title: Needs assessment

abstract:
A needs assessment is a systematic process for determining and addressing needs, or "gaps", between current conditions, and desired conditions, or "wants". Needs assessments can help improve policy or program decisions, individuals, education, training, organizations, communities, or products. There are three types of need in a needs assessment: perceived need, expressed need and relative need.
  - Perceived needs are defined by what people think about their needs; each standard changes with each respondent.
  - Expressed needs are defined by the number of people who have sought help and focuses on circumstances where feelings are translated into action. A major weakness of expressed needs assumes that all people with needs seek help.
  - Relative needs are concerned with equity and must consider differences in population and social pathology.

text:
# Needs assessment

A **needs assessment** is a systematic process for determining and addressing needs, or "gaps", between current conditions, and desired conditions, or "wants".

Needs assessments can help improve policy or program decisions, individuals, education, training, organizations, communities, or products.

There are three types of need in a needs assessment: perceived need, expressed need and relative need.

1. Perceived needs are defined by what people think about their needs; each standard changes with each respondent.
2. Expressed needs are defined by the number of people who have sought help and focuses on circumstances where feelings are translated into action. A major weakness of expressed needs assumes that all people with needs seek help.
3. Relative needs are concerned with equity and must consider differences in population and social pathology.

## History

Considered the "father of needs assessment", Roger Kaufman developed a model for determining needs defined as a gap in results. Kaufman argued that an actual need can only be identified independent of a proposed solution. According to Kaufman, to conduct a good-quality needs assessment, determine the current results and articulate the desired results; the distance between results is the actual need. Once a need is identified, then a solution can be selected.

## Extensive vs. intensive

Extensive research uses a large number of cases to determine the characteristics of a population, while intensive research examines one or a few cases in depth.

Once the group has identified needs, they then generally turn to intensive needs assessment in order to rank the needs. This part of the research is concerned with examining the depth of the need, and potentially required resources.

## Needs chain model

A needs chain model is a framework that allows organizations to simultaneously consider the individuals' needs within an organization, and the organization's needs, in order to prioritise resources and identify areas of improvement for the organization.

A needs chain model is composed of aligned horizontal and vertical processes. The horizontal needs are:

* Performance need: A level of performance required for satisfactory functioning.
* Instrumental need: An intervention, product, or substance that is required to obtain satisfactory functioning.
* Conscious need: Needs that are known to those who have them.
* Unconscious need: Needs that is unknown to those who have them.

Also, it has four vertical factors:

* Organizational need: Needs that pertain to behavior or tangible outcomes, such as market share or sales target.
* Individual needs: Needs that pertain to the individual's attitudes about the organization or themselves, such as job satisfaction.
* Causes
* Level of objectivity for all needs: This level requires all needs to have a certain level of objectivity, and to be based on deep investigation or further analysis.

## Training needs assessment

Training needs assessment is an inquiry of training needs within an organization.

There are three levels of training needs assessment:

* Organizational assessments evaluate the level of organizational performance. An assessment of this type will determine the knowledge, skills, ability, and other characteristics (KSAOs) that are needed within the organization.

* Occupational assessments examine the KSAOs required for affected occupational groups.

* Individual assessments analyze how well an individual employee is doing a job and determines the individual's capacity to do different work. An individual assessment provides information on which employees need training and what kind.

## Community

A community needs assessment can be broadly categorized into three types based on their respective starting points. First, needs assessments which aim to discover weaknesses within the community and create a solution. Second, needs assessments which are structured around, and seek to address a problem facing the community. Third, needs assessments of an organization which serves the community (domestic violence centers, community health clinics, etc.).

Consumer leadership assessment is an assessment of the frequency with which community members use or are likely to use an existing or planned service.

## Example

Burke (2005) examined statistics that showed a need within the community of Bayview Hunters Point in order to "identify gaps in service delivery system to create a road map for improving neighborhood conditions by rationalizing the allocation of city dollars to social service programs".

### Citations

### Bibliography

* Kaufman, Roger; Rojas, Alicia M.; Mayer, Hannah (1993). *Needs Assessment: A User's Guide*. Englewood Cliffs, New Jersey: Educational Technology Publications.
* Peterson, Donna J.; Alexander, Greg R. (2001). *Needs Assessment in Public Health: A Practical Guide for Students and Professionals*. Hingham, MA: Kluwer Academic Publishers.
* Environmental Law Institute (1999). *Building Capacity to Participate in Environmental Protection Agency Activities: A Needs Assessment and Analysis*. Washington, DC: Environmental Law Institute.
* Fulgham, S. M.; Shaughnessy, M. (September–October 2008). "Q & A with Ed Tech Leaders: Interview with Roger Kaufman". *Educational Technology*. pp. 49–52.
* Watkins, R.; West Meiers, M.; Visser, Y. (2012). *A Guide to Assessing Needs: Tools for collecting information, making decisions, and achieving development results*. Washington, DC: World Bank. doi:10.1596/978-0-8213-8868-6. ISBN 978-0-8213-8868-6.
* Sharma, A.; Lanum, M.; Saurez-Balcazar, Y. (2000). *A community needs assessment guide: a brief guide on how to conduct a needs assessment*. Chicago: Loyola University.
* Rossi, P.H.; Lipsey, M.W.; Freeman, H.E. (2004). *Evaluation: a systematic approach* (7th ed.). London: Sage. ISBN 9780761908944.
* Gupta, Kavita; Sleezer, Catherine M.; Russ-Eft, Darlene F. (2007). *A Practical Guide to Needs Assessment* (2 ed.). Pfeiffer. pp. 14–17. ISBN 978-0-7879-8272-0.
* Burke, Garance (2005). *Bridging the Gaps: Toward an Efficient Social Service Delivery in Bayview Hunters Point*. UC Berkeley: GSPP.

## Further reading

* Altschuld, J. W. (2010). The Needs Assessment KIT. (ed.). Thousand Oaks, CA: SAGE Publications. \[5 volume series\].
* Burton, J. & Merrill, P. (1991). Needs assessment: Goals, need and priorities. In L. J. Briggs, K.L. Gustafson, and M.H. Tillman (Eds.), Instructional design: Principles and applications (2nd ed.). Englewood Cliffs, NJ: Educational Technology.
* Gilbert, T. (1978). Human competence: Engineering worthy performance. New York: McGraw-Hill.
* Gordon, S. (1994). Systematic training program design: Maximizing effectiveness and minimizing liability. Englewood Cliffs, NJ: Prentice Hall.
* Hannum, W. & Hansen, C. (1989). Instructional systems development in large organizations. Englewood Cliffs, NJ: Educational Technology.
* Kaufman, R. (1972). Educational system planning. Englewood Cliffs, NJ: Prentice Hall.
* Kaufman, R. (1992). Strategic planning plus: An organizational guide (Rev. ed.). Thousand Oaks, CA: Sage.
* Mager, R. F. & Pipe, P. (1997), Analyzing performance problems (3rd ed.). Atlanta, GA: Center for Effective Performance.
* Murk, P.J. & Wells, J.H. (1998). A practical guide to program planning. Training & Development Journal, 42(10), 45–47.
* Nelson, R., Whitener, E., & Philcox, H. (1995). The assessment of end-user training needs. Communications of the Association for Computing Machinery, 38(7) 27–39.
* Ostroff., C & Ford, J.K. (1989). Assessing training needs: Critical levels of analysis. In I.L. Goldstein (Ed.), Training and development in organizations. San Francisco: Jossey-Bass.
* Robinson, D.G. & Robinson, J.C. (1995). Performance consulting: Moving beyond training. San Francisco: Berrett-Koehler.
* Rossett, Allison (1987). *Training Needs Assessment*. Englewood Cliffs, NJ: Educational Technology Publications.
* Rothwell, W.J. & Kazanas, H.C. (1992). Mastering the instructional design process: A systematic approach. San Francisco: Jossey-Bass.
* Rummler, G.A. & Brache, A.P. (1990). Improving performance: How to manage the white space on the organization chart. San Francisco: Jossey-Bass.
* Witkin, B.R. & Altschuld, J.W. (1995). Planning and conducting needs assessments: A practical guide. Thousand Oaks, CA: Sage.


title: Esther Belin

abstract: Esther Belin, who has work published under Esther G. Belin, is a Diné multimedia artist, writer, poet, writing instructor, and addiction counselor. The Before Columbus Foundation chose From the Belly of My Beauty for the American Book Award after the book was published in 1999. She was one of the editors of The Diné Reader: An Anthology of Navajo Literature that was published in 2021. It is on the Lists of Best Books, 2010-2023 of the American Indians in Children's Literature (AICL).

text:
# Esther Belin

**Esther Belin**, who has work published under **Esther G. Belin** (born July 2, 1968), is a Diné multimedia artist, writer, poet, writing instructor, and addiction counselor. The Before Columbus Foundation chose *From the Belly of My Beauty* for the American Book Award after the book was published in 1999. She was one of the editors of *The Diné Reader: An Anthology of Navajo Literature* that was published in 2021. It is on the Lists of Best Books, 2010-2023 of the American Indians in Children's Literature (AICL).

## Early life and education

Belin, born in Gallup, New Mexico on July 2, 1968, was raised in Los Angeles by her Navajo parents, Susan and Eddie Belin. She is a member of the matrilineal Zia (Tłʼógi) clan of the Diné, through her maternal grandmother Pearl Toledo, and is related to the Bittersweet (Tódichꞌiiꞌnii) clan.

Her mother and father were part of the Federal Indian relocation program of the 1950s and 1960s, which relocated them to Riverside, California to the boarding school for Native Americans called Sherman Institute. They were indoctrinated over five years to the life, food, religion, and language of white people. As Belin grew up with two siblings, she learned English to survive as an Urban-Raised Indian (U.R.I.) during the school months in the city. She spent summers in New Mexico and Arizona on Navajo homeland. Belin had not been taught the Navajo language as she was growing up and had a hard time communicating with her extended family members. She felt alienated in the city and in the Dinétah, or Navajo Nation, even though she felt free there.

Belin studied at the University of California, Berkeley. where she worked with the Native American Studies department to create three videos, *The Princess*, shown at the L.A. Film Festival, *Beyond the Squaw*, and *Surviving in This Place Called the United States*. She was the commencement speaker when she graduated in 1991. Belin then attended the Institute of American Indian Arts in Santa Fe, New Mexico. She finished a Master of Fine Arts program. Belin holds a degree from Antioch University.

## Career

Belin is the author of a collection of poetry, *From the Belly of My Beauty*, published in 1999 by the University of Arizona Press. The book won the American Book Award from the Before Columbus Foundation in 2000. It is about growing up in the white world of Southern California as an Indian after her parents were relocated from the Navajo Nation, a Navajo reservation.

