title: Liesbeth List

abstract: Elisabeth Dorathea "Liesbeth" List was a Dutch singer. She became popular during the 1960s and frequently collaborated with Ramses Shaffy. She also sang Jacques Brel's chansons in Dutch translation.

text:
# Liesbeth List

**Elisabeth Dorathea** "**Liesbeth**" **List** (born **Driessen**; December 12, 1941 – March 25, 2020) was a Dutch singer. She became popular during the 1960s and frequently collaborated with Ramses Shaffy. She also sang Jacques Brel's chansons in Dutch translation.

## Biography

### Early life

List was born in Bandoeng, Dutch East Indies (present-day Indonesia), as Elisabeth "Elly" Dorathea Driessen. Her parents were separated in 1942 when during the Japanese occupation of the Dutch East Indies, her father was forced to work in coal mines. Elly and her mother were sent to one of the many camps set up exclusively to imprison Dutch occupants of Indonesia; such camps were known under the Dutch nickname "jappenkamp" (Jap-Camp). The circumstances in which Elly and her mother lived in the camp were very hard on her mother, who developed depression. When the Japanese capitulated at the end of WWII Elly and her mother were set free. They were reunited with their father and husband, but a few weeks later, Elly's mother committed suicide.

Elly and her father returned to the Netherlands, where her father remarried. His new wife, however, frequently clashed with Elly. At the age of seven, children's services took Elly away. It was thought her father was deceased, and she was placed in an orphanage. After it was revealed her father was still alive, she was placed back with her father and stepmother.

In 1948, during a trip to the Dutch island of Vlieland, Elly's stepmother was told that the owner of a hotel on Vlieland and his wife were seeking to adopt a child. Elly was subsequently given up by her father and adopted by this couple, whose surname was List.

### 1958–68: television, theatre and music

As a teenager, List was very interested in culture and music. At age 18, in 1959 she moved to Amsterdam, where she studied fashion and had a job as a secretary. She appeared in the AVRO talent show "Nieuwe Oogst", after which she was signed to collaborate with legendary Dutch singer Ramses Shaffy (1933–2009) in the theatre show *Shaffy Chantant*. They first started this show, in which they performed well-known chansons, in 1964. In 1965, the duo was awarded the Europe Cup for Best Singing Performance in Knokke, Belgium. This caused List to focus on a musical career and she released her debut album in 1966. In 1967, Mikis Theodorakis asked her to collaborate on an LP of his Mauthausen Ballad, describing the persecution of Jews during the Second World War in dramatic chansons. The LP was a critical and commercial success. List was also successful with an LP containing cover versions of songs by Jacques Brel: the LP was certified gold.

### 1969–90: expanded career

In 1969, List was awarded a press prize at a television festival in Montreux. The prize was awarded to her for her contribution in a television series. Because of this foreign acclaim, List focused more on international success. She started recording more cover versions of well-known artists, such as Gilbert Bécaud. List's success continued with the release of more LPs and a continued acting career in television, film, and stage. In 1972 she recorded and album with the American singer, songwriter Rod McKuen: 'Two against the morning'. In 1973 she recorded the album 'Meet lovely Liesbeth List' in England. Her album: 'Liesbeth List sings Jacques Brel' was released in 1972 in the USA. In 1976 she recorded an album with songs of Charles Aznavour 'Charles Aznavour presents: Liesbeth List'. She sang with him the duet: 'Don't say a word.'

List took a short break when she became pregnant with her first child; she and husband Robert Braaksma had a daughter, Elisah, in 1983, when List was 41. List ceased her activities for six years to care for her child. In 1988, List made her return to the public eye, starring in a theatre programme titled "List NU". In 1990, she started on a similar show, but it gained neither critical nor commercial success, therefore List accepted that her career had ended.

