his mind and Richardson felt she had been cast adrift. … "Harold Pinter has something specific against voice-overs," she said angrily 19 years ago. "Speaking as a member of an audience, I've seen voice-over and narration work very well in films a number of times, and I think it would have been helpful had it been there for The Handmaid's Tale. After all it's HER story."

Portman concludes that "In the end director Volker Schlöndorff sided with Richardson". Portman does not acknowledge Pinter's already-quoted account that he gave both Schlöndorff and Atwood *carte blanche* to make whatever changes they wanted to his script because he was too "exhausted" from the experience to work further on it. In 1990, when she reportedly made her comments quoted by Portman, Richardson herself may not have known that.

### Filming locations

The scene where the hanging occurred was filmed in front of Duke Chapel on the campus of Duke University in Durham, North Carolina. Several scenes were filmed at Saint Mary's School in Raleigh, North Carolina. ('The Staircase' was used for this film and the Patterson house as a location)

## Reception

Rotten Tomatoes reports that 7 of the 23 counted critics gave the film a positive review; the average rating was 4.9/10 and an approval rating of 30%. Roger Ebert gave the film two out of four stars and wrote that he was "not sure exactly what the movie is saying" and that by "the end of the movie we are conscious of large themes and deep thoughts, and of good intentions drifting out of focus." Owen Gleiberman, writing for *Entertainment Weekly*, gave the film a "C−" grade and commented that "visually, it's quite striking", but that it is "paranoid poppycock — just like the book". John Simon of the *National Review* called *The Handmaid's Tale* "inept and annoying".

## Works cited

## InfoBox

| The Handmaid's Tale | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Volker Schlöndorff |
| Screenplay by | Harold Pinter |
| Based on | *The Handmaid's Tale*
by Margaret Atwood |
| Produced by | Daniel Wilson |
| Starring |  |
| Cinematography | Igor Luther |
| Edited by | David Ray |
| Music by | Ryuichi Sakamoto |
| Distributed by | Cinecom Pictures |
| Release dates | * February 15, 1990 (1990-02-15) (West Germany) * March 9, 1990 (1990-03-09) (U.S.) |
| Running time | 109 minutes |
| Countries | United States
West Germany |
| Language | English |
| Box office | $4,960,385 |


title: Wandsworth Museum

abstract: Wandsworth Museum was a local museum in the London Borough of Wandsworth, southwest London, England. This community museum covered the cultural and social history of Wandsworth, especially artefacts and artworks that show contemporary and traditional skills of local people.

text:
# Wandsworth Museum

**Wandsworth Museum** was a local museum in the London Borough of Wandsworth, southwest London, England. This community museum covered the cultural and social history of Wandsworth, especially artefacts and artworks that show contemporary and traditional skills of local people.

## History

In 2007 Wandsworth Museum was suspended, attracting objectors and renewed interest in its collections including objections from the UK Museums Association.

The museum reopened in September 2010 after a three-year closure having gathered promises of £2 million of funding by local philanthropists.

It closed again in 2016, and Wandsworth Council and the Battersea Arts Collection became custodians of the collection. It was registered as a charity in 2008 until removal in 2017. The Wandsworth Museum was folded into the Battersea Arts Collection to form the BAC Moving Museum.

Battersea Arts Centre gave the collection back to Wandsworth Council in 2021 saying "*Along with many arts organisations, we lost 50% of our annual income due to the pandemic, and this period has had a significant impact on our available resources, including our ability to successfully fundraise for the Wandsworth Borough Collection.*"

## Building and exhibits

Wandsworth Museum was based at the low-rise but tall-storied Victorian stone-embellished public building  the former West Hill Reference Library  38 West Hill, Wandsworth between 2010 and 2016. The museum was a function of the local authority.

The museum displayed the history of Wandsworth and in part of the rest of the borough through the ages, with artefacts exhibited including an ornate Iron Age shield recovered from the Thames and further collections in its catalogue available for inspection. For a few years until 2014 it featured the De Morgan Centre, with exhibits of the ceramics of William De Morgan and of the paintings of Evelyn De Morgan.

51°27′26″N 0°12′02″W / 51.4571°N 0.2005°W / 51.4571; -0.2005


title: Nerita albicilla

abstract: Nerita albicilla, common name the blotched nerite, is a species of sea snail, a marine gastropod mollusk in the family Neritidae.

text:
# Nerita albicilla

***Nerita albicilla***, common name the **blotched nerite**, is a species of sea snail, a marine gastropod mollusk in the family Neritidae.

## Description

*Nerita albicilla* grows up to 4 cm; its shell surface is smooth or with slight transverse ridges; it has small pustules and four weak teeth on the columella. Its outer shell color is variegated black and white, occasionally with three conspicuous bands. The interior is white, with a pinkish-grey, granular operculum.

## Distribution

Tropical Indo-Pacific

* Aldabra
* Australia (Kalk, 1958)
* Chagos
* East Coast of South Africa
* Kenya
* Madagascar
* Mascarene Basin
* Mauritius
* Mozambique
* Red Sea
* Seychelles
* Tanzania

## Habitat

It is found on rocky cliffs, on rocks in the littoral fringe, and sometimes on mangrove trees.

## Parasites

This article incorporates CC-BY-SA-3.0 work from the reference.

* Kilburn, R.N. & Rippey, E. (1982) Sea Shells of Southern Africa. Macmillan South Africa, Johannesburg, xi + 249 pp
* Drivas, J. & Jay, M. (1987). Coquillages de La Réunion et de l'Île Maurice. Collection Les Beautés de la Nature. Delachaux et Niestlé: Neuchâtel. ISBN 2-603-00654-1. 159 pp
* Blackmore, G. (1998). The importance of feeding ecology in investigating accumulated heavy metal body burdens in Thais clavigera (Kuster) (mollusca: neogastropoda: muricidae) in Hong Kong. PhD thesis. The University of Hong Kong
* Steyn, D.G. & Lussi, M. (1998) Marine Shells of South Africa. An Illustrated Collector's Guide to Beached Shells. Ekogilde Publishers, Hartebeespoort, South Africa, ii + 264 pp.
* Jarrett, A.G. (2000) Marine Shells of the Seychelles. Carole Green Publishing, Cambridge, xiv + 149 pp. NIZT 682
* Liu, J.Y. \[Ruiyu\] (ed.). (2008). Checklist of marine biota of China seas. China Science Press. 1267 pp.
* Fowler, O. (2016). Seashells of the Kenya coast. ConchBooks: Harxheim. Pp. 1–170.