*Of Cartography*, published in 2017, is a collection of poems that are organized using the Diné culture's Four Sacred Directions. For Belin her poems are like road maps, and a person's identity is shaped by the landscape. She states, "Road narratives are typical of Navajo people. We travel so much, especially for work or school. You gain an appreciation for your culture and the land and the landscape as you're driving and telling stories. Natural markers are universal to people; it's connection with a place." She writes online poems like, "X+X+X+X-X-X-X." According to a review from *Library Journal*, "Belin provides graphic descriptions of the 'wounds' one endures remaining true to a 'native lifestyle.'" Writing poetry helps her feel less marginalized.

In 2017, she was working on a biography of Jim Thorpe through poetry. Thorpe was a member of the Sac and Fox Nation who won an Olympic gold medal. Sherman Alexie considers Belin to be one of his favorite Native writers. She was an editor of *The Diné Reader: An Anthology of Navajo Literature* that was published in 2021. It is on the Lists of Best Books, 2010-2023 by the American Indians in Children's Literature (AICL). In 2021, Berlin contributed to the multimedia *Pandemic Chronicles, Volume 1* on the Art Journal Open website.

Belin taught writing at the high school level and by 2012 at Fort Lewis College in Durango, Colorado. By 2017, Belin worked as an intake and addiction counselor at the Peaceful Spirit Treatment Center, an addiction center, on the Southern Ute Indian Reservation. It is near the Ute Mountain Ute, Navajo, and Jicarilla Apache reservations of the Four Corners region. Since 2021, Belin has mentored students at the Institute for American Indian Arts' low-residency MFA program.

As a multi-media artist, Belin has created *Bound Sky*, *Pretty Tough*, and *Standing on the Outside, Sitting on the Outside* installations. She creates jewelry with combinations of faceted crystal beads, trade beads, shells, felted wool, and seeds. She is also a printmaker. Belin has been a member of the Arroyo Arte Collective and has had a booth at the Santa Fe Indian Market.

## Activist

Belin protests against the Columbus Day holiday that celebrates Christopher Columbus, who exploited Indigenous people of the Caribbean.e She supports the "Real History of the Americas" day to celebrate Native American's culture and traditions and tell the story of colonization of the Americas from the Native people's experiences and perspectives. Without the tools to heal from the pain of exploitation and genocide, many Native Americans are left traumatized. She said in a 2012 Democracy Now! broadcast at Fort Lewis College, "\[I\]t's super important for us to start that healing process and then, as well, to talk about it and to guide other people around their own trauma, which it is an historical trauma." In an interview with Belin, Jeff Berglund writes, "For Belin, writing is activism, activism is writing."

## Personal life

Belin met fellow student Dan Edd, a sculptor and a painter, at the Institute of American Indian Arts. They were married and had — four daughters Sierra, Ruthie, Chamisa, and Santana — born between 1995 and 2003. All artists, they have participated in the Santa Fe Indian Market since they were children. They grew as filmmakers, photographers, and artists. Based upon her spirit of activism, Belin raised her daughters to be protestors. She states, "People... don't want to be responsible for dropping the cultural ball of preservation. Somewhere we were tricked into believing that we are no longer in a state of emergency."

After Belin graduated from the University of California, Berkeley, she lived in Torreon near the Navajo Nation in New Mexico for more than 20 years. In the same state, she then lived in Santa Fe and Farmington. Belin lived in Durango, Colorado.

## Works

### Films

While at the University of California, Berkeley, Belin made:

* *The Princess*, shown at the L.A. Film Festival
* *Beyond the Squaw*
* *Surviving in This Place Called the United States*

### Poetry

Belin's books * *From the Belly of My Beauty*. Sun traks, v. 38. University of Arizona Press. 1999. ISBN 978-0-8165-1954-5., including "Bringing Hannah Home", "Blues-ing on the Brown Vibe", and "Night Travel"
* *Of Cartography: Poems*. University of Arizona Press. 2017. ISBN 978-0-8165-3602-3.

Within other books

### Editor

* *The Diné Reader: An Anthology of Navajo Literature*. University of Arizona Press. 2021. ISBN 978-0-8165-4099-0., with other editors

## InfoBox

| Esther G. Belin | |
| --- | --- |
| Born | (1968-07-02) July 2, 1968<br>Gallup, New Mexico |
| Occupation | Artist, writer, poet, writing instructor, and addiction counselor |
| Education |  |
| Literary movement | Works based upon Navajo philosophy of Saah Naagháí Bik’eh Hózho |
| Notable works | *From the Belly of My Beauty,* "Of Cartography: Poems (Sun Tracks)" |
| Notable awards | American Book Award from the Before Columbus Foundation (2000) |
| Website | |
| www.estherbelin.com | |


title: Plan Ávila

abstract: Plan Ávila is a military contingency plan by the Venezuelan Army to maintain public order in the Venezuelan capital, Caracas. The plan was first implemented in 1989 by the Carlos Andrés Pérez government in response to the Caracazo riots, where hundreds were killed by military and armed police. President Hugo Chávez also ordered activation of the plan in response to the 11 April 2002 Llaguno Overpass events, but high-ranking members of the Armed Forces refused to carry out the plan, wanting to avoid a massacre like the Caracazo.

text:
# Plan Ávila

**Plan Ávila** is a military contingency plan by the Venezuelan Army to maintain public order in the Venezuelan capital, Caracas. The plan was first implemented in 1989 by the Carlos Andrés Pérez government in response to the Caracazo riots, where hundreds were killed by military and armed police. President Hugo Chávez also ordered activation of the plan in response to the 11 April 2002 Llaguno Overpass events, but high-ranking members of the Armed Forces refused to carry out the plan, wanting to avoid a massacre like the Caracazo.

## History

### Origin

Plan Ávila was created in the 1960s as a contingency plan if guerrilla forces were to overcome police and the national guard, requiring the Army of Venezuela to intervene. The plan was organized to have a lax structure, removing chains of command and grouping army troops into independent squads to combat potentially small, unorganized guerrilla groups.

### Caracazo

Plan Ávila was first implemented in 1989 by the government of Carlos Andrés Pérez, in response to riots, in an event which became known as the Caracazo; resulting with hundreds to thousands being killed by military and armed police.

On 27 August 2002, the Inter-American Court of Human Rights found that the 1989 implementation of Plan Ávila had resulted in massive human rights violations, and ordered the Venezuelan government to review its military contingency planning to conform to international human rights standards. In 2009, Venezuelan attorney general Luisa Ortega Díaz ordered the extradition of Pérez due to his implementation of the plan.

### 2002 Venezuelan coup attempt

The activation of Plan Ávila was ordered by then-President Hugo Chávez at midday on 11 April 2002, in response to the Llaguno Overpass events. The action was in violation of laws in the 1999 Venezuela Constitution created by Chávez that were in place to prevent another massacre like the Caracazo. High-ranking members of the Armed Forces refused to carry out the Plan. When the General responsible was nowhere to be found, another general, Jorge García Carneiro, the head of the largest military unit in Caracas, offered to step in. However, this was thwarted by soldiers blocking a highway and diverting civilian traffic into the military base at Fuerte Tiuna, preventing its troops from leaving. On contacting the base, the general was also told that a group of generals had plans to arrest the President. General in Chief Lucas Rincón and National Assembly President William Lara said that Chávez's order was not to repress the population but to maintain public order while Deputy Calixto Ortega of the fact-finding Mixed Commission surrounding the coup attempt said the plan had already been safely applied during the visit of Pope John Paul II to Venezuela.

### Plan Zamora

During the 2017 protests, over 2,000 security checkpoints were ordered by President Maduro on 15 April 2017, which would be established throughout Venezuela prior to the 19 April "mega march", with nearly 200,000 Venezuelan authorities said to be participating. Finally on 18 April, President Maduro "green-lighted" Plan Zamora, a plan compared to the heavily criticized Plan Ávila, and was described by officials as "a joint strategic plan to respond to possible adverse events or foreign intervention that endangers the country's security". Antonio Benavides, commander of the Bolivarian National Guard, stated that the plan involved "the incorporation of the people to exercise the transition from normal social activity to the state of internal or external commotion", granting Bolivarian civilians the power to act as shock troops. The plan also granted the State the power to arrest protesters under martial law and have civilians face military tribunals, which was heavily criticized by human rights groups. Civilians accused of attacking military authorities would be charged with "rebellion" and could be summarily tried in military courts.


title: Paul Wakefield (general)

abstract: Major General Paul Louis Wakefield was a journalist, politician, and soldier.

text:
# Paul Wakefield (general)

**Major General Paul Louis Wakefield** was a journalist, politician, and soldier.

## Early life

Wakefield was born, raised, and attended school in Lovelady, Texas. After graduation, he attended the University of Texas at Austin, where he majored in journalism.

## Military career

He served in the United States Army during World War I. Later, he was appointed 1st Lieutenant in the Texas National Guard, where he eventually became a Major General. In 1949, he was the director of the Selective Service in the state of Texas in 1949 before retiring in 1955.

## Journalism career

As soon as WWI was over, he worked as a newspaper reporter for the Houston Chronicle and later, the Texas reporter for the New York Herald Tribune. He also worked for the New York World.

## Political career

Wakefield served as aides to 2 Texas Governors, a Vice President, and assistant to Jesse H. Jones. He also worked served as a member of the planning board for the Public Works Administration.

## Personal life and death

Wakefield was married twice, the first ending in divorce. He had one son. He died in Austin in 1961.

## InfoBox

| Paul Louis Wakefield | |
| --- | --- |
| Born | May 6, 1895
Lovelady, Texas |
| Died | March 23, 1961 (aged 65)
Austin, Texas |
| Resting place | Austin Memorial Park |
| Education | Lovelady High School University of Texas at Austin |
| Title | Major General |


title: Minehead (UK Parliament constituency)

abstract: Minehead was a parliamentary borough in Somerset, forming part of the town of Minehead, which elected two Members of Parliament (MPs) to the House of Commons from 1563 until 1832, when the borough was abolished by the Great Reform Act.

text:
# Minehead (UK Parliament constituency)

**Minehead** was a parliamentary borough in Somerset, forming part of the town of Minehead, which elected two Members of Parliament (MPs) to the House of Commons from 1563 until 1832, when the borough was abolished by the Great Reform Act.