### 1991–2020

In the 90s singer, songwriter and producer Frank Boeijen revived List's career. She recorded two albums with him: in 1994 *List* and in 1996 *Noach*. In 1995 she received an Edison for the first, which is one of the highest musical honors awarded in The Netherlands. In 1999 she released *Vergezicht* which contains the song *Heb Het Leven Lief* (Love life) which she sang in 2007 at the memorial celebration for Jos Brink, with whom she had performed in a musical *Het Hemelbed* to great acclaim. She was also approached by Albert Verlinde to star in his musical about Edith Piaf's life. She started this in 1999 and did 170 shows of *Piaf, de Musical*. Because of its success, and the many requests to bring the musical back, she reprised the role during 2008 and 2009. In 2000 and in 2009, she won the coveted *John Kraaijkamp Musical Award* for this role. In 2009 she released a new CD called *Verloren & Gewonnen*. In 2015, she released what would be her last album, a tribute album to Ramses Shaffy titled *Echo*, which contained covers of songs by Shaffy.

In 2017, List decided to retire from music because she was developing dementia due to brain damage she had sustained in a car accident earlier in life. She died in her sleep on March 25, 2020, after spending the last years of her life in an assisted-living facility.

## Discography

* *Liesbeth List* (1966)
* *Liesbeth List Sings Theodorakis* (1967)
* *Pastorale* (1968)
* *Zingt Jacques Brel* (1969)
* *Victoria* (1970)
* *Neuremberger Droom* (1971)
* *Two Against the Morning* (1972)
* *Meet lovely Liesbeth List* (1973)
* *Foto* (1974)
* *Samen* (with Ramses Shaffy) (1976)
* *Charles Aznavour presents: Liesbeth List* (1976)
* *Madame Melancholie* (1977)
* *Meisjes van Dertig* (1979)
* *Voor vanavond en daarna* (1982)
* *List* (1994)
* *Noach* (1996)
* *Vergezicht* (1999)
* *Van Shaffy tot Piaf* (2001)
* *Heb het leven lief* (2001)
* *Portret* (2002)
* *Carré Vedetten Gala* (2006)
* *Verloren en Gewonnen* (2009)
* *Echo* (2015)
* *Voor Altijd* (2022)

## Bibliography

* Verburg, Alex *Het voorlopige leven van Liesbeth List*, published by Archipel 2001, ISBN 90-6305-010-0 (Dutch language)
* Verburg, Alex *Intiem. De herinneringen van Liesbeth List*, published by Witsand/ Archipel, 2010, ISBN 90-6305-574-9 (Dutch language)
* Dave Boomkens, *Liesbeth List, de dochter van de vuurtorenwachter*, published by Luitingh-Sijthoff, 2017. ISBN 978-90-245-7567-1 (Dutch language)

## InfoBox

| Liesbeth List | |
| --- | --- |
| List in 1964 | |
| Background information | |
| Birth name | Elisabeth Dorathea Driessen |
| Born | (1941-12-12)12 December 1941
Bandoeng, Dutch East Indies |
| Origin | Netherlands |
| Died | (aged 78)
Soest, Netherlands |
| Genres | Chanson, pop |
| Occupation | Singer |
| Years active | 1962–2012 |


title: Trechus manensis

abstract: Trechus manensis is a species of ground beetle in the subfamily Trechinae. It was described by Belousov & Kabak in 1994.

text:
# Trechus manensis

***Trechus manensis*** is a species of ground beetle in the subfamily Trechinae. It was described by Belousov & Kabak in 1994.

## InfoBox

| *Trechus manensis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Carabidae |
| Genus: | *Trechus* |
| Species: | ***T. manensis*** |
| Binomial name | |
| ***Trechus manensis***<br>Belousov & Kabak, 1994 | |
|


title: Weserstadion Platz 11

abstract: Weserstadion Platz 11 is a football stadium in Bremen, Germany. The stadium is mainly used by SV Werder Bremen (women), playing in the Frauen-Bundesliga, and by SV Werder Bremen II, the reserve team of Werder Bremen, which is playing in the 3. Liga in the season 2017–18. The stadium consists mainly of terraces with room for 4,500 spectators. A small stand with 1,000 seats for both home and visiting supporters is located on the west side of the stadium and brings the total capacity to 5,500 spectators.

text:
# Weserstadion Platz 11

**Weserstadion Platz 11** is a football stadium in Bremen, Germany. The stadium is mainly used by SV Werder Bremen (women), playing in the Frauen-Bundesliga, and by SV Werder Bremen II, the reserve team of Werder Bremen, which is playing in the 3. Liga in the season 2017–18.