## InfoBox

| *Nerita albicilla* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Neritimorpha |
| Order: | Cycloneritida |
| Family: | Neritidae |
| Genus: | *Nerita* |
| Species: | ***N. albicilla*** |
| Binomial name | |
| ***Nerita albicilla***<br>Linnaeus, 1758 | |
|
| Synonyms | |
| * *Nerita (Theliostyla) albicilla* Linnaeus, 1758· accepted, alternate representation * *Nerita asinina* Humphrey, 1797 (unavailable name: published in a work placed on the Official Index) * *Nerita fasciata* Krauss, 1848 (unavailable: a junior homonym of *Nerita fasciata* O.F. Müller, 1774) * *Nerita imperfecta* Röding, 1798 * *Nerita ustulata* G. B. Sowerby II, 1883 * *Nerita venusta* Dunker, 1844 (junior synonym) * *Theliostyla albicilla* (Linnaeus, 1758) | |


title: Rafael Balseiro Maceira School

abstract: The Rafael Balseiro Maceira School, is located in the town of Barceloneta, Puerto Rico. The school is a reinforced concrete building with two levels, eclectic style, with L-shaped floors. It was completed in 1921. The eight-room building was designed by Adrian C. Finlayson, one of the most prolific architects of the period, and built by local contractor engineer Antonio M. Navas. The property was listed on the National Register of Historic Places on August 28, 2012.

text:
# Rafael Balseiro Maceira School

The **Rafael Balseiro Maceira School**, is located in the town of Barceloneta, Puerto Rico. The school is a reinforced concrete building with two levels, eclectic style, with L-shaped floors. It was completed in 1921. The eight-room building was designed by Adrian C. Finlayson, one of the most prolific architects of the period, and built by local contractor engineer Antonio M. Navas. The property was listed on the National Register of Historic Places on August 28, 2012.

## InfoBox

|  | |
| --- | --- |
| Maceira, Rafael Balseiro, School | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Nearest city | Barceloneta, Puerto Rico |
| Coordinates | 18°27′09″N 66°32′20″W / 18.45250°N 66.53889°W / 18.45250; -66.53889 |
| Area | 0.1 acres (0.040 ha) |
| Built | 1921 (1921) |
| Built by | Finlayson, Adrian Clark; Carmoego, Rafael; Navas, Antonio |
| Architectural style | Late 19th And Early 20th Century American Movements, Prairie School, Eclectic |
| MPS | Early Twentieth Century Schools in Puerto Rico TR |
| NRHP reference No. | 12000583 |
| Added to NRHP | August 28, 2012 |


title: Polarite

abstract: Polarite, is an opaque, yellow-white mineral with the chemical formula Pd,(Bi,Pb). Its crystals are orthorhombic pyramidal, but can only be seen through a microscope. It has a metallic luster and leaves a white streak. Polarite is rated 3.5 to 4 on the Mohs Scale. It was first described in 1969 for an occurrence in Talnakh, Norilsk in the Polar Ural Mountains in Russia. It has also been recorded from the Bushveld igneous complex of South Africa and from Fox Gulch, Goodnews Bay, Alaska.

text:
# Polarite

**Polarite**, is an opaque, yellow-white mineral with the chemical formula Pd,(Bi,Pb). Its crystals are orthorhombic pyramidal, but can only be seen through a microscope. It has a metallic luster and leaves a white streak. Polarite is rated 3.5 to 4 on the Mohs Scale.

It was first described in 1969 for an occurrence in Talnakh, Norilsk in the Polar Ural Mountains in Russia. It has also been recorded from the Bushveld igneous complex of South Africa and from Fox Gulch, Goodnews Bay, Alaska.

## InfoBox

| Polarite | |
| --- | --- |
|  | |
| General | |
| Category | Alloys with PGE |
| Formula
(repeating unit) | Pd,(Bi,Pb) |
| IMA symbol | Plr |
| Strunz classification | 02.AC.40 |
| Crystal system | Orthorhombic |
| Crystal class | Pyramidal (mm2)
(same H-M symbol) |
| Space group | *Ccm2*1 |
| Unit cell | a = 7.19 Å, b = 8.69 Å,
c = 10.68 Å; Z = 16 |
| Identification | |
| Color | White with yellowish tint |
| Crystal habit | Disseminated grains (microscopic) |
| Mohs scale hardness | 3.5 - 4 |
| Luster | Metallic |
| Streak | White |
| Diaphaneity | Opaque |
| Specific gravity | 12.51 |
| References |  |


title: Oregon City, California

abstract: Oregon City, formerly Bloomingdale and Hengy, is a ghost town located between Oroville and Cherokee in Butte County, California. One of the first mining camps in the county, it was established in the autumn of 1848 by a party of Oregonians, who came to California over the Applegate and Lassen trails. Little more than a year later their captain, Peter H. Burnett, became the first civil Governor of California. For a time, Oregon City prospered as a gold mining and supply center, then it declined into virtual oblivion. It lies 1,184 feet (361 m) above mean sea level. The Hengy post office operated from 1894 to 1900 and from 1901 to 1902; it was named after the first postmaster, Jessie Hengy. The Bloomingdale post office operated from 1902 to 1905. The site of the camp is now a California Historical Landmark. The Oregon City Covered Bridge, also known as the Castleberry Covered Bridge, is located near Oregon City.

text:
# Oregon City, California

**Oregon City**, formerly **Bloomingdale** and **Hengy**, is a ghost town located between Oroville and Cherokee in Butte County, California. One of the first mining camps in the county, it was established in the autumn of 1848 by a party of Oregonians, who came to California over the Applegate and Lassen trails. Little more than a year later their captain, Peter H. Burnett, became the first civil Governor of California. For a time, Oregon City prospered as a gold mining and supply center, then it declined into virtual oblivion. It lies 1,184 feet (361 m) above mean sea level.