## Members of Parliament

### MPs 1563–1629

* *Constituency probably established 1563*

| Parliament | First member | Second member |
| --- | --- | --- |
| Parliament of 1563-1567 | Thomas Luttrell | Thomas Fitzwilliams |
| Parliament of 1571 | John Colles | Thomas Mallett |
| Parliament of 1572-1581 | Dominick Chester | Richard Cabell |
| 1578 | Andrew Hemmerford | |
| 1582 | George Luttrell | |
| Parliament of 1584-1585 | George Luttrell | Edward Rogers |
| Parliament of 1586-1587 | John Luttrell | Robert Crosse |
| Parliament of 1588-1589 | | Benedict Barnham |
| Parliament of 1593 | Richard Hanbury | James Quirke |
| Parliament of 1597-1598 | Amias Bampfield
(*sat for Devon, replaced*) | Conrad Prowse |
| Parliament of 1601 | Dr Francis James | Lewis Lashbrooke |
| Parliament of 1604-1611 | Sir Ambrose Turville | Sir Maurice Berkeley |
| Addled Parliament (1614) | *No return made* | |
| Parliament of 1621-1622 | Francis Pearce | Sir Robert Lloyd |
| Happy Parliament (1624-1625) | Dr Arthur Duck | Sir Arthur Lake |
| Useless Parliament (1625) | Thomas Luttrell | Charles Pyne |
| Parliament of 1625-1626 | John Gill | Thomas Horner |
| Parliament of 1628-1629 | Thomas Horner | Edward Wyndham |
| *No Parliament summoned 1629-1640* | | | |
|

### MPs 1640–1832

| Year |  | First member | First party |  | Second member | Second party |
| --- | --- | --- | --- | --- | --- | --- |
| April 1640 |  | Francis Wyndham |  |  | Alexander Popham |  |
| 1640 | | | |  | Dr Arthur Duck |  |
| November 1640 |  | Alexander Luttrell I | Parliamentarian |  | Sir Francis Popham | Parliamentarian |
| 1642 |  | Thomas Hanham | Royalist | | | |
| January 1644 | *Hanham disabled from sitting — seat vacant* | | | | | |
| August 1644 | | *Popham died — seat vacant* | | |
| 1645 |  | Walter Strickland |  |  | Edward Popham |  |
| December 1648 | | | | *Popham not recorded as sitting after Pride's Purge* | | |
| 1653 | *Minehead was unrepresented in the Barebones Parliament and the First and Second Parliaments of the Protectorate* | | | | | |
| January 1659 |  | Richard Hutchinson |  |  | Colonel Alexander Popham |  |
| May 1659 |  | Walter Strickland |  | *One seat vacant* | | |
| 1660 |  | Francis Luttrell I |  |  | Charles Pym |  |
| 1661 | | | |  | Sir Hugh Wyndham |  |
| 1666 by-election | | | |  | Sir John Malet |  |
| 1673 by-election | | | |  | Thomas Wyndham |  |
| February 1679 | | | |  | Francis Luttrell II |  |
| September 1679 | | | |  | Thomas Palmer |  |
| 1685 | | | |  | Nathaniel Palmer |  |
| September 1690 by-election | | | |  | John Sanford |  |
| October 1690 by-election | | | |  | Alexander Luttrell II |  |
| 1698 | | | |  | Sir Jacob Banks |  |
| 1708 | | | |  | Sir John Trevelyan |  |
| 1715 | | | |  | Sir William Wyndham |  |
| April 1717 by-election |  | Samuel Edwin |  |  | Thomas Gage |  |
| May 1717 (on petition) |  | Sir John Trevelyan |  |  | James Milner |  |
| 1721 by-election | | | |  | Sir Richard Lane |  |
| January 1722 (on petition) | | | |  | Robert Mansel |  |
| March 1722 | | | |  | Thomas Hales |  |
| 1723 by-election | | | |  | Francis Whitworth |  |
| 1727 | | | |  | Alexander Luttrell III |  |
| 1737 by-election | | | |  | Sir William Codrington |  |
| 1739 by-election | | | |  | Thomas Carew |  |
| 1742 by-election | | | |  | John Periam |  |
| 1747 |  | Percy Wyndham-O'Brien |  |  | Charles Whitworth |  |
| 1754 |  | Daniel Boone |  | | | |
| 1761 |  | Henry Shiffner |  |  | The Earl of Thomond |  |
| 1768 |  | Henry Fownes Luttrell I |  |  | Sir Charles Whitworth |  |
| October 1774 | | | |  | John Fownes Luttrell | Tory |
| December 1774 by-election | | | |  | Thomas Pownall |  |
| 1780 | | | |  | Francis Fownes Luttrell |  |
| 1783 by-election | | | |  | Henry Beaufoy |  |
| June 1784 by-election | | | |  | Captain the Hon. Charles Phipps |  |
| 1786 by-election | | | |  | Robert Wood |  |
| 1790 | | | |  | Viscount Parker | Tory |
| 1795 by-election | | | |  | Thomas Fownes Luttrell | Tory |
| 1796 | | | |  | John Langston | Tory |
| 1802 | | | |  | John Patteson | Tory |
| 1806 |  | The Lord Rancliffe | Whig |  | Sir John Lethbridge, 1st Baronet | Tory |
| January 1807 by-election | | | |  | John Fownes Luttrell | Tory |
| May 1807 | | | |  | John Denison | Tory |
| 1812 | | | |  | John Fownes Luttrell, junior | Tory |
| 1816 by-election | | | |  | Henry Fownes Luttrell II | Tory |
| 1822 by-election | | | |  | John Douglas | Tory |
| 1826 | | | |  | James Blair | Tory |
| 1830 | | | |  | William Edward Tomline | Tory |
| 1831 | | | |  | Viscount Villiers | Tory |
| 1832 | *Constituency abolished* | | | | | |

* Robert Beatson, *A Chronological Register of Both Houses of Parliament* (London: Longman, Hurst, Res & Orme, 1807)
* D Brunton & D H Pennington, *Members of the Long Parliament* (London: George Allen & Unwin, 1954)
* *Cobbett's Parliamentary history of England, from the Norman Conquest in 1066 to the year 1803* (London: Thomas Hansard, 1808)
* J E Neale, *The Elizabethan House of Commons* (London: Jonathan Cape, 1949)
* J Holladay Philbin, *Parliamentary Representation 1832 - England and Wales* (New Haven: Yale University Press, 1965)
* Henry Stooks Smith, "The Parliaments of England from 1715 to 1847" (2nd edition, edited by FWS Craig — Chichester: Parliamentary Reference Publications, 1973)
* Willis, Browne (1750). *Notitia Parliamentaria, Part II: A Series or Lists of the Representatives in the several Parliaments held from the Reformation 1541, to the Restoration 1660 ...* London. p. .
* Jenkins, Terry. "Minehead". *The History of Parliament*. The History of Parliament Trust. Retrieved 24 September 2012.

## InfoBox

| Minehead | |
| --- | --- |
| Former borough constituency
for the House of Commons | |
| 1563–1832 | |
| Seats | Two |


title: Four-tube television camera

abstract:
The four-tube television camera, intended for color television studio use, was first developed by RCA in the early 1960s. In this camera, in addition to the usual complement of three tubes for the red, green and blue images, a fourth tube was included to provide luminance detail of a scene. With such a camera, a sharp black and white picture was always assured, as it was not necessary to combine signals from the three colour tubes to provide the luminance detail. In the early days of colour television studio cameras were heavy and hot-running because of the vacuum tube circuitry that they contained, in addition to three large image orthicon pick-up tubes.
With these cameras there was always a tendency for the three coloured images to drift out of registration, over time, giving a consequential loss of picture sharpness. In 1962, in order to address these stability problems, RCA announced their prototype four-tube camera. The aims of the designers of the camera were, firstly, to produce a camera that was more tolerant to mis-registration and, secondly, to achieve a lighter camera by using smaller vidicon tubes to replace some of the large heavy IO tubes. The camera had an image orthicon tube for the luminance channel and three vidicon tubes for the colour channels. In addition, the camera was fully transistorized, apart from the four pick-up tubes. The camera went into full production in 1963 and sales of several hundred of the model were achieved over the next few years. In the mid 1960s, following RCA’s lead, other versions of the 4-tube cameras were produced. In many cases, advantage was taken of a newly available pick-up tube. This new tube allowed cameras to be smaller and lighter than before. However, by the end of the decade, 4-tube cameras had fallen out of favour with most manufactures and customers. The picture quality and stability of pictures from 3-tube cameras had improved markedly, thanks to solid state circuitry, improvements in the Plumbicon tubes and the use of picture enhancement techniques. In addition, 3-tube cameras were smaller, lighter and cheaper than the 4-tube versions. By the early 1970s, only a very few manufacturers still made cameras using the 4-tube format.

text:
# Four-tube television camera

**The four-tube television camera**, intended for color television studio use, was first developed by RCA in the early 1960s. In this camera, in addition to the usual complement of three tubes for the red, green and blue images, a fourth tube was included to provide luminance (black and white) detail of a scene. With such a camera, a sharp black and white picture was always assured, as it was not necessary to combine signals from the three colour tubes to provide the luminance detail.

In the early days of colour television (from the mid 1950s to the early 1960s) studio cameras were heavy and hot-running because of the vacuum tube (thermionic valve) circuitry that they contained, in addition to three large image orthicon pick-up tubes. With these cameras there was always a tendency for the three coloured images to drift out of registration, over time, giving a consequential loss of picture sharpness.

In 1962, in order to address these stability problems, RCA announced their prototype four-tube camera. The aims of the designers of the camera were, firstly, to produce a camera that was more tolerant to mis-registration and, secondly, to achieve a lighter camera by using smaller vidicon tubes to replace some of the large heavy IO tubes. The camera had an image orthicon tube for the luminance channel and three vidicon tubes for the colour channels. In addition, the camera was fully transistorized, apart from the four pick-up tubes. The camera went into full production in 1963 and sales of several hundred of the model were achieved over the next few years.

In the mid 1960s, following RCA’s lead, other versions of the 4-tube cameras were produced (see below for details). In many cases, advantage was taken of a newly available pick-up tube (the Plumbicon). This new tube allowed cameras to be smaller and lighter than before.

However, by the end of the decade, 4-tube cameras had fallen out of favour with most manufactures and customers. The picture quality and stability of pictures from 3-tube cameras had improved markedly, thanks to solid state circuitry, improvements in the Plumbicon tubes and the use of picture enhancement techniques. In addition, 3-tube cameras were smaller, lighter and cheaper than the 4-tube versions. By the early 1970s, only a very few manufacturers still made cameras using the 4-tube format.

## Advantages of the four-tube configuration

Source:

In a 3-tube colour camera, the luminance (black and white) signal is derived from a combination of the three colour signals, so severe demands are placed on the registration accuracy of the three images, if sharp pictures are to be achieved. With a four tube camera, however, this registration problem is avoided because the transient edges in the luminance signal all originate from a single tube. Although achieving sharp pictures had always been a desirable aim, it was of particular concern in the early days of colour television when the majority of viewers still had black and white sets. It was considered essential that these viewers should see no degradation in picture quality when viewing colour transmissions.

In addition to allowing the registration accuracy between the colour images to be relaxed, the 4-tube camera allows additional mis-registration of these three images relative to the luminance image. This is because the presence of a sharp black and white image allows significant displacement of the colour content to be tolerated by the viewer; a feature long exploited by the publishers of cheap colour comics and magazines.

RCA engineers in 1964 considered that registration tolerances could be relaxed by three times, relative to a 3-tube camera. A later study by the BBC, comparing 3 and 4-tube arrangements concluded that tolerances could be relaxed by at least 2:1 in the 4-tube case.