The stadium consists mainly of terraces with room for 4,500 spectators. A small stand with 1,000 seats for both home and visiting supporters is located on the west side of the stadium and brings the total capacity to 5,500 spectators.

## Facilities

The stadium complex features a grass field as well as a race track and other track and field facilities.

## InfoBox

Weserstadion Platz 11
| Platz 11 | |
| --- | --- |
|  | |
|  | |
| Location | Bremen, Germany |
| Coordinates | 53°3′49.59″N 8°50′34.73″E / 53.0637750°N 8.8429806°E / 53.0637750; 8.8429806 |
| Capacity | 5,500 |
| Surface | Grass |
| Construction | |
| Renovated | 2008 |
| Tenants | |
| SV Werder Bremen II<br>SV Werder Bremen (women) | |


title: Rambé

abstract: Ramilton Jorge Santos do Rosário, known as Rambé, is a Cape Verdean professional footballer who plays for Académica do Mindelo as a striker.

text:
# Rambé

**Ramilton Jorge Santos do Rosário** (born 4 October 1989), known as **Rambé**, is a Cape Verdean professional footballer who plays for Académica do Mindelo as a striker.

## Club career

Rambé was born in São Vicente. He started out in his native country with Batuque and Mindelense before moving to Portugal in 2010, where he played one season apiece in the third division with Macedo de Cavaleiros and Pinhalnovense.

In the 2012 off-season, Rambé signed for Belenenses in the second level. He missed the first three months of his first season, due to injury.

In the following years, Rambé alternated between the Portuguese second tier and the Primeira Liga, representing Belenenses, Farense (two spells), Braga B and Vitória de Setúbal. He made his debut in the latter competition on 12 January 2014 whilst at the service of the first club, playing the full 90 minutes in a 0–2 away loss against Arouca, and scored his first during his spell with the latter, contributing to a 1–0 win at Vitória de Guimarães on 14 March 2015.

On 15 July 2016, Rambé moved to Romanian side Universitatea Craiova, joining compatriots Kay and Nuno Rocha. He left in January 2017, signing with 1º de Agosto of the Angolan Girabola the following month.

After two years without a club, Rambé returned to his homeland in September 2019 to sign a one-year contract with Académica do Mindelo.

## International career

Rambé made his debut for Cape Verde in 2011. He was named for the squad that appeared at the 2013 Africa Cup of Nations.

## InfoBox

Rambé
| Rambé (right) in action for Cape Verde | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Ramilton Jorge Santos do Rosário | | |
| Date of birth | (1989-10-04) 4 October 1989 | | |
| Place of birth | São Vicente, Cape Verde | | |
| Height | 1.86 m (6 ft 1 in) | | |
| Position(s) | Striker | | |
| Team information | | | |
| Current team | Académica Mindelo | | |
| Number | 19 | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2008–2009 | Batuque |  |  |
| 2009–2010 | Mindelense |  |  |
| 2010–2011 | Macedo Cavaleiros | 30 | (8) |
| 2011–2012 | Pinhalnovense | 30 | (10) |
| 2012–2014 | Belenenses | 26 | (2) |
| 2013–2014 | Farense (loan) | 15 | (10) |
| 2014–2016 | Braga B | 22 | (4) |
| 2015 | Vitória Setúbal (loan) | 10 | (1) |
| 2015–2016 | Farense (loan) | 33 | (7) |
| 2016–2017 | Universitatea Craiova | 12 | (0) |
| 2017 | 1º Agosto | 24 | (11) |
| 2019– | Académica Mindelo |  |  |
| International career | | | |
| 2011– | Cape Verde | 5 | (0) |
| \*Club domestic league appearances and goals, correct as of 24 September 2019<br>‡ National team caps and goals, correct as of 14 August 2013 | | | |