The Hengy post office operated from 1894 to 1900 and from 1901 to 1902; it was named after the first postmaster, Jessie Hengy. The Bloomingdale post office operated from 1902 to 1905.

The site of the camp is now a California Historical Landmark.

The Oregon City Covered Bridge, also known as the *Castleberry Covered Bridge*, is located near Oregon City.

## InfoBox

| Oregon City | |
| --- | --- |
| Ghost town | |
| *Castleberry Covered Bridge* in March 2021 | |
| Oregon CityLocation in California | |
| Coordinates: 39°35′38″N 121°31′46″W / 39.59389°N 121.52944°W / 39.59389; -121.52944 | |
| Country | United States |
| State | California |
| County | Butte County |
| Elevation | 1,184 ft (361 m) |
|  | |
| California Historical Landmark | |
| Reference no. | 807 |
|  | |
|  | |


title: Misterioso (Thelonious Monk album)

abstract: Misterioso is a 1958 live album by American jazz ensemble the Thelonious Monk Quartet. By the time of its recording, the pianist and bandleader Thelonious Monk had overcome an extended period of career difficulties and achieved stardom with his residency at New York's Five Spot Café, beginning in 1957. He returned there the following year for a second stint with his quartet, featuring drummer Roy Haynes, bassist Ahmed Abdul-Malik, and tenor saxophonist Johnny Griffin. Along with Thelonious in Action (1958), Misterioso captures portions of the ensemble's August 7 show at the venue. One of the first successful live recordings of Monk's music, Misterioso was produced by Orrin Keepnews of Riverside Records. According to Keepnews, the pianist played more distinctly here than on his studio albums in response to the audience's enthusiasm during the performance. Misterioso's title was meant to evoke Monk's reputation as an enigmatic, challenging performer, while its cover art was part of Riverside's attempt to capitalize on his popularity with intellectual and bohemian audiences; it appropriated Giorgio de Chirico's 1915 painting The Seer. Misterioso was originally met with a mixed critical reaction; reviewers applauded Monk's performance but were critical of Griffin, whose playing they felt was out of place with the quartet. The album was remastered and reissued in 1989 and 2012 by Original Jazz Classics, and has since received retrospective acclaim, with some viewing Griffin's playing as the record's highlight. The saxophonist's solo during the performance of "In Walked Bud" in particular has developed renown among critics and jazz musicians.

text:
# Misterioso (Thelonious Monk album)

***Misterioso*** is a 1958 live album by American jazz ensemble the Thelonious Monk Quartet. By the time of its recording, the pianist and bandleader Thelonious Monk had overcome an extended period of career difficulties and achieved stardom with his residency at New York's Five Spot Café, beginning in 1957. He returned there the following year for a second stint with his quartet, featuring drummer Roy Haynes, bassist Ahmed Abdul-Malik, and tenor saxophonist Johnny Griffin. Along with *Thelonious in Action* (1958), *Misterioso* captures portions of the ensemble's August 7 show at the venue.

One of the first successful live recordings of Monk's music, *Misterioso* was produced by Orrin Keepnews of Riverside Records. According to Keepnews, the pianist played more distinctly here than on his studio albums in response to the audience's enthusiasm during the performance. *Misterioso*'s title was meant to evoke Monk's reputation as an enigmatic, challenging performer, while its cover art was part of Riverside's attempt to capitalize on his popularity with intellectual and bohemian audiences; it appropriated Giorgio de Chirico's 1915 painting *The Seer*.

*Misterioso* was originally met with a mixed critical reaction; reviewers applauded Monk's performance but were critical of Griffin, whose playing they felt was out of place with the quartet. The album was remastered and reissued in 1989 and 2012 by Original Jazz Classics, and has since received retrospective acclaim, with some viewing Griffin's playing as the record's highlight. The saxophonist's solo during the performance of "In Walked Bud" in particular has developed renown among critics and jazz musicians.

## Background

In 1951, Thelonious Monk was convicted of narcotics possession after refusing to betray his friend, pianist Bud Powell, to the police; a police search of the car belonging to Powell's female companion had discovered his glassine envelope of heroin lying beside Monk's feet. The conviction resulted in the suspension of Monk's cabaret card, the permit required by performers in New York for work in nightclubs. Although the loss limited him professionally, he recorded several albums of original music and received positive press during the 1950s. Monk's manager, Harry Colomby, led an appeal on the pianist's behalf in front of the State Liquor Authority (SLA) to have his card restored. Colomby argued to the SLA that Monk was "a drug-free, law-abiding citizen, whose productivity and growing popularity as a recording artist demonstrates his standing as a responsible working musician".

In May 1957, the SLA said Monk needed to get a club owner to hire him first, prompting Colomby to consider the Five Spot Café in New York City's East Village. "I wanted to find a place that was small", he later said. "I once drove past this place in the Village and there was a bar and I heard music ... A place where poets hung out." Joe Termini, who co-owned the venue with his brother Iggy, testified at Monk's police hearing, which resulted in the reinstatement of his cabaret card and his employment at the Five Spot Café. In his first stable job in years, Monk helped transform the small bar into one of the city's most popular venues, as it attracted bohemians, hipsters, and devout fans of the pianist's music. With the residency, he had finally found jazz stardom after twenty years of career struggles and obscurity.

Monk began his first stint at the venue in July 1957, with saxophonist John Coltrane, bassist Ahmed Abdul-Malik, and drummer Shadow Wilson in his group. However, by the time it ended in December, he had lost Wilson to poor health, while Coltrane left in pursuit of a solo career and a return to Miles Davis's group. Monk returned to New York's club scene in 1958 with a new quartet and received an eight-week offer from Joe and Iggy Termini to play the venue again, beginning on June 12. He played most nights during the weekend to capacity crowds with Abdul-Malik, drummer Roy Haynes, and tenor saxophonist Johnny Griffin, who had performed with Monk before. Griffin was unfamiliar with all of his repertoire and, like Coltrane, found it difficult to solo over Monk's comping during their first few weeks. During their performances, Monk often left the stage for a drink at the bar or danced around, which gave Griffin an opportunity to play with more space. However, the quartet eventually developed a sufficient rapport and grasp of the set list.