A further advantage of the 4-tube system concerned noise in the picture. As the composite signals in NTSC, PAL and SECAM systems all used band-limited colour information, so the colour channels in a 4-tube camera could be band-limited, appropriately. This ensured that there was no contamination of the luminance picture by high frequency noise from those channels.

Disadvantages of a four tube system were increased costs, a larger and heavier camera, and reduced light levels on the colour tubes (light was ‘stolen’ by the luminance tube), making such a camera less suitable for outside broadcasts in low ambient lighting.

(An alternative way of producing a sharp luminance image was the three tube luminance-red-blue camera (the 'YRB' camera). However, this system was not favoured by most manufacturers, because it was deficient in colour hue fidelity. Even so, a 3-tube camera of this type was produced by Bosch/Fernseh, their type KCU40 ).

## Historical background

### Early three-tube cameras

Up to 1962, television studios used 3-tube image orthicon cameras for programmes in colour. For example, RCA offered the TK-41, GE the PC-15 and PC-25, Marconi the BD848/B3200. They were all big, heavy, cameras (for example, the TK-41 with zoom lens was 5 ft long and it weighed 500 lbs). However, when properly set up, these image orthicon cameras could give pleasing pictures, which had the sharp crisp look that was a characteristic of the I.O. pick-up tubes (see Video camera tube \- Image orthicon).

### The first four-tube camera

In March 1962, RCA demonstrated the first 4-tube camera, the TK-42X (‘X’ for experimental), which incorporated a 4.5” image orthicon tube, as the luminance tube, together with three vidicon tubes to provide the colour information. This new camera had a conventional box- shaped housing, but it was lighter and shorter and had a 5:1 zoom lens integrated within it. The following year, with various technical issues resolved, the camera went into production. It now had a profile similar to the TK-41, but was considerably lighter and shorter.

### British four-tube cameras

In 1963 engineers from Marconi and EMI visited RCA in order to inspect this new concept camera. BBC engineers also visited RCA with a view to using the camera in the forthcoming UK colour service.

Following their visit, EMI quickly made an experimental 4-tube camera by cobbling together parts from an EMI Type 203 image orthicon studio camera with parts from an EMI Type 204 three-vidicon industrial colour camera This camera was demonstrated to the BBC and received a lukewarm reception there. It produced sharp pictures, as expected, but there were problems with colorimetry. Pictures of this camera can be found on various websites (it is not a pretty camera!). A production version of this camera, the EMI 2000, contained a similar complement of pick-up tubes, but was never built.

Marconi, following their visit to RCA, also promptly set about the development of a new 4-tube camera, similar in concept to the RCA one. However, this work was soon abandoned in favour of an all Plumbicon camera (the Mark VII camera), using the newly available Plumbicon camera tubes from Philips. The camera was completed in 9 months and was the first all-Plumbicon 4-tube camera to be available worldwide. It was marketed in the US from February 1966 and achieved substantial sales there.

Lagging behind by over a year, EMI completed and demonstrated their type 2001 4-tube Plumbicon camera. This camera was ready only just in time for the launch of the colour television service by the BBC, but then proved to be very popular in Britain, with cameras installed in most studios, nationwide. However, its late arrival, compounded by all the early sales going into the British market, resulted in the camera missing out on sales opportunities in the USA when, in the mid 1960s, a rapid expansion of the market took place. Furthermore, it made little impact in European markets which were either not ready or already dominated by Philips' 3-tube cameras.

### Other developments

Following on from the TK-42, RCA produced several more cameras with a similar format. The TK-43 was a version of the TK-42, but with an external lens, The TK-44 had an Isocon tube in the luminance channel and three Plumbicons for the colour channels. (The Isocon tube was more sensitive than the image orthicon so enabling the camera to operate at very low light levels, in outside broadcast use. However, it was a short-lived tube). There was also a version of the TK-42 in which selenicon tubes replaced the vidicons. None of these cameras sold in anything like the quantities of the TK-42. RCA also produced a four vidicon film camera, the TK-27.

The advent of the Plumbicon tube brought about the end for the image orthicon type tubes and from the middle of the 1960s onwards, virtually all television cameras contained Plumbicons, regardless of the number of tubes used in a camera. (This tube had first been announced ten years previously, initially for medical use, but much time and effort had been invested in making it suitable for broadcast TV use).

G.E. ceased production of its 3 x I.O., the type PC-25 in 1966. Meanwhile, the company had brought out, in 1965, a 4-tube vidicon camera, the GE PE-24, for film scanner use. This was followed by an all-Plumbicon 4-tube camera, the type PE250, which used conventional relay optics, rather than the prism optics of some other colour cameras. This camera was later followed by the PE350 and PE400, which continued to use the 4-tube format. (G.E. maintained, at that time, that 4-tube cameras gave the best pictures).

Philips Research Lab., following RCA's lead, also contemplated the construction of a four-tube camera. Their new camera was to include an experimental 2" Plumbicon tube which was being developed for use in the luminance channel of this camera. The work was discontinued.

A Russian camera, the type KT-166M, used 4 plumbicons and prism optics.

### Demise

The 4-tube concept was developed in 1962, but the benefits it offered were not accepted by everyone. Even in 1967, at the Montreux TV Symposium, the pros and cons of the three and four tube system were still being hotly debated. However, by the end of the decade, 4-tube cameras were out of fashion. A combination of high quality Plumbicon tubes, improved registration techniques and electronic picture enhancement methods made the pictures from the 3-tube cameras completely acceptable while 4-tube cameras were perceived to be big, heavy and expensive to run. Such an outcome had been predicted by BBC engineers

RCA ceased production of the TK-42 in 1966 and by 1968 was offering the TK-44A (a 3-plumbicon camera, similar in concept to the Norelco PC60. In 1968 Marconi brought out their new Mark VIII camera, which was a light, neat, three tube design with integral zoom and auto-registration capability. Philips continued to improve their Norelco cameras. (now offering their “third generation” camera). Other suppliers of 3-tube cameras were Ampex with the BC-230, Visual Electronics in the US, and the Bosch-Fernseh KCU40, in Germany. Only a few manufacturers continued with the 4-tube concept beyond the end of the decade. GE continued with the 4-tube configuration, next bringing out the PE350, followed later by the PE400, as mentioned earlier. For a while, Thomson CSF, in France, offered the 4-tube TH.T 2001 (a camera that was basically the EMI 2001) but by the early 1970s was offering the 3-tube TTV 1515

Initially, EMI continued the 4-tube concept by producing a 4-tube film camera (the EMI 2002), but by 1969 decided to follow the trend in studio cameras by introducing a 3-tube version of the Type 2001 (the Type 2001C), specifically for the American market, in partnership with IVC. This venture was not successful; the camera was almost as big and heavy as the 4-tube design on which it was based, whereas the competition now had smaller, lighter, purpose-built, 3-tube designs. After that, EMI abandoned the 4-tube concept completely and in 1970 introduced the Type 2005. This was a conventional 3-tube design, somewhat similar in appearance to the 2001, but with an external zoom lens. It achieved modest sales in the UK.

## Colour processing

There are three components in the composite waveforms for the NTSC, PAL and SECAM broadcast television systems a wideband luminance signal (Y) and two narrow band colour-difference signals, containing (R – Y) and (B – Y). These components are combined to give a waveform suitable for transmission. After reception and demodulation, the composite waveform is decoded to give red, green and blue signals which are applied to the three guns of a display tube.

(The luminance signal used in this process was assumed to originate from a combination of signals from the red, green and blue images in a three tube camera, where Y is given by (here ignoring issues with gamma correction, for simplicity):

$Y=0.30\times R+0.59\times G+0.11\times B$

and the processing in a colour receiver assumes that the luminance signal has this form, when the decoding of the composite signal into the individual colour components takes place. (The spectral sensitivity of the red, green and blue channels had pre-defined characteristics which were achieved, in practice, by a combination of (a) the characteristics of dichroic reflection surfaces, (b) optical filters ahead of the pick-up tubes and (c) the spectral characteristics of the pick-up tubes).

In the case of a four-tube camera, there is a problem with colorimetry if the signal from the luminance tube is used in unmodified form to represent ‘Y’, because that signal is likely to be panchromatic, rather than having a characteristic similar to the luminance signal given by the equation above. Consequently, if the colour difference signals use this unmodified version of 'Y', the decoded colour display in the receiver will have saturation and hue errors.

The various manufacturers of 4-tube cameras used different methods to resolve this problem. RCA, in their TK-42, placed an optical filter in front of the luminance tube which transmitted light according to the required luminosity function. Marconi, in the Mk VII, used a dichroic mirror to reflect light to the luminance tube which had the required luminosity function. EMI, in their 2001 camera, formed a low frequency luminance signal from the band-limited colour channels, according to 3-tube practice. The wideband luminance signal was corrected by this so as to achieve the required luminance characteristic at low frequencies. This process was referred to as the delta-L correction method.
In the GE four-tube cameras a neutral splitting prism, with a semi-silvered surface, was used to provide the image for the luminance tube, so no spectral shaping was used in the luminance channel. Instead, the cameras possessed an eight-position filter wheel, located just after the zoom lens, so that a filter could be chosen to give optimum colorimetry in the tv picture, according to the lighting conditions encountered in a scene

## Camera data

Notes:

1. Some 3-tube cameras are included for comparison
2. The all-up weight is given (camera + V/finder + lens) unless otherwise stated
3. The length normally excludes the lens
4. The table is incomplete.
5. Abbreviations used: L = length; W = width; H = height; vf =viewfinder; zm = zoom; I.O. = image orthicon; Iso = Isocon; vid = vidicon; Pl = Plumbicon; cam. = camera; Manuf. = Manufacturer; RCA = Radio Corporation of America; GE = General Electric Co.; EMI = Electrical and Musical Industries;

| Manuf./Type | Format | Dates | Sales | Weight (kg) | L x W x H (cm) |
| --- | --- | --- | --- | --- | --- |
| **RCA** | | | | | |
| TK-40/41 | 3 x I.O. | 1954 - 66 | 223 | 160 | 112 x 53 x 37
L = 152 with zm |
| TK-42 | 1x I.O.+ 3x vid | 1965 - 69 | 376 | 127 |  |
| TK-43 | 1x I.O.+ 3x vid | 1967 - 70 | 93 | 127 + zm |  |
| TK-27 | 4 x vid
(Film cam.) | 1965 - |  |  |  |
| TK-44 | 1x Iso + 3x vid | 1967 |  | 64 + vf + zm |  |
| TK-44A/45 | 3 x Pl. | 1969–1977 | 940 | 73 + zm |  |
| **GE** | | | | | |
| PC-15/25 | 3 x I.O. | 1955 - 66 | 6 (1964) | 98 |  |
| PE-24 | 4 x vid.
(Film cam.) | 1965 - |  |  |  |
| PE250 | 4 x Pl. | 1965 - 67 | 358 | 73 |  |
| PE350 | 4 x Pl. | 1968 - 71 | 289 | 73 |  |
| PE400 | 4 x Pl. | 1969 - 74 | 64 |  |  |
| **Marconi** | | | | | |
| B3200/BD848 | 3 x I.O. | 1960 |  | 150 |  |
| Mk VII | 4 x Pl. | 1966 - 75 | 320
129 in US | 93.5 | 67 x 34 x 46
(excl. zm.) |
| Mk VIII | 3 x Pl. | 1972 - 78 | 600+ | 40 | 48 x 36 x 41 |
| **EMI** | | | | | |
| Exptl. | 1x I.O.+ 3x vid. | 1964 |  |  |  |
| 2001 | 4 x Pl. | 1966 -70 | 200+
3 in US | 91 | 54 x 38 x 38 |
| 2002 | 4 x Pl.
(Film cam.) | 1968 -70 |  |  |  |
| 2005 | 3 x Pl. | 1970 -76 |  | 44.5 | 48 x 47 x 38
L = 81 inc. zm. |
| **Philips/Norelco** | | | | | |
| LDE3/ PC60/70 | 3 x Pl. | 1965 - 73 | 1800+
918 in US | 73 |  |
| **Soviet** | | | | | |
| KT- 116M | 4 x Pl. | 1969 - |  |  |  |


title: Needmore Shale

abstract: The Devonian Needmore Formation or Needmore Shale is a mapped bedrock unit in Pennsylvania, Maryland, Virginia, and West Virginia.

text:
# Needmore Shale

The Devonian **Needmore Formation** or **Needmore Shale** is a mapped bedrock unit in Pennsylvania, Maryland, Virginia, and West Virginia.

## Description

The Needmore Formation was originally described by Willard and Cleaves in 1939 as a dark- to medium-gray limy shale, based on exposures in southern Fulton County, Pennsylvania. They considered it part of the Onondaga Group.

DeWitt and Colton (1964) described the Needmore as "soft calcareous medium dark-brownish-gray and greenish-gray shale and mudrock...and soft, slightly calcareous very fissile brownish-black shale" that is not resistant to weathering. They estimated its thickness in their study area (southern Bedford County, Pennsylvania, and most of Allegany County, Maryland) as approximately 150 feet.

### Fossils

DeWitt and Colton (1964) identified brachiopods (*Coelospira acutiplicata*, *Eodevonaria arcuata*), trilobites (*Viaphacops cristata*), and ostracods (*Favulella favulosa*) in the Needmore.

### Notable Exposures

Type locality is between Needmore and Warfordsburg in southern Fulton County, Pennsylvania.

## Age

Relative age dating places the Needmore in the middle Devonian.

## InfoBox

| Needmore Formation | |
| --- | --- |
| Stratigraphic range: Emsian | |
| Type | sedimentary |
| Underlies | Marcellus Shale and Millboro Shale |
| Overlies | Oriskany Formation |
| Lithology | |
| Primary | shale |
| Location | |
| Region | Appalachian Mountains |
| Country | United States |
| Extent | Maryland, Pennsylvania, Virginia, and West Virginia |
| Type section | |
| Named for | Needmore, Pennsylvania |
| Named by | Willard and Cleaves, 1939 |


title: Goliath (graphic novel)

abstract: Goliath (2012) is a graphic novel by Tom Gauld, published by Drawn & Quarterly. It is Gauld's first long-form book. The book is a retelling of the biblical story of the warrior Goliath.

text:
# Goliath (graphic novel)

***Goliath*** (2012) is a graphic novel by Tom Gauld, published by Drawn & Quarterly. It is Gauld's first long-form book.

The book is a retelling of the biblical story of the warrior Goliath.

## Development

Gauld wrote a story about the biblical figure of Noah in Kramers Ergot, issue 7 (2008). According to Gauld, it "was one of the things which led \[him\] to do *Goliath."*

The longer format of *Goliath*—compared to the author's previous work—made the book more challenging to work on, according to Gauld.

## Awards and nominations

## InfoBox

Goliath
| Paperback cover | |
| --- | --- |
| Author | Tom Gauld |
| Language | English |
| Published | 2012 (Drawn & Quarterly) |
| Media type | Graphic novel |
| ISBN | 9781770462991 |


abstract: Moose Mountain is a mountain located in Adirondack Mountains of New York located in the Town of Indian Lake southwest of Indian Lake.

text:
# Moose Mountain (Hamilton County, New York)

**Moose Mountain** is a mountain located in Adirondack Mountains of New York located in the Town of Indian Lake southwest of Indian Lake.

## InfoBox

| Moose Mountain | |
| --- | --- |
| Moose MountainLocation of Moose Mountain within New YorkMoose MountainMoose Mountain (the United States) | |
| Highest point | |
| Elevation | 2,333 feet (711 m) |
| Coordinates | 43°40′11″N 74°18′57″W / 43.66972°N 74.31583°W / 43.66972; -74.31583 |
| Geography | |
| Location | SW of Indian Lake, New York, U.S. |
| Topo map | USGS *Indian Lake* |


title: Unnaipol Oruvan (1965 film)

abstract: Unnaipol Oruvan is a 1965 Indian Tamil-language drama film written, co-produced and directed by Jayakanthan. Based on his novel of the same name, the film was his directorial debut. The film stars R. Gandhimathi, P. Udhayan, S. Prabhakar and A. K. Veerasami. It had no songs with the background score composed by Chitti Babu. The film won the Third Best Feature Film at the 12th National Film Awards in 1965.

text:
# Unnaipol Oruvan (1965 film)

***Unnaipol Oruvan*** (transl.A Man Like You) is a 1965 Indian Tamil-language drama film written, co-produced and directed by Jayakanthan. Based on his novel of the same name, the film was his directorial debut. The film stars R. Gandhimathi, P. Udhayan, S. Prabhakar and A. K. Veerasami. It had no songs with the background score composed by Chitti Babu. The film won the Third Best Feature Film at the 12th National Film Awards in 1965.

## Plot

After being abandoned by her lover, Thangam, a construction worker, lives in a slum with her only son Chitti Babu. Chitti grows up as an irresponsible boy until he meets the owner of an ice cream factory. The owner preaches him the importance of one's mother and further provides him a job in his factory and gives him an admission to study in his night school. A reformed Chitti then takes up the burden of supporting his mother financially.

During this time, an astrologer Manickam enters the slum and starts living there. Thangam gets fond of him and becomes pregnant with his child. Upon her insistence, Manickam joins her and starts living with the family. A good hearted Manickam shows fatherly affection towards Chitti, but Chitti who is possessive about his mother does not reciprocate his love for him. A mentally disturbed Chitti leaves home and stops going to work. Manickam understands the situation and leaves the house. Chitti on hearing this, returns home and starts living with his mother but remains indifferent. His behaviour affects Thangam emotionally. She soon gives birth to a baby girl and dies. It takes some time for Chitti to understand that he is an orphan and decides to take care of his sister.

## Cast

## Production

*Unnaipol Oruvan* was a novel written by Jayakanthan, and serialised in the magazine *Ananda Vikatan*. Jayakanthan was encouraged by members of the Communist Party of India, with whom he was associated, to make a film based on his stories. Venus Krishnamurthy, a Tamil film distributor, had earlier informed Jayakanthan that he was ready to produce a film based on one of Jayakanthan's stories. Jayakanthan, on the encouragement of his friends and Communist party members, met Krishnamurthy and told his idea of making a film adaptation of *Unnaipol Oruvan*.

Krishnamurthy was impressed with the novel and asked Jayakanthan to write the script. Jayakanthan completed the script in 10 days and showed it to Krishnamurthy, who after hearing the script, remarked that it resembled a typical Bengali film and did not have any entertaining aspects featuring in it. Jayakanthan and his friends took the criticism seriously and walked out. He formed a production company with his friends and named it Asiajothi Films.

The film was made on a shoestring budget of almost ₹1 lakh (worth ₹3 crore in 2021 prices). Principal photography of the film began on the Diwali day of 1964. Members of the Seva-stage troupe were signed up to play principal roles in the film. Filming was completed in 21 days. The film had no songs, and the background score was composed by Chitti Babu.

## Release and reception

The film was censored on 30 December 1964 and sent for the 12th National Film Awards (1964). However, it got released only on 27 February 1965. Jayakanthan released the film himself as the distributors backed out citing there were no known actors in the film. It won the Third Best Feature Film at the National Film Awards ceremony. The film is widely considered by the critics as the first neorealistic film in Tamil cinema. It started a new wave and is seen as a trendsetter for realistic films in Tamil cinema.

Despite receiving critical acclaim, the film was a failure at the box office. It was also screened at the Soviet Union. Politician K. Kamaraj appreciated the film, saying the Government must enable the public to watch this film freely so that the message of the film could reach out better and to larger audiences. French film critic Georges Sadoul praised it as a "neo-realistic masterpiece". As of September 2013, no print of the film was known to survive, seemingly making it a lost film. However, Jayakanthan's family posted the film on his birth anniversary 24 April 2023 on YouTube. *Ananda Vikatan*, in a review dated 7 February 1965, wrote that Jayakanthan was bringing in a new wave with the film. The reviewer added that the realistic and new wave film would making everyone watch it at least once.

## Bibliography

## InfoBox

| Unnaipol Oruvan | |
| --- | --- |
| Poster | |
| Directed by | Jayakanthan |
| Written by | Jayakanthan |
| Based on | *Unnaipol Oruvan*
by Jayakanthan |
| Produced by | Jayakanthan |
| Starring | R. Gandhimathi
P. Udhayan
S. Prabhakar
A. K. Veerasami |
| Cinematography | S. Natarajan |
| Edited by | R. G. Gopu |
| Music by | Chitti Babu |
| Production
company | Asiajothi Films |
| Distributed by | Asiajothi Films |
| Release date | * 27 February 1965 (1965-02-27) |
| Country | India |
| Language | Tamil |


title: Gordon Hobson

abstract: Gordon Hobson is an English retired footballer who played as a forward, spending most of his career with Lincoln City, with shorter periods at Grimsby Town, Southampton and Exeter City.

text:
# Gordon Hobson

**Gordon Hobson** (born 27 November 1957) is an English retired footballer who played as a forward, spending most of his career with Lincoln City, with shorter periods at Grimsby Town, Southampton and Exeter City.

## Football career

Hobson was born in Sheffield attending Firth Park School but played his youth football with Winterton Rangers in Lincolnshire. Trained as a plumber, Hobson continued to play in local football, turning out for Sheffield Rangers on Saturdays and for Manchester Villa, a Chesterfield pub team, on Sundays.

Shortly after his 20th birthday, he was signed by Lincoln City, then in the Football League Third Division. He made his professional debut against Cambridge United in April 1978, producing "a sparkling performance in which he seemed to mesmerise the opposition defenders" with his crosses from the right flank providing two goals for "the Imps" and scoring once himself in a 4–1 victory.