title: Mae Seven

abstract: Mae Seven is a Dutch music duo, consisting of brothers Stijn "Styn" Derksen & Wouter "Winter" Derksen (instruments). They debuted in 2016 with the release of their single "Who To Believe".

text:
# Mae Seven

**Mae Seven** is a Dutch music duo, consisting of brothers Stijn "Styn" Derksen (lead vocal) & Wouter "Winter" Derksen (instruments). They debuted in 2016 with the release of their single "Who To Believe".

## Early life

Styn and Winter were born and raised in a musical family in the Netherlands, where they were introduced to music from an early age by their father. Winter started playing and studying classical piano at the age of 8, and shortly thereafter showed interest in music production. Styn showed interest in singing and songwriting from an early age.

## Career

The band has released a total of 14 songs. Their debut single "Who to Believe", a blend of pop, R&B and Afrobeat, was released in 2016.

In 2020, they released "Want Me To Be". Keke Palmer, American R&B singer and actress, featured on the song and did part of the vocals. The song was initially written for the band's US tour, which was cancelled due to the COVID-19 pandemic. In the same year, Keke and Styn announced that they were dating.

The band has worked on music production with notable producers/mixing engineers such as Anthony Kilhoffer and Ken Lewis.

The duo currently resides in Los Angeles, United States.

## InfoBox

| Mae Seven | |
| --- | --- |
| Origin | Netherlands |
| Genres | R&B, Pop, Hip Hop |
| Years active | 2016 - current |
|  | |
| Members | Stijn "Styn" Derksen <br>Wouter "Winter" Derksen |


title: Pepper-spray projectile

abstract: A pepper-spray projectile, also called a pepper-spray ball, pepper-ball, pepper bomb, or pepper-spray pellet, is a frangible projectile containing a powdered chemical that irritates the eyes and nose in a manner similar to pepper spray. These projectiles are fired from specially designed forced compliance weapons or modified paintball guns.

text:
# Pepper-spray projectile

A **pepper-spray projectile**, also called a **pepper-spray ball**, **pepper-ball**, **pepper bomb**, or **pepper-spray pellet**, is a frangible projectile containing a powdered chemical that irritates the eyes and nose in a manner similar to pepper spray. These projectiles are fired from specially designed forced compliance weapons or modified paintball guns.

## Description

A pepper-spray projectile may be a sphere, hence the name pepper-**ball**, but it may also come in other shapes. The irritant payload may differ from product to product but is usually a powder, less frequently a liquid, gas or aerosol. Some companies offer different substances as payload for their projectiles and launcher systems, so potential sellers can choose a substance that is certified for use in their country. Also, projectiles with an inert dummy payload are often offered, for training and testing purposes.

A powder called PAVA (capsaicin II) pepper is often used. PAVA is a capsaicinoid that can be synthesized for cheaper than grown peppers, although it is also found in nature.

Pepper-spray weapons systems are used by law enforcement, military and other organizations, and individuals. The weapon is used generally in the role of stand-off weapons, where physical proximity to a suspect is deemed dangerous but deadly force is not warranted. The systems are not limited to classic standoff situations and allow agents to apply as many rounds as required to bring individual suspects, multiple suspects, or crowds into compliance.