## Recording

Orrin Keepnews attempted to record the quartet live at the Five Spot Café on two different occasions in 1958 for his label, Riverside Records. His first recording of the ensemble was of two sets during their July 9 show. Monk was disappointed with the recording and did not allow Riverside to release it, although it was released years later after his death.

Keepnews returned to the venue on August 7 when Monk performed an evening show in the club's overcrowded room, which the producer had set up with recording equipment. It yielded both *Misterioso* and *Thelonious in Action*; the latter was released first in 1958. The show was believed to be the first successful live recording of Monk's music, until the recording of his 1957 concert with Coltrane at Carnegie Hall was discovered and released in 2005. The two live albums from the Five Spot Café are the only recordings that document Monk's time with Griffin.

## Composition and performance

According to jazz critic Gary Giddins, *Misterioso* is a hard bop record. The compositions performed for the album were arranged by Monk, who reworked four of his earlier compositions. In the album's liner notes, Keepnews wrote of Monk's approach to arrangements: "It should be axiomatic that Monk is a constantly self-renewing composer-arranger-musician, that each new recording of an 'old' number, particularly with different personnel, represents a fresh view of it—almost a new composition." In the producer's opinion, Monk played the piano more vividly and less introspectively than on his studio recordings in response to the enthusiastic crowds he drew nightly to the venue.

On "Nutty", Griffin incorporated lines from "The Surrey with the Fringe on Top" and exhibited a frenetic swing that was complemented by counterplay from Haynes and Monk. "Blues Five Spot", a new composition by Monk for the album, is a twelve-bar blues homage to the Five Spot Café and featured solos from each player. Griffin and Monk transfigured chord structures and melodies throughout the performance. Griffin's solo vamp maintained the rhythm while quoting lines from other pieces, including the theme song for the animated *Popeye* theatrical shorts; he played "The Sailor's Hornpipe" at the end of "Blues Five Spot".

The quartet began "In Walked Bud" with an eight-bar piano intro and thirty-two-bar form. Griffin began his solo a minute into the performance with saxophone wails. In the third minute, Monk did not play, while Griffin played fast phrases at the top of his register with intermittently slower R&B and free jazz elements. Monk shouted approvingly throughout Griffin's solo before he resumed piano and played a two-minute theme. "Just a Gigolo", a standard, was the only track on the album not composed by Monk, who performed it in a brief, unaccompanied version. It was played as a single chorus repeated at length.

The title track—first recorded for Blue Note Records in 1948 with vibraphonist Milt Jackson—is one of Monk's most influential recordings and is based on a series of minor second clusters. His performance of "Misterioso" at the Five Spot Café showcased his idiosyncratic playing of one blue note next to another. Monk superimposed musical ideas that deviated from the composition's original tonal center, adding a  blue note to the D-flat blue note. Haynes' subdued drumming backed Griffin's aggressive bop playing and extended solo on "Misterioso".

## Title and packaging

According to Keepnews, the album and its title track were named as a slight play on the words "mist" and "mystery", meant to evoke the perception of Monk's music as enigmatic and challenging at the time. Jazz critic Neil Tesser said that the word, which is Latin for "in a mysterious manner", was "used most often as a musical direction in classical music scores. But by the time Monk's quartet recorded this music \[in 1958\] 'Misterioso' had largely come to identify Monk himself."

To capitalize on Monk's popularity with intellectual and bohemian fans from venues such as the Five Spot Café, Riverside released *Misterioso* and reissues of his older records with designs that appropriated 20th century works of art. The album's cover art is a reproduction of Giorgio de Chirico's 1915 painting *The Seer*, which was originally painted as a tribute to French poet Arthur Rimbaud.

According to Monk biographer Robin Kelley, Rimbaud had "called on the artist to be a seer in order to plumb the depths of the unconscious in the quest for clairvoyance". This led Kelley to believe the painting was the best choice for the album cover. "The one-eyed figure represented the visionary", he explained. "The architectural forms and the placement of the chalkboard evoked the unity of art and science—a perfect symbol for an artist whose music has been called 'mathematical.'" In the opinion of musicologist Robert G. O'Meally, the cover reflected "the mysterious violations of convention of perspective, the silences, and oddly attractive angles (the overall futuristic quality) in Monk's music".

## Release and reception

*Misterioso* was released on LP in December 1958 by Riverside and was Monk's eighth album for the label. The following March, Monk was voted pianist of the year in an annual poll of international jazz critics from *Down Beat* magazine, who said he was heard "at his challenging, consistently creative best" on *Misterioso*. Jazz critic Nat Hentoff appraised the record that May for *Hi Fi Review*, in which he said it was not one of the pianist's best albums. He observed "too little space for Monk's soloing and somewhat too much" for Griffin, whose saxophone cry and timing were more impressive than his solos. Hentoff also believed Haynes and Abdul-Malik did not support Monk as creatively as Wilbur Ware and Art Blakey had on his previous Riverside albums, where he said Monk was in more compelling form. When *Misterioso* was released in 1964 in the United Kingdom, Charles Fox gave it a positive review in *Gramophone*. He found its music on-par with Monk's usual standards and highlighted by exceptional playing by him and the rhythm section, particularly Haynes, who showed "once again what a great drummer he was then—and, indeed, still is today". However, Fox felt that Griffin did not fit in with the quartet and overshadowed Monk's compositions, finding the saxophonist's solos diffuse and characterized by trivial quotations rather than musical development.