Hobson quickly became established as a first-team regular, generally playing at outside-left with Glenn Cockerill on the right and Mick Harford in the centre. After being relegated in 1979 and a lacklustre 1979–80 season (in which Hobson scored his first hat-trick in a 5–2 victory at Torquay on the final day of the campaign), manager Colin Murphy moved Hobson into the centre where his 21 goals helped the Imps secure promotion to Division Three with a second-place finish behind Southend United. A highlight of the promotion season was an 8–0 demolition of Northampton Town in which Hobson scored four times.

In 1981–82, Lincoln mounted a creditable attempt to reach the Second Division, missing out on promotion by one point. Over the next few seasons, Lincoln generally finished in mid-table and in the summer of 1985, Murphy resigned. In June, Hobson moved on to Grimsby Town of the Second Division for a £35,000 fee. In his first season at Grimsby, Hobson finished leading scorer with 15 league goals.

In November 1986 he was sold to First Division Southampton for £120,000 where he linked up with Cockerill, his former Lincoln City teammate. He made his debut for "the Saints" on 29 November 1986 when he scored the final goal in a 3–1 victory, knocking in the loose ball after goalkeeper Tony Coton failed to hold a shot from Cockerill. On 11 April 1987, Hobson scored three goals at Maine Road, where Southampton defeated Manchester City 4–2. Hobson's hat-trick (a header, a tap-in and a penalty) was the Saints' first away from home for 18 years.

Although he showed "a nice sense of balance and an eye for goal", Hobson suffered from an ankle injury after a month of the 1987–88 season. Graham Baker took his place in the side, and by the time that he was fit again, Hobson found it hard to break back into the team, especially with the emergence of younger players such as Rod Wallace, Matthew Le Tissier and Alan Shearer.

In September 1988, he returned to Sincil Bank, rejoining Lincoln City for a club record fee of £60,000. His first match back at Lincoln was a League Cup match against the club he had just left, Southampton, in which Hobson scored City's consolation goal at The Dell. Hobson spent two more years with Lincoln, finishing as top scorer both seasons, with a hat-trick in a 4–1 win at table-topping Burnley in November 1988. In his two spells with Lincoln, Hobson made a total of 386 first-team appearances, scoring 105 goals.

In the summer of 1990, he joined Exeter City for one last season of League football before dropping down to the lower leagues. At Salisbury City, he dabbled in management as assistant manager in 1985 and again in 1997.

## Career after football

Hobson retained his home in the Southampton area and became a director of a yacht charter and sales business, based in nearby Hamble-le-Rice.

## InfoBox

Gordon Hobson
| Personal information | | | |
| --- | --- | --- | --- |
| Date of birth | (1957-11-27) 27 November 1957 | | |
| Place of birth | Sheffield, England | | |
| Height | 5 ft 9 in (1.75 m) | | |
| Position(s) | Forward | | |
| Youth career | | | |
|  | Winterton Rangers | | |
|  | Sheffield Rangers | | |
|  | Manchester Villa (Chesterfield) | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1977–1985 | Lincoln City | 272 | (73) |
| 1985–1986 | Grimsby Town | 52 | (18) |
| 1986–1988 | Southampton | 33 | (8) |
| 1988–1990 | Lincoln City | 61 | (23) |
| 1990–1991 | Exeter City | 38 | (7) |
| 1991 | Walsall | 3 | (0) |
| 1991–1992 | Farnborough Town |  |  |
| 1992–1995 | Salisbury City |  |  |
| \*Club domestic league appearances and goals | | | |


title: Goodrich, Herefordshire

abstract: Goodrich is a village and civil parish in south Herefordshire, England close to Gloucestershire and the Forest of Dean, situated near the River Wye at grid reference SO574193. It is known for its Norman and mediaeval castle built with Old Red Sandstone. The parish includes the neighbouring hamlet of Symonds Yat East and had population at the 2011 census of 550. The village grew up next to Goodrich Castle, a 'Marcher Castle' dating to c. 1101 which stands on a high spur of land commanding a strategic position above Kerne Bridge, an ancient crossing point of the Wye. Goodrich is on the A40 trunk road which forms part of the main route between South Wales and the West Midlands but is in a sheltered rural location. Goodrich has not retained its village shop or post office but has kept a village hall and two public houses. The village has a tennis club with three all-weather courts and an active village cricket club. The Coppett hill nature reserve stretches along a hill above the Wye south of the village.

text:
# Goodrich, Herefordshire

**Goodrich** is a village and civil parish in south Herefordshire, England close to Gloucestershire and the Forest of Dean, situated near the River Wye at grid reference SO574193. It is known for its Norman and mediaeval castle built with Old Red Sandstone.

The parish includes the neighbouring hamlet of Symonds Yat East and had population at the 2011 census of 550.

The village grew up next to Goodrich Castle, a 'Marcher Castle' dating to c. 1101 which stands on a high spur of land commanding a strategic position above Kerne Bridge, an ancient crossing point of the Wye.

Goodrich is on the A40 trunk road which forms part of the main route between South Wales and the West Midlands but is in a sheltered rural location. Goodrich has not retained its village shop or post office but has kept a village hall and two public houses. The village has a tennis club with three all-weather courts and an active village cricket club.

The Coppett hill nature reserve stretches along a hill above the Wye south of the village.

## Church

The Church of St Giles contains the tomb of the Countess of Salisbury, who was charged by Henry Bolingbroke with bringing up his son, later to become King Henry V, after the death of Mary de Bohun his first wife. The young boy was brought up at nearby Courtfield at Welsh Bicknor.

## Goodrich Castle

Goodrich Castle was first known as *Castellum Godrici* after Godric of Mappestone, the builder of the first castle on the site. Over time the name changed to Goodrich and the castle changed hands many times through the centuries, passing from family to family. In 1646, near the end of the English Civil War, the castle was besieged and captured, using a cannon cast in the Forest of Dean called Roaring Meg, from Sir Henry Lingen by Parliamentarians led by Colonel Birch. The castle is now in the care of English Heritage.

## Goodrich Court

Goodrich Court was a country house built between 1828 and 1831 by Sir Samuel Meyrick. Goodrich Court and other nearby buildings became the evacuation home to Felsted School in the World War II years 1940–1945. Although demolished in the 1950s, Goodrich Court Stables and its walled garden still exists. Sculptor Jon Edgar lived and worked here between 2004 and 2007.

## Rocklands House

Rocklands House is listed on the English Heritage Register. It was built in the 1700s and substantial additions were made in 1800 It was the home of many notable people over the next two centuries.

## Role in history of aesthetics

Goodrich's prominent position overlooking the River Wye meant that both Castle and Court were stopping points on the first Wye Tour of William Gilpin in 1770. The trip from Ross-on-Wye to Monmouth was instrumental in the development of The Picturesque and Picturesque Tourism.

## Railways

The village was served by the Ross and Monmouth Railway at Kerne Bridge station between 1873 and 1959 running through the scenic Wye Valley.

1. "Civil Parish population 2011". Retrieved 30 October 2015.
2. Visit to Goodrich Court Stables by US Professor of Art Darryl Baird 'Re-visiting the Picturesque' Archived 2007-11-07 at the Wayback Machine

51°52′16″N 2°37′08″W / 51.871°N 2.619°W / 51.871; -2.619


title: Montpothier

abstract: Montpothier is a commune in the Aube department in north-central France.

text:
# Montpothier

**Montpothier** (French pronunciation: \[mɔ̃pɔtje\]) is a commune in the Aube department in north-central France.

## Population

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1962 | 173 |  |
| 1968 | 199 | +15.0% |
| 1975 | 209 | +5.0% |
| 1982 | 218 | +4.3% |
| 1990 | 225 | +3.2% |
| 1999 | 238 | +5.8% |
| 2008 | 319 | +34.0% |

## InfoBox

| Montpothier | |
| --- | --- |
| Commune | |
| Town hall | |
| Location of Montpothier | |
| MontpothierMontpothier | |
| Coordinates: 48°34′24″N 3°31′10″E / 48.5733°N 3.5194°E / 48.5733; 3.5194 | |
| Country | France |
| Region | Grand Est |
| Department | Aube |
| Arrondissement | Nogent-sur-Seine |
| Canton | Nogent-sur-Seine |
| Intercommunality | Nogentais |
| Government | |
| Mayor (20202026) | César Cornaz |
| Area**1** | 7.72 km2 (2.98 sq mi) |
| Population (2021) | 333 |
| Density | 43/km2 (110/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 10254 /10400 |
| Elevation | 150 m (490 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Montpol

abstract: Montpol is a locality located in the municipality of Lladurs, in Province of Lleida province, Catalonia, Spain. As of 2020, it has a population of 37.

text:
# Montpol

**Montpol** is a locality located in the municipality of Lladurs, in Province of Lleida province, Catalonia, Spain. As of 2020, it has a population of 37.

## Geography

Montpol is located 108km northeast of Lleida.

## InfoBox

| Montpol | |
| --- | --- |
| Locality | |
|  | |
| MontpolMontpolMontpol | |
| Coordinates: 42°5′15″N 1°24′49″E / 42.08750°N 1.41361°E / 42.08750; 1.41361 | |
| Country | Spain |
| Community | Catalonia |
| Province | Lleida |
| Municipality | Lladurs |
| Elevation | 836 m (2,743 ft) |
| Population | |
| Total | 37 |


title: Uppalaphad

abstract: Uppalaphad is a village in the Indian state of Telangana's Nalgonda district. It falls under Atmakur mandal. Uppalapahad received a model village award by president of India from Nalgonda. Repaka, Parupally, Modugubaigudem and Pothireddy pally are the neighbor villages for Uppalapahad.

text:
# Uppalaphad

**Uppalaphad** is a village in the Indian state of Telangana's Nalgonda district. It falls under Atmakur mandal. Uppalapahad received a model village award by president of India from Nalgonda. Repaka, Parupally, Modugubaigudem and Pothireddy pally are the neighbor villages for Uppalapahad.

## InfoBox

| Uppalapahad | |
| --- | --- |
| Village | |
| Country | India |
| State | Telangana |
| Population | |
| Total | 800 |
| Languages | |
| Official | Telugu |
| Time zone | UTC+5:30 (IST) |
| Vehicle registration | TS |
| Sex ratio | 1:1 / |
| Website | telangana.gov.in |


title: Montauk Variations

abstract: Montauk Variations is Perrier Award-winning British pianist/cellist Matthew Bourne's first studio album as a solo artist.

text:
# Montauk Variations

***Montauk Variations*** is Perrier Award-winning British pianist/cellist Matthew Bourne's first studio album as a solo artist.