## Other uses

The projectile is usually sold to be used with a launcher or gun by the same company, to provide best reliability. The different companies usually also sell other types of projectiles for non-lethal use or projectiles with combined effects. Such effects may include:

* break glass and disperse barricades
* mark suspects for later round-ups
* force of impact effect

## Lethality

Although generally considered less-than-lethal when properly used (targets should exclude the face, eyes, throat or spine), one death has occurred when they have been fired at inappropriate areas. In one well-publicized incident in 2004, the Boston Police Department's use of an FN 303 during a crowd control situation resulted in the fatal shooting of Victoria Snelgrove, when the projectile struck her in the eye. Also in 2004, University of California, Davis (UC Davis) police who wanted to break up a block party shot a pepperball at an unarmed student and damaged his eye—the student subsequently lost his athletic scholarship and dropped out of college. In 2012, a federal appeals court ruled that the police could be sued over the incident. In 2013, the student was awarded $774,000.


title: William Grasett Clarke

abstract: William Grasett Clarke was an English first-class cricketer and clergyman. The son of Foster Clarke, he was born at Bridgetown in Barbados in June 1821. He was educated at Winchester College, before going up to Oriel College, Oxford. While studying at Oxford, he made three appearances in first-class cricket for Oxford University, playing twice in 1840 against Cambridge University in The University Match and the Marylebone Cricket Club (MCC), later following this up with a further appearance against the MCC in 1843. He made a fourth appearance in first-class cricket in 1848, playing for the MCC against Oxford University. After graduating from Oxford, Clarke took holy orders in the Church of England. He was the perpetual curate of Charlton Abbots, Gloucestershire from 1859–66. Clarke died at St Pancras in February 1893.

text:
# William Grasett Clarke

**William Grasett Clarke** (6 June 1821 – 11 February 1893) was an English first-class cricketer and clergyman.

The son of Foster Clarke, he was born at Bridgetown in Barbados in June 1821. He was educated at Winchester College, before going up to Oriel College, Oxford. While studying at Oxford, he made three appearances in first-class cricket for Oxford University, playing twice in 1840 against Cambridge University in The University Match and the Marylebone Cricket Club (MCC), later following this up with a further appearance against the MCC in 1843. He made a fourth appearance in first-class cricket in 1848, playing *for* the MCC against Oxford University. After graduating from Oxford, Clarke took holy orders in the Church of England. He was the perpetual curate of Charlton Abbots, Gloucestershire from 1859–66. Clarke died at St Pancras in February 1893.

## InfoBox

William Grasett Clarke
| Personal information | |
| --- | --- |
| Full name | William Grasett Clarke |
| Born | 6 June 1821
Bridgetown, Saint Michael, Barbados |
| Died | 11 February 1893(1893-02-11) (aged 71)
St Pancras, London, England |
| Batting | Unknown |
| Domestic team information | |
| Years | Team |
| 18401843 | Oxford University |
| 1848 | Marylebone Cricket Club |
|  | |
| Career statistics | |
| Competition First-class  Matches 4  Runs scored 24  Batting average 3.42  100s/50s –/–  Top score 10  Catches/stumpings 2/– | |
|  | |
| Source: Cricinfo, 19 February 2020 | |


title: Valley of the Four Winds

abstract: Valley of the Four Winds is a fantasy board game published by Games Workshop in 1980 that is based on a serialized story that appeared in White Dwarf.

text:
# Valley of the Four Winds

***Valley of the Four Winds*** is a fantasy board game published by Games Workshop in 1980 that is based on a serialized story that appeared in *White Dwarf*.

## Description

*Valley of the Four Winds* is a two-player board game where one player attempts to occupy the city of Farrondil and the other player tries to save it. The evil player has an invading army of skeletons and various monsters controlled by a giant bell. To destroy the giant bell and end the invasion, the good player must attempt to fend off the skeletons while sending a hero in search of a relic. The hero must then take the relic to a good wizard to activate it, while avoiding monsters such as a wind demon and an evil wizard. All of this must be accomplished before the skeleton army reaches the city. The evil player wins by successfully occupying the city, the good player by destroying the bell.