Retrospective professional reviews
| Review scores | |
| --- | --- |
| Source | Rating |
| *All Music Guide to Jazz* |  |
| *Encyclopedia of Popular Music* |  |
| *MusicHound Jazz* | 5/5 |
| *The Penguin Guide to Jazz* |  |
| *PopMatters* | 9/10 |
| *The Rolling Stone Album Guide* |  |
| *Tom Hull – on the Web* | A– |

In the *All Music Guide to Jazz* (2002), Lindsay Planer wrote that Monk's quartet "continually reinvented" their strong, cohesive sound with "overwhelming and instinctual capacities" throughout *Misterioso*. He especially praised Griffin, saying the saxophonist "consistently liberated the performances". Monk biographer Robin Kelley felt that because Griffin had mastered Monk's compositions at that point, his solos on *Misterioso* and *Thelonious in Action* were excursive and spirited. Jazz critic Scott Yanow found *Misterioso* to be the superior record between the two because of what he said was Griffin's unforgettable solo on a passionate rendition of "In Walked Bud", while music historian Ted Gioia listed Monk and Griffin's "freewheeling" performance on the title track as one of his recommended recordings of the composition. According to Robert Christgau, both this record and *Brilliant Corners* (1957) represented Monk's artistic peak. He cited *Misterioso* as his favorite album and, in a 2009 article for *The Barnes & Noble Review*, wrote that Griffin's tenor solo during "In Walked Bud" remained his "favorite five minutes of recorded music". Liam McManus from *PopMatters* was less enthusiastic about Griffin's playing, which he believed was occasionally heavy-handed and detracted from the music, but still recommended *Misterioso* as an exceptional Monk record featuring the pianist in a casual performance with his quartet.

> I've recently learned \[that the Johnny Griffin solo on 'In Walked Bud'\] is more legendary than I'd dreamed—there are jazz musicians who've committed it to memory, I'm told.

Robert Christgau (2019)

In 1989, *Misterioso* was digitally remastered by mastering engineer Joe Tarantino for the album's CD reissue. Tarantino used 20-bit K2 Super Coding System technology at Fantasy Studios in Berkeley, California. On May 15, 2012, Concord Music Group reissued the album as part of the company's Original Jazz Classics Remasters series, along with *Jazz at Massey Hall* (1953) and Bill Evans' 1962 record *Moon Beams*. The re-release featured 24-bit remastering by Tarantino and three bonus tracks, including a medley of "Bye-Ya" and "Epistrophy" performed with drummer Art Blakey. Concord vice president Nick Phillips, who produced the reissue series, said *Misterioso* was "an all-time classic live Thelonious Monk record" and "an indelible snapshot of Monk live in the late '50s." McManus said that as with most reissues of jazz albums, the bonus tracks on *Misterioso* were valuable and showcased uninhibited performances of Monk's past compositions.

## Track listing

All compositions are by Thelonious Monk, except where noted.

**Side one**

1. "Nutty"  5:22
2. "Blues Five Spot"  8:11
3. "Let's Cool One"  9:16

**Side two**

1. "In Walked Bud"  11:20
2. "Just a Gigolo" (Irving Caesar and Leonello Casucci)  2:07
3. "Misterioso"  10:52

**1989 CD bonus tracks**

Sides one and two were combined as tracks 1–6, with the following additional tracks:

1.
2. "'Round Midnight"  6:15
3. "Evidence"  10:14

**2012 CD bonus track**

1.
2. "Bye-Ya" / "Epistrophy (Theme)"  11:54

## Personnel

## Release history

| Region | Date | Label | Format | Catalog |
| --- | --- | --- | --- | --- |
| United States | 1958 | Riverside Records | stereo LP | RLP 1133 |
| | | | mono LP | RLP 12–279 |
| | United Kingdom | | 1964 | RLP 279 |
| United States | April 7, 1989 | Original Jazz Classics | CD | OJCCD-206-25 |
| | May 15, 2012 | Original Jazz Classics, Concord Music Group | CD | OJC-33725-02 |

## Bibliography

## InfoBox

| Misterioso | |
| --- | --- |
|  | |
| Live album by Thelonious Monk Quartet | |
| Released | December 1958 |
| Recorded | August 7, 1958 |
| Venue | Five Spot Café (New York) |
| Genre | Hard bop |
| Length | 47:08 |
| Label | Riverside |
| Producer | Orrin Keepnews |
| Thelonious Monk albums chronology | |
| *Thelonious in Action*
(1958) ***Misterioso***
(1958) *The Thelonious Monk Orchestra at Town Hall*
(1959) | |


title: The Lady Is Willing (1934 film)

abstract:
The Lady Is Willing is a 1934 British comedy film directed by Gilbert Miller and starring Leslie Howard. The film was unsuccessful, though it received some positive feedbacks; Mordaunt Hall wrote for The New York Times:
it is a farce of the Parisian variety which possesses something of the effervescent quality René Clair gives to his pictures. Although the action is stilted here and there, obviously occasionally because of censorial deletions, the film has the compensating virtues of excellent acting, scintillating lines and original, but decidedly mad, escapades.

text:
# The Lady Is Willing (1934 film)

***The Lady Is Willing*** is a 1934 British comedy film directed by Gilbert Miller and starring Leslie Howard (billed as "Mr. Leslie Howard").

The film was unsuccessful, though it received some positive feedbacks; Mordaunt Hall wrote for *The New York Times*:

> it is a farce of the Parisian variety which possesses something of the effervescent quality René Clair gives to his pictures. Although the action is stilted here and there, obviously occasionally because of censorial deletions, the film has the compensating virtues of excellent acting, scintillating lines and original, but decidedly mad, escapades.

## Plot

Set in France, private detective Albert Latour is employed by three men who aim to take revenge on the man responsible for a failed investment. Realising that the man's wife is wealthy, Latour kidnaps her in order to hold a ransom. The matter gets complicated when he finds himself falling in love with her.