## Background

The album was inspired by Bourne's trip to Montauk, New York in August 2009 and was recorded at Dartington Hall in Devon. It is composed almost entirely of solo piano, with some cello overdubs. The album contains several personal dedications, including to musicians Keith Tippett and John Zorn. Bourne is vocal about his admiration for Zorn, with whom he has worked in New York, and the choice of recording location is the connection with Tippett, who also recorded an album at Dartington Hall.

## Critical reception

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 74/100 |
| Review scores | |
| Source | Rating |
| *All About Jazz* |  |
| *The Independent* |  |
| Drowned in Sound | 8/10 |
| The Skinny |  |

*Montauk Variations* received positive reviews across the UK press and was generally praised for its sense of serenity and stillness compared to Bourne's earlier work in "improvisational jazz \[and\] proto metal outfits". On the Metacritic website, which aggregates reviews from critics and assigns a normalised rating out of 100, *Montauk Variations* received a score of 74, based on 1 mixed and 5 positive reviews.

All About Jazz wrote, "Montauk Variations is about economy and lyricism. Bourne's use of sharper edges only serves to highlight the sheer beauty of their surrounding soft surfaces, making Montauk Variations an absolutely beautiful album of respite, restoration and renewal". The Skinny praised the album, saying, "Whether mellow and romantic (Juliet) or tumultuously erratic (Étude Psychotique), Bourne’s work is ceaselessly inventive and always absorbing". Drowned In Sound wrote that "whilst the album may be far from simple, it’s certainly the feeling of simplicity that makes this endearing, if not inspiring".

In *The Independent*, Phil Johnson dismissed the more frenetic moments on the record, saying "There's a bit of mad plinky-plonk, but otherwise Bourne uses space and consonance to create a series of meditations on mood and place".

## Track listing

All compositions by Bourne, apart from "Smile" by Charlie Chaplin.

1. "I. Air" - 4:16
2. "II. The Mystic" – 7:47
3. "III. Phantasie" – 2:38
4. "IV. Infinitude" – 4:58
5. "V. Etude Psychotique (For John Zorn)" – 1:07
6. "VI. Within" – 2:20
7. "VII. One For You, Keith" - 1:59
8. "VIII. Juliet" – 3:21
9. "IX. Senectitude" –1:07
10. "X. The Greenkeeper (for Neil Dyer)" – 3:09
11. "XI. Abrade" - 2:32
12. "XII. Here (In Memory of Phillip Butler-Francis) - 1:37
13. "XIII. Gone (In Memory of Phillip Butler-Francis) - 3:01
14. "XIV. Knell (In Memory of Phillip Butler-Francis) - 5:00
15. "XV. Cuppa Tea (for Paul Bolderson) - 5:39
16. "XVI. Unsung" - 1:10
17. "Smile" - 4:28

## Personnel

## InfoBox

| Montauk Variations | |
| --- | --- |
|  | |
| Studio album by Matthew Bourne | |
| Released | 6 February 2012 |
| Recorded | Dartington Hall |
| Genre | Jazz, contemporary classical |
| Length | 53:30 |
| Label | The Leaf Label |
| Matthew Bourne chronology | |
| *The Molde Concert*
(2004) ***Montauk Variations***
(2012) *moogmemory*
(2016) | |


title: Upsala Simsällskap

abstract: Upsala Simsällskap is a Swedish swimming club based in Uppsala and founded there in 1796, making it the oldest existing sports club in Sweden. It claims to be the oldest swimming club in the world. Since 1991, Fyrishov is the home pool of Upsala SS.

text:
# Upsala Simsällskap

**Upsala Simsällskap** is a Swedish swimming club based in Uppsala and founded there in 1796, making it the oldest existing sports club in Sweden. It claims to be the oldest swimming club in the world. Since 1991, Fyrishov is the home pool of Upsala SS.

## History

The society was founded by the mathematician and astronomer Jöns Svanberg (1771–1851) together with some colleagues at the university as a way to remedy the general lack of swimming skills. The same year the society was founded, Svanberg arranged a mock "graduation ceremony" (*promotion*), modelled after the academic ceremony, where he and some of his colleagues awarded themselves the master's degree (*magister*) and their pupils the degree of bachelor (*kandidat*) in swimming. The *simpromotion* and these "degrees" were taken over by other Swedish swimming clubs and are still used in Swedish swimming schools.

After Svanberg had temporarily left Uppsala for Stockholm, Gabriel Marklin, otherwise remembered as an eccentric scientific collector, briefly took care of the swimming school, to be succeeded for a few years by Carl Gustaf Grahl, the first professional swimming instructor in Sweden. By that time, Svanberg had returned to Uppsala as professor of mathematics.

In the middle of the 19th century, a bath house was built and later a springboard for diving. The Isander dive (or half gainer), one of the most common dives in springboard diving, was named after Lars Fredrik Isander (1828–1893), active in the Society and later lecturer at the Gymnasium in Linköping, and the Mollberg dive (full gainer) was named after Anders Fredrik Mollberg, swimming instructor for the society (1878–1879), who supposedly invented it by accident when he was actually intending to do an Isander dive. It actually appears to be considerably older and is described already in *Underrättelser i simkonsten*, a Swedish instruction book in swimming from 1839. Anecdotes describe Mollberg's extraordinary gymnastic ability and how he once made two consecutive "Mollberg" dives while slightly tipsy, leaving spectators wondering how he came out of the water alive.

Upsala S had their first Olympic diver at the 1906 Summer Olympics, when Otto Hagborg participated. In 1910, Upsala Simsällskap entered competitive swimming and is one of the most successful swimming clubs in Sweden. Upsala S had their first Olympic swimmer at the 1960 Summer Olympics, when Inger Thorngren participated.

## Athletes

### Swimmers

*Swimmers that have participated in the Summer Olympics while representing Upsala SS:*

### Divers

*Divers that have participated in the Summer Olympics while representing Upsala SS:*

## InfoBox

| Upsala S | |
| --- | --- |
| Club information | |
| Full name | Upsala Simsällskap |
| Short name | US |
| City | Uppsala |
| Founded | 1796 (1796) |
| Home pool(s) | Fyrishov |


title: Upsala Golf International

abstract: The Upsala Golf International was a golf tournament on the Swedish Golf Tour 1991–1993 and featured on the Challenge Tour in 1991 and 1992. It was played in Uppsala, 60 km north of Stockholm, Sweden. The 1993 edition doubled as the Swedish International Stroke Play Championship, which was held at Upsala GC also in 2003 and 2004. The club, founded in 1937, uses the archaic spelling of Uppsala, Upsala.

text:
# Upsala Golf International

The **Upsala Golf International** was a golf tournament on the Swedish Golf Tour 1991–1993 and featured on the Challenge Tour in 1991 and 1992. It was played in Uppsala, 60 km north of Stockholm, Sweden.

The 1993 edition doubled as the Swedish International Stroke Play Championship, which was held at Upsala GC also in 2003 and 2004. The club, founded in 1937, uses the archaic spelling of Uppsala, Upsala.

## Winners

| Year | Tour | Winner | Score | To par | Margin of
victory | Runner(s)-up | Ref. |
| --- | --- | --- | --- | --- | --- | --- | --- |
| 1993 | SWE | Daniel Chopra | 212 | −4 | 3 strokes | Joakim Nilsson |  |
| 1992 | CHA | Tony Edlund | 209 | −7 | 2 strokes | Per Haugsrud |  |
| 1991 | CHA | Peter Hedblom | 211 | −2 | 1 stroke | Chris Cookson
Fredrik Almskoug |  |

1. "Results 1991 Upsala Golf International". European Tour. Retrieved 5 March 2021.
2. "Results 1992 Upsala Golf International". European Tour. Retrieved 5 March 2021.
3. "2003 Tournaments". Svensk Golf. Retrieved 5 March 2021.
4. "History". Upsala Golf Club. Retrieved 5 March 2021.
5. "Results 1993 Upsala Golf International". Golfdata. Retrieved 5 March 2021.
6. "Results 1992 Upsala Golf International". Golfdata. Retrieved 5 March 2021.
7. "Results 1991 Upsala Golf International". Golfdata. Retrieved 5 March 2021.

## InfoBox

Upsala Golf International
| Tournament information | |
| --- | --- |
| Location | Uppsala, Sweden |
| Established | 1991 |
| Course(s) | Upsala Golf Club |
| Par | 72 |
| Tour(s) | Challenge Tour
Swedish Golf Tour |
| Format | Stroke play |
| Prize fund | kr 200,000 |
| Final year | 1993 |
| Tournament record score | |
| Aggregate | 209 Tony Edlund (1992) |
| To par | −7 *as above* |
| Final champion | |
| Daniel Chopra | |
| Location map | |
| Upsala GCLocation in Sweden | |


title: Moovendhar

abstract: Moovendhar is a 1998 Indian Tamil-language masala film directed by Suraj, in his directorial debut. The film stars R. Sarathkumar and Devayani. It was released on 12 January 1998.

text:
# Moovendhar

***Moovendhar*** (/mvnðər/ transl.Three Crowned Kings) is a 1998 Indian Tamil-language masala film directed by Suraj (credited as C. G. Suraaj), in his directorial debut. The film stars R. Sarathkumar and Devayani. It was released on 12 January 1998.

## Plot

Manimaran, his father Poochi, and his grandfather Nagappan are short-tempered persons who beat the villagers for a simple quarrel. Only Manimaran's mother, Sivagami, can control them. Uma, Manimaran's sister, marries a man from another village. Manimaran falls in love with Vaidehi, a Brahmin girl. Manimaran takes his father and grandfather to Vaidehi's house to ask her to marry him. Vaidehi's father refuses that marriage proposal because of caste differences. Manimaran wants Vaidehi to be his wife somehow, for which his father and grandfather tell him an idea. Vaidehi goes to the temple for a prayer and Manimaran comes there. When the prayer is over and she opens her eyes, Manimaran stands in front of her and takes a thaali and ties it around Vaidehi's neck without her consent. Thus, Manimaran marries Vaidehi unexpectedly and she suddenly faints in shock.

Vaidehi's father goes to the police station to complain but to no avail. Manimaran's mother Sivagami welcomes Vaidehi, who has come home to live as a daughter-in-law, and changes her mind. That same night Manimaran and Vaidehi start their married life together on the first night. Vaidehi was not easily acquainted with her husband's house. In a fight against Manimaran, the antagonist becomes blind in one eye and decides to take revenge on Manimaran. When Manimaran drives his pregnant sister, the antagonist stops him but Manimaran beats the antagonist and his henchmen. Uma arrives too late at the hospital and dies with her baby. Vaidehi leaves their house because of her husband's behaviour who brings Uma's death. Manimaran changes his behaviour and tries to convince Vaidehi to come back home.