### Components

The box contains

* mounted hex grid map in two sections
* 100 die-cut counters
* rule booklet
* story booklet containing reprint of the Rowland Flynn novella "Valley of the Four Winds"

## Publication history

In 1978, the British miniature figurine company Minifigs produced an extensive line of 25 mm fantasy figures designed by Dick Higgs under the name "Valley of the Four Winds." Simultaneously, *White Dwarf* published a serialized novella titled "Valley of the Four Winds" by Rowland Flynn in Issues 8–12. In 1980, Games Workshop published *Valley of the Four Winds*, a board game designed by Lewis Pulsipher that was based on the Flynn novella and the miniatures.

## Reception

In Issue 37 of *The Space Gamer* (March 1981), David Ladyman noted that "*Valley of the Four Winds* suffers from being a British import" due to its higher price in the U.S., but concluded "If you enjoyed the short story, by all means buy the game."

In the April–May 1981 issue of *White Dwarf* (#24), Alan Paull was impressed by the game, saying, "Lewis Pulsipher has designed a game which is simple enough for the novice to tackle, and yet sufficiently demanding to offer a challenge to the experienced fantasy gamer. Information needed by the players is quickly and easily available. It is an ambitious project, successfully executed, and makes a very enjoyable fantasy game." He concluded by giving the game an above-average rating of 9 out of 10.

In Issue 33 of *Phoenix* (September–October 1981), Roger Musson was impressed by the quality of the components, especially since this was one of the first four games produced by Games Workshop. He called the rules booklet "the most astonishing part of the game. It is, believe it or not, clear throughout. It seems to have been proofread properly." In fact, Musson said the game show signs of being "fully developed and play-tested before being released." He found the game "entertaining". He concluded, "The great variety of courses that the game can take is what gives it interest. On this account alone it deserves some success."

## Reviews


title: Liesbeth Mau Asam

abstract: Liesbeth Mau Asam is a Dutch Short track speed skater who lives in Woubrugge and who has a relationship with Cees Juffermans. Mau Asam participated at the 2006 Winter Olympics in Turin, but had a hard time qualifying for the Games. She was nominated by the Dutch Speed Skating Association on the 500 metres and had to show form at the Speed Skating World Cup meeting in her city of birth The Hague. She did not succeed in reaching the goals set by the Dutch Olympic Committee and did not qualify directly. She had to wait until the European Championships in January 2006, where she finished in 5th position over 500 metres, which was good enough for her to qualify for the Olympics. As the Dutch had two more starting entries left which were not taken by any other skater Mau Asam was also allowed to participate at those distances in Turin. Eventually she would set her worst performance at the distance she qualified at, the 500 metres as she was eliminated in the series. At the 1000 metres she was able to reach the quarter-finals, while at the 1500 metres she reached the semi-finals. A few weeks after the Olympics she would become Dutch National Champion for the third time in her career and successfully defended the title a year later.

text:
# Liesbeth Mau Asam

**Liesbeth Mau Asam** (born 9 April 1982 in The Hague) is a Dutch Short track speed skater who lives in Woubrugge and who has a relationship with Cees Juffermans.

Mau Asam participated at the 2006 Winter Olympics in Turin, but had a hard time qualifying for the Games. She was nominated by the Dutch Speed Skating Association on the 500 metres and had to show form at the Speed Skating World Cup meeting in her city of birth The Hague. She did not succeed in reaching the goals set by the Dutch Olympic Committee and did not qualify directly. She had to wait until the European Championships in January 2006, where she finished in 5th position over 500 metres, which was good enough for her to qualify for the Olympics. As the Dutch had two more starting entries left (at 1000 and 1500 metres) which were not taken by any other skater Mau Asam was also allowed to participate at those distances in Turin.

Eventually she would set her worst performance at the distance she qualified at, the 500 metres as she was eliminated in the series. At the 1000 metres she was able to reach the quarter-finals, while at the 1500 metres she reached the semi-finals. A few weeks after the Olympics she would become Dutch National Champion for the third time in her career and successfully defended the title a year later.


title: Trechus margelanicus

abstract: Trechus margelanicus is a species of ground beetle in the subfamily Trechinae. It was described by Belousov & Kabak in 1998.

text:
# Trechus margelanicus

***Trechus margelanicus*** is a species of ground beetle in the subfamily Trechinae. It was described by Belousov & Kabak in 1998.