## Cast

## InfoBox

| The Lady Is Willing | |
| --- | --- |
| Directed by | Gilbert Miller |
| Screenplay by | Guy Bolton |
| Story by | Louis Verneuil |
| Produced by | Joseph Friedman |
| Starring | Leslie Howard |
| Cinematography | Joseph Walker |
| Edited by | Otto Ludwig |
| Production<br>company | Columbia British Productions |
| Distributed by | Columbia Pictures |
| Release dates | * January 1934 (1934-01) (United Kingdom) * 11 August 1934 (1934-08-11) (United States) |
| Running time | 68 minutes |
| Country | United Kingdom |
| Language | English |


title: Nerita argus

abstract: Nerita argus is a species of sea snail. It is a marine gastropod mollusk in the family Neritidae.

text:
# Nerita argus

***Nerita argus*** is a species of sea snail. It is a marine gastropod mollusk in the family Neritidae.

## Description

## Distribution

## InfoBox

| *Nerita argus* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Neritimorpha |
| Order: | Cycloneritida |
| Family: | Neritidae |
| Genus: | *Nerita* |
| Species: | ***N. argus*** |
| Binomial name | |
| ***Nerita argus***
Récluz, 1841 | |
|
| Synonyms | |
| *Nerita maculata* Pease, 1867
*Nerita schmeltziana* Dunker, 1869 | |


title: Misterlee

abstract: Misterlee are an alternative rock band from Leicester, England. Centred on the talents of Lee Allatson they have released four albums.

text:
# Misterlee

**Misterlee** are an alternative rock band from Leicester, England. Centred on the talents of Lee Allatson they have released four albums.

## History

Misterlee consisted of Allatson on vocals, drums and effects, augmented by guitarist Jamie Smith and Michael "Curtis" Oxtoby on electric violin and bass guitar. The debut album was released in 2002, called *Chiselgibbon* (2002) it largely written and performed solo by Allatson,

In 2005, the second album *Night of the Killer Longface* was released, like the previous one it has largely written and performed by Allatson. Circa that year, Misterlee played in the United States and were looking for American distribution for the second album*.*

*Bootlegger/Misterlee Is Not A Lifestyle Sandwich* was released late in 2006.

Oxtoby left in late 2007. In the same year, the band were featured on the compilation record *AFUK & I (VOL. 1): UP THE ANTI!* on AFUK (Anti-Folk UK) Records, with the track "Dim Lit". Though, their sound is not traditionally anti-folk (in the sense of 'acoustic punk').

The band has played with Hamell on Trial, Sebadoh, Jeffrey Lewis, Johnny Dowd, Simple Kid, and The Mountain Goats, and has also appeared at festivals such as In the City, Secret Garden Party and Summer Sundae.

The band has played anti-folk UK festivals in London.

In June 2009, Allatson announced that Misterlee were working on a new album. It was released in 2010, entitled *This Disquiet Dog*. The album features Allatson and Smith with a cameo performance by Oxtoby, and was recorded at Smith's Owlhouse Studio in South Leicestershire.

In 2018, *This Disquiet Dog* was made available as a digital download.

## Other projects

Allatson has taught drums since 1991 in Leicester, and at the Dye House Drum Works facility since 2009.

## Style

The *Londonist* described the band as "A world of anti-folk, Beck-like genre teasing played out in an English country garden on full band and ukelele \[*sic*\]".

Though the vocal delivery is English, American influences can be heard in the music - *Leonard's Lair* describes them as "a man playing doomed country ballads in an American whisky bar".

## Discography

* *Chiselgibbon* (2002)
* *Night of the Killer Longface* (2005)
* *Bootlegger/Misterlee Is Not A Lifestyle Sandwich* (2006)
* *This Disquiet Dog* (2010)

## InfoBox

| Misterlee | |
| --- | --- |
|  | |
| Background information | |
| Origin | Leicester, England, United Kingdom |
| Genres | Alternative rock, lo-fi |
| Years active | 2002present |
| Labels | Rubber Czech |
|  | |
| Members | Lee Allatson<br>Jamie Smith |
|  | |
| Past members | Michael "Curtis" Oxtoby |


title: Mobimii

abstract: mobimii was a free mobile social networking service that is available on multiple platforms, the World Wide Web, WAP and as a Java ME downloadable application

text:
# Mobimii

**mobimii** was a free mobile social networking service that is available on multiple platforms, the World Wide Web, WAP and as a Java ME downloadable application

## History

In March 2007, Fontera, the mobile marketing company launched Mobimii, a mobile social utility.

## Business model

Mobimii is an off-portal site which means there is no collaboration between Mobimii and any mobile network operator. Site access and usage is free, operator's data transfer charges excluded.

Mobimii is funded by mobile advertising. Mobile web banners and text links are shown throughout the site, full color full screen splash ads are displayed each time the Java ME application is launched and messages of up to 80 characters are included in any SMS text messages sent out by Mobimii.

## Features

Mobiimii started off as a mobile social network, but became more focused on facilitating mobile connectivity to existing Instant Messaging platforms and bigger social networks (like Facebook and Myspace). The main feature is the downloadable Java ME application that allows all users to interact with one another. The application lets users communicate with their IM contacts (including MSN Messenger, GTalk, ICQ), social networking friends and other Mobimii users with a single login.

Mobimii also offers photo galleries for users to post and share their pictures directly from their camera phones, as well as a free mobile content service with thousands of ringtones, wallpapers, screensavers, videos and approximately 2,500 free mobile games.

Users are able to access their social networking profiles and can set up a combined mobile feed made up of all of their social network feeds. In some countries free SMS is also offered to users.

## Technology

The site is available on all Java ME and mobile internet enabled phones anywhere in the world as well as on the World Wide Web for those who don't have phones, or are not within coverage range.

## Collaborations

Fontera has now started licensing the Mobimii software and it is currently being used by Soccer Laduma, Thunda.com, SABC and other companies. Each partner site is set up using the Mobimii software as a base with customer specific components added to the sites.

## InfoBox

mobimii
|  | |
| --- | --- |
| Type of site | social networking |
| Available in | English |
| Owner | Fontera |
| URL | http://www.mobimii.com/ |
| Commercial | Yes |
| Registration | required |
| Launched | March 2007 |
| Current status | Active |


title: Orhaniye, Bandırma

abstract: Orhaniye is a neighbourhood in the municipality and district of Bandırma, Balıkesir province in Turkey. Its population is 210 (2022).

text:
# Orhaniye, Bandırma

**Orhaniye** is a neighbourhood in the municipality and district of Bandırma, Balıkesir province in Turkey. Its population is 210 (2022).