## Cast

## Soundtrack

The music was composed by Sirpy.

| Song | Singers | Lyrics |
| --- | --- | --- |
| "Chera Enna" | Mano, Sujatha | Palani Bharathi |
| "Kumudam Pol" | Hariharan | Thavasimani |
| "Naan Vaanavillaiye Paarthen" | Hariharan | Arivumathi |
| "Nenja Thirandhu" | Malaysia Vasudevan | Palani Bharathi |
| "Singakutty" | Mano | |
| "Sokku Sundari" | Krishnaraj, Sujatha | |
| "Nenjukkullae" | Malaysia Vasudevan |  |

## Reception

K. N. Vijiyan of *New Straits Times* wrote, "Without the comedy element, the movie would have fallen flat".

## InfoBox

| Moovendhar | |
| --- | --- |
| DVD cover | |
| Directed by | Suraj |
| Screenplay by | Suraj |
| Story by | K. Selva Bharathy |
| Produced by | N. Vishnuram |
| Starring |  |
| Cinematography | RM. Ramanath Shetty |
| Edited by | B. S. Vasu
Saleem |
| Music by | Sirpy |
| Production
company | Ganga Gowri Production |
| Release date | * 12 January 1998 (1998-01-12) |
| Running time | 150 minutes |
| Country | India |
| Language | Tamil |


title: Mordella teapensis

abstract: Mordella teapensis is a species of beetle in the genus Mordella of the family Mordellidae, which is part of the superfamily Tenebrionoidea. It was discovered in 1891.

text:
# Mordella teapensis

***Mordella teapensis*** is a species of beetle in the genus *Mordella* of the family Mordellidae, which is part of the superfamily Tenebrionoidea. It was discovered in 1891.

## InfoBox

| *Mordella teapensis* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Suborder: | Polyphaga |
| Family: | Mordellidae |
| Subfamily: | Mordellinae |
| Tribe: | Mordellini |
| Genus: | *Mordella* |
| Species: | ***M. teapensis*** |
| Binomial name | |
| ***Mordella teapensis***<br>Champion, 1891 | |
|


title: Uropeltis phipsonii

abstract: Uropeltis phipsonii, commonly known as Phipson's earth snake and Phipson's shieldtail, is a species of snake in the family Uropeltidae. The species is endemic to India.

text:
# Uropeltis phipsonii

***Uropeltis phipsonii***, commonly known as **Phipson's earth snake** and **Phipson's shieldtail**, is a species of snake in the family Uropeltidae. The species is endemic to India.

## Etymology

The specific name, *phipsonii*, and the common names are in honor of British naturalist Herbert Musgrave Phipson, one of the founders of the Bombay Natural History Society.

## Geographic range

*U. phipsonii* is found in the Western Ghats, reported at several localities around Maharashtra including hills around Mumbai and Pune.

## Habitat

The preferred natural habitat of *U. phipsonii* is forest, at altitudes of 400–700 m (1,300–2,300 ft).

## Description

*U. phipsonii* is cylindrical-bodied and smooth-scaled. The head is narrower than the neck. The tail is very short, appearing to be cut slant-wise at the end. There is a broad yellow stripe on each side of the tail.

*U. phipsonii* is brown both dorsally and ventrally, either uniform or with yellowish dots. It has a short yellow streak on each side, beginning at the corner of the mouth. There is a yellow crossbar across the vent, connecting the yellow stripes on the sides of the tail.

Adults may attain 28 cm (11 inches) in total length (including tail).

The dorsal scales are arranged in 17 rows at midbody, in 19 rows behind the head. The ventrals number 144–157, and the subcaudals number 7–12.

The snout is obtusely pointed. The rostral is ⅓ the length of the shielded part of the head. The portion of the rostral visible from above is longer than its distance from the frontal. The nasals are in contact with each other behind the rostral. The frontal is longer than broad. The diameter of the eye is more than ½ the length of the ocular shield. The diameter of body goes 28 to 38 times into the total length. The ventrals are nearly twice as large as the contiguous scales. The end of the tail is flat dorsally, obliquely truncate, with strongly bicarinate or quadricarinate scales. The terminal scute has a transverse ridge and two points.

## Behaviour

The behaviour of *U. phipsonii* is largely unknown. It lives underground, and is a burrower. It is active above ground after heavy rains. It is a docile snake.

## Diet

*U. phipsonii* eats earthworms.

## Reproduction

*U. phipsonii* is ovoviviparous.

## Threats

*U. phipsonii* has many predators, including birds and wild boar.

## Further reading

* Boulenger GA (1890). *The Fauna of British India, Including Ceylon and Burma. Reptilia and Batrachia.* London: Secretary of State for India in Council. (Taylor and Francis, printers). xviii + 541 pp. (*Silybura phipsonii*, p. 266).
* Mason GE (1888). "Description of a new Earth-Snake of the Genus *Silybura* from the Bombay Presidency with Remarks on other little-known Uropeltidae". *Annals and Magazine of Natural History, Sixth Series* **1**: 184–186. (*Silybura phipsonii*, new species, pp. 184–185).
* Rajendran M (1985). *Studies in Uropeltid Snakes*. Madurai: Madurai University Press. 132 pp.
* Sharma RC (2003). *Handbook: Indian Snakes* Kolkata: Zoological Survey of India. 292 pp. ISBN 978-8181711694.
* Smith MA (1943). *The Fauna of British India, Ceylon and Burma, Including the Whole of the Indo-Chinese Sub-Region. Reptilia and Amphibia. Vol. III.—Serpentes.* London: Secretary of State for India. (Taylor and Francis, printers). xii + 583 pp. (*Silybura phipsoni*, p. 82).
* Whitaker R, Captain A (2007). *Snakes of India: The Field Guide*. Chennai: Draco Books. 495 pp. ISBN 978-8190187305.

## InfoBox

| *Uropeltis phipsonii* | |
| --- | --- |
|  | |
| *Uropeltis phipsonii*
photographed at Mulshi, Pune, India | |
| Conservation status | |
|
Vulnerable  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Reptilia |
| Order: | Squamata |
| Suborder: | Serpentes |
| Family: | Uropeltidae |
| Genus: | *Uropeltis* |
| Species: | ***U. phipsonii*** |
| Binomial name | |
| ***Uropeltis phipsonii***
(Mason, 1888) | |
|
| Synonyms | |
| * *Silybura phipsonii*
Mason, 1888 * *Uropeltis phipsoni*
M.A. Smith, 1943 * *Uropeltis phipsonii*
Rajendran, 1985 | |


title: Usuglinskoye mine

abstract: The Usuglinskoye mine is a large mine located in the south-eastern Russia in Primorsky Krai. Usuglinskoye represents one of the largest fluorite reserves in Russia having estimated reserves of 2.9 million tonnes of ore grading 64% fluorite.

text:
# Usuglinskoye mine

The **Usuglinskoye mine** is a large mine located in the south-eastern Russia in Primorsky Krai. Usuglinskoye represents one of the largest fluorite reserves in Russia having estimated reserves of 2.9 million tonnes of ore grading 64% fluorite.

## InfoBox

Usuglinskoye mine
| Location | |
| --- | --- |
| Primorsky Krai | |
| Country | Russia |
| Production | |
| Products | Fluorite |


title: Usuf Chippa

abstract: Usuf Rehman Chippa was a Pakistani cricketer who played first-class cricket from 1937 to 1955 and represented India and Pakistan, but did not play Test cricket. A slow left-arm orthodox spin bowler, Usuf Chippa made his first-class debut in 1937–38 at the age of 17 for Gujarat in a Ranji Trophy match against Bombay, taking 5 for 23 in the first innings. In the 1939–40 Ranji Trophy he took 6 for 45 and 3 for 48 against Baroda. In 1940–41 he represented India in the second of their two matches against the touring Ceylon team, taking 5 for 38 in the first innings of an innings victory for India. Chippa moved to Pakistan after Partition. He toured Ceylon in 1948–49 with the Pakistan team, playing in both of the international matches. The next season he was selected to play for Pakistan in the two matches against the touring Ceylon team in 1949–50. In the second match he took 2 for 33 and 5 for 53 in a 10-wicket victory for Pakistan. He continued playing first-class cricket in Pakistan for some years but was unable to break into the Test team after Pakistan achieved Test status in 1952.

text:
# Usuf Chippa

**Usuf Rehman Chippa** (20 January 1920 – 18 November 1975) was a Pakistani cricketer who played first-class cricket from 1937 to 1955 and represented India and Pakistan, but did not play Test cricket.

A slow left-arm orthodox spin bowler, Usuf Chippa made his first-class debut in 1937–38 at the age of 17 for Gujarat in a Ranji Trophy match against Bombay, taking 5 for 23 in the first innings. In the 1939–40 Ranji Trophy he took 6 for 45 and 3 for 48 against Baroda. In 1940–41 he represented India in the second of their two matches against the touring Ceylon team, taking 5 for 38 in the first innings of an innings victory for India.

Chippa moved to Pakistan after Partition. He toured Ceylon in 1948–49 with the Pakistan team, playing in both of the international matches. The next season he was selected to play for Pakistan in the two matches against the touring Ceylon team in 1949–50. In the second match he took 2 for 33 and 5 for 53 in a 10-wicket victory for Pakistan. He continued playing first-class cricket in Pakistan for some years but was unable to break into the Test team after Pakistan achieved Test status in 1952.

## InfoBox

Usuf Chippa
| Personal information | |
| --- | --- |
| Full name | Usuf Rehman Chippa |
| Born | (1920-01-20)20 January 1920
Ahmedabad, British India |
| Died | 18 November 1975(1975-11-18) (aged 55)
Karachi, Pakistan |
| Batting | Left-handed |
| Bowling | Slow left-arm orthodox |
| Domestic team information | |
| Years | Team |
| 1937–38 to 1947–48 | Gujarat |
| 1941–42 to 1943–44 | Muslims |
| 1942–43 | Western India |
| 1953–54 | Karachi |
|  | |
| Career statistics | |
| Competition First-class  Matches 29  Runs scored 260  Batting average 8.38  100s/50s 0/0  Top score 30  Balls bowled 5620  Wickets 85  Bowling average 25.21  5 wickets in innings 4  10 wickets in match 0  Best bowling 6/45  Catches/stumpings 9/– | |
|  | |
| Source: Cricinfo, 22 September 2017 | |


title: Urs Samyuktha Paksha

abstract: Urs Samyuktha Paksha, political party in the Indian state of Karnataka. USP was founded by businessman Hari L. Khoday on 16 January 2004. The goal of USP is to work for the rights of the Backward Castes. USP considers that it upholds the legacy of the former Chief Minister of Karnataka, Devaraj Urs. In the Lok Sabha elections 2004 USP launched three candidates.

text:
# Urs Samyuktha Paksha

**Urs Samyuktha Paksha** (Urs United Party), political party in the Indian state of Karnataka. USP was founded by businessman Hari L. Khoday on 16 January 2004. The goal of USP is to work for the rights of the Backward Castes. USP considers that it upholds the legacy of the former Chief Minister of Karnataka, Devaraj Urs. In the Lok Sabha elections 2004 USP launched three candidates.