## InfoBox

| Orhaniye | |
| --- | --- |
| Neighbourhood | |
| OrhaniyeLocation in TurkeyOrhaniyeOrhaniye (Marmara) | |
| Coordinates: 40°14′48″N 27°50′34″E / 40.24667°N 27.84278°E / 40.24667; 27.84278 | |
| Country | Turkey |
| Province | Balıkesir |
| District | Bandırma |
| Population (2022) | 210 |
| Time zone | UTC+3 (TRT) |


title: Henry Winston Newson

abstract: Henry Winston Newson was an American physical chemist and nuclear physicist, known for his research on nuclear resonances and as one of the co-inventors of the control system used in nuclear reactors.

text:
# Henry Winston Newson

**Henry Winston Newson** (November 26, 1909, in Lawrence, Kansas – May 14, 1978, in Durham, North Carolina) was an American physical chemist and nuclear physicist, known for his research on nuclear resonances and as one of the co-inventors of the control system used in nuclear reactors.

## Biography

His parents were the mathematics professors Henry Byron Newson and Mary Frances Winston Newson. Henry Winston Newson graduated in 1931 with a B.Sc. in chemistry from the University of Illinois Urbana-Champaign and in 1934 with a Ph.D. in chemistry from the University of Chicago. His thesis advisor was William Draper Harkins. Henry Newson married Meta F. Thode in 1934. The couple spent two years from 1934 to 1936 at the Lawrence Radiation Laboratory. There he worked as a research fellow assisting Ernest O. Lawrence in constructing the laboratory's cyclotron. At the University of Chicago from 1936 to 1941 Newson was an instructor, first in chemistry and subsequently in physics. The Newson's first daughter, Meta Mary, was born in Chicago in August 1941. From 1941 to 1943 Henry Newson was a senior physicist in the University of Chicago's Metallurgical Laboratory (Met Lab), where in December 1942 the first controlled nuclear chain reaction was produced. From 1943 to 1944 he was a section chief at Clinton Laboratories (later renamed Oak Ridge National Laboratory). He was from 1944 to 1945 a technical expert at Hanford Engineering Works and from 1945 to 1946 a group leader at Los Alamos National Laboratory, during the development of the atomic bomb. From 1946 to 1948 he was a chief physicist at Oak Ridge National Laboratory. In 1948 the Newsons' second daughter, Caroline, was born, and he became a full professor in the physics department of Duke University.

Newson chaired Duke University's physics department from 1973 to 1975. He was a professor of physics at Duke University and TUNL's director until his death in 1978. His successor as TUNL's director was his former doctoral student, Edward Bilpuch (1927–2012). Newson's doctoral students include John H. Gibbons and Myron L. Good.

Newson was elected in 1960 a Fellow of the American Physical Society. Upon his death the Newson family established the Henry W. Newson Lecture Series Fund at Duke University. The university established a Henry Newson Professorship of Physics (currently held by Haiyan Gao). Henry Newson was survived by his widow, two daughters, and six grandchildren.

## Selected publications

* Newson, Henry W. (1937). "Transmutation Functions at High Bombarding Energies". *Physical Review*. **51** (8): 620–623. Bibcode:1937PhRv...51..620N. doi:10.1103/PhysRev.51.620.
* Marshak, Harvey; Newson, Henry W. (1957). "Neutron Resonances in the keV Region: Odd-Intermediate Nuclei". *Physical Review*. **106** (1): 110–116. Bibcode:1957PhRv..106..110M. doi:10.1103/PhysRev.106.110.
* Newson, H. W.; Williamson, R. M.; Jones, K. W.; Gibbons, J. H.; Marshak, H. (1957). "Li7(*p*, *n*), (*p*, *p**γ*), and (*p*, *γ*) Reactions near Neutron Threshold". *Physical Review*. **108** (5): 1294–1300. doi:10.1103/PhysRev.108.1294.
* Parks, P. B.; Newson, H. W.; Williamson, R. M. (1958). "Method of Canceling Energy Fluctuations of a van de Graaff Ion Beam". *Review of Scientific Instruments*. **29** (10): 834–839. Bibcode:1958RScI...29..834P. doi:10.1063/1.1716015.
* Newson, H.W; Block, R.C; Nichols, P.F; Taylor, A.; Furr, A.K; Merzbacher, E. (1959). "*s*\- and *p*-wave neutron spectroscopy: Part II. Even-even nuclei". *Annals of Physics*. **8** (2): 211–222. Bibcode:1959AnPhy...8..211N. doi:10.1016/0003-4916(59)90019-3.
* Bilpuch, E.G; Weston, L.W; Newson, H.W (1960). "Neutron capture cross sections in the keV region: Part I. Methods of measurement and analysis". *Annals of Physics*. **10** (4): 455–476. Bibcode:1960AnPhy..10..455B. doi:10.1016/0003-4916(60)90117-2.
* Weston, L.W; Seth, K.K; Bilpuch, E.G; Newson, H.W (1960). "Neutron capture cross sections in the keV region: Part II. Spin-orbit coupling and the optical model". *Annals of Physics*. **10** (4): 477–489. Bibcode:1960AnPhy..10..477W. doi:10.1016/0003-4916(60)90118-4.
* Bilpuch, E.G; Seth, K.K; Bowman, C.D; Tabony, R.H; Smith, R.C; Newson, H.W (1961). "*s*\- and *p*-wave neutron spectroscopy: Part VII. Widths of neutron resonances". *Annals of Physics*. **14**: 387–418. Bibcode:1961AnPhy..14..387B. doi:10.1016/0003-4916(61)90063-X.
* Newson, Henry W. (1961). "Symmetric and Asymmetric Fission". *Physical Review*. **122** (4): 1224–1226. Bibcode:1961PhRv..122.1224N. doi:10.1103/PhysRev.122.1224.
* Bowman, C.D; Bilpuch, E.G; Newson, H.W (1962). "*s*\- and *p*-wave neutron spectroscopy: Part VIII. Subshell effect on nuclear level spacing near*A* = 50". *Annals of Physics*. **17** (3): 319–378. Bibcode:1962AnPhy..17..319B. doi:10.1016/0003-4916(62)90035-0.
* Farrell, J.A.; Bilpuch, E.G.; Newson, H.W. (1966). "*s*\- and *p*-wave neutron spectroscopy: Part XIa. Level spacins in even intermediate elements". *Annals of Physics*. **37** (3): 367–410. Bibcode:1966AnPhy..37..367F. doi:10.1016/0003-4916(66)90204-1.
* Keyworth, G.A.; Kyker, G.C.; Bilpuch, E.G.; Newson, H.W. (1966). "A high-resolution study of isobaric analogue resonances in 41K". *Nuclear Physics*. **89** (3): 590–608. Bibcode:1966NucPh..89..590K. doi:10.1016/0029-5582(66)90934-5.
* Keyworth, G.A.; Kyker, G.C.; Bilpuch, E.G.; Newson, H.W. (1966). "Fine structure of isobaric analogue resonances in 41K". *Physics Letters*. **20** (3): 281–284. Bibcode:1966PhL....20..281K. doi:10.1016/0031-9163(66)90365-9.
* Keyworth, G. A.; Wilhjelm, P.; Kyker, G. C.; Newson, H. W.; Bilpuch, E. G. (1968). "High-Resolution Study of Isobaric Analog Resonances in 23Na". *Physical Review*. **176** (4): 1302–1310. Bibcode:1968PhRv..176.1302K. doi:10.1103/PhysRev.176.1302.
* Sellin, David L.; Newson, Henry W.; Bilpuch, Edward G. (1969). "High resolution investigation of resonances in 19F". *Annals of Physics*. **51** (3): 461–475. Bibcode:1969AnPhy..51..461S. doi:10.1016/0003-4916(69)90138-9.
* Browne, J.C.; Newson, H.W.; Bilpuch, E.G.; Mitchell, G.E. (1970). "Fine structure of analogue states in 59Cu, 61Cu, 63Cu and 65Cu". *Nuclear Physics A*. **153** (2): 481–501. Bibcode:1970NuPhA.153..481B. doi:10.1016/0375-9474(70)90787-6.
* Moses, J.D.; Newson, H.W.; Bilpuch, E.G.; Mitchell, G.E. (1971). "Fine structure of analogue states in 51Mn, 53Mn and 55Mn". *Nuclear Physics A*. **175** (3): 556–582. Bibcode:1971NuPhA.175..556M. doi:10.1016/0375-9474(71)90450-7.
* Lindstrom, D.P.; Newson, H.W.; Bilpuch, E.G.; Mitchell, G.E. (1971). "Fine structure of analogue states in 55Co, 57Co and 59Co". *Nuclear Physics A*. **168** (1): 37–55. Bibcode:1971NuPhA.168...37L. doi:10.1016/0375-9474(71)90650-6.
* Boyce, J. R.; Hayward, T. D.; Bass, R.; Newson, H. W.; Bilpuch, E. G.; Purser, F. O.; Schmitt, H. W. (1974). "Absolute cross sections for proton-induced fission of the uranium isotopes". *Physical Review C*. **10** (1): 231–244. Bibcode:1974PhRvC..10..231B. doi:10.1103/PhysRevC.10.231.
* Newson, H.W.; Bilpuch, E.G.; Purser, F.O.; Boyce, J.R.; Clegg, T.B. (1974). "An operational review of the TUNL Cyclo-Graaff". *Nuclear Instruments and Methods*. **122**: 99–113. Bibcode:1974NucIM.122...99N. doi:10.1016/0029-554X(74)90474-1.
* Glasgow, D. W.; Purser, F. O.; Hogue, H.; Clement, J. C.; Stelzer, K.; Mack, G.; Boyce, J. R.; Epperson, D. H.; Buccino, S. G.; Lisowski, P. W.; Glendinning, S. G.; Bilpuch, E. G.; Newson, H. W.; Gould, C. R. (1976). "Differential Elastic and Inelastic Scattering of 9- to 15-MeV Neutrons from Carbon". *Nuclear Science and Engineering*. **61** (4): 521–533. Bibcode:1976NSE....61..521G. doi:10.13182/NSE76-A14488.
* Hogue, H. H.; Behren, P. L. Von; Epperson, D. H.; Glendinning, S. G.; Lisowski, P. W.; Nelson, C. E.; Newson, H. W.; Purser, F. O.; Tornow, W.; Gould, C. R.; Seagondollar, L. W. (1978). "Differential Elastic and Inelastic Scattering of 7- to 15-MeV Neutrons from Beryllium". *Nuclear Science and Engineering*. **68** (1): 38–42. Bibcode:1978NSE....68...38H. doi:10.13182/NSE78-A27268.

1. "Obituary. Dr. Henry Newson, 68". *The New York Times*. May 16, 1978.
2. "Henry W. Newson". *Department of Physics, Duke University*.
3. "Henry Winston Newson". *Physics Tree*.
4. "Henry W. Newson". *Atomic Heritage Foundation*.
5. "*Meta Newson's Interview* by S. L. Sanger (March 15, 1986 in Chapel Hill, N.C.)". *Voices of the Manhattan Project*.
6. "Obituary. Meta N. Robb". *LancasterOnline*. April 28, 2017.
7. Bilpuch, Edward G. (1978). "Henry W. Newson". *Physics Today*. **31** (8): 65–66. Bibcode:1978PhT....31h..65B. doi:10.1063/1.2995154.
8. Cattell, Jaques, ed. (1949). *American Men of Science: A Biographical Directory* (8th ed.). p. 1817.
9. "APS Fellow Archive". *American Physical Society*. (search on year=1960 and institution=Durham, North Carolina)
10. "Haiyan Gao: Henry W. Newson Distinguished Professor of Physics", *Scholars @ Duke*, Duke University