## InfoBox

| *Trechus margelanicus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Carabidae |
| Genus: | *Trechus* |
| Species: | ***T. margelanicus*** |
| Binomial name | |
| ***Trechus margelanicus***<br>Belousov & Kabak, 1998 | |
|


title: Minister general (Franciscan)

abstract: Minister general is the term used for the head or superior general of the different branches of the Order of Friars Minor. It is a term exclusive to the order and comes directly from its founder, St. Francis of Assisi.

text:
# Minister general (Franciscan)

**Minister general** is the term used for the head or superior general of the different branches of the Order of Friars Minor. It is a term exclusive to the order and comes directly from its founder, St. Francis of Assisi.

## Terminology

Francis chose the word "minister" over "superior" out of his vision that the brothers of the Order were all to be equal, and that the friar supervising his brothers was to be a servant ("minister") who cared for (ministered to) them, not one who lorded over them. The original term is *minister generalis* in Latin and is found in Chapter 8 of the Rule of Saint Francis. In his lifetime, Francis actively employed the term "minister" to refer to the heads of the various communities of friars who by then were already scattered around Europe.

The term is sometimes written as "general minister", but "minister general" is the official form in the English language, in keeping with other official titles.

## Third Order

In the 20th century, the term also came to be used as well by many religious congregations of the Third Order of St. Francis, in the effort to follow more closely the spirit of the founder of their Order.


title: Ramblewood, Baltimore

abstract: Ramblewood is a small community located in northeast Baltimore, Maryland, United States. Ramblewood is located south of Northern Parkway with The Alameda serving as its western boundary and Loch Raven Blvd. as its eastern boundary and north of Belvedere Ave. The Ramblewood Community Association has had residential parking permits issued to its members as the result of the proliferation of students from Morgan parking in the neighborhood.

text:
# Ramblewood, Baltimore

**Ramblewood** is a small community located in northeast Baltimore, Maryland, United States. Ramblewood is located south of Northern Parkway with The Alameda serving as its western boundary and Loch Raven Blvd. as its eastern boundary and north of Belvedere Ave. The Ramblewood Community Association has had residential parking permits issued to its members as the result of the proliferation of students from Morgan parking in the neighborhood.

## Demographics

According to the 2000 US Census, 2020 people live in Ramblewood with 86.9% African-American and 9.7% White. The median household income is $51,103. 92.7% of the houses are occupied and 75.8 are occupied by the home's owner.

39°21′46.5″N 76°35′26″W / 39.362917°N 76.59056°W / 39.362917; -76.59056


title: Radio Gračanica

abstract: Radio Gračanica or is a Bosnian local public radio station, broadcasting from Gračanica, Bosnia and Herzegovina. It was launched on 1 March 1969 by the municipal council of Gračanica. In Yugoslavia and in SR Bosnia and Herzegovina, it was part of local/municipal Radio Sarajevo network affiliate. This radio station broadcasts a variety of programs such as music, sport, local news and talk shows. Program is mainly produced in Bosnian language. Estimated number of potential listeners of Radio Gračanica is around 216,054. Radiostation is also available in municipalities of Zenica-Doboj Canton and in Bosanska Posavina area. Radiostation is also available via IPTV platform Moja TV on channel 177.

text:
# Radio Gračanica

**Radio Gračanica** or is a Bosnian local public radio station, broadcasting from Gračanica, Bosnia and Herzegovina.

It was launched on 1 March 1969 by the municipal council of Gračanica. In Yugoslavia and in SR Bosnia and Herzegovina, it was part of local/municipal Radio Sarajevo network affiliate.

This radio station broadcasts a variety of programs such as music, sport, local news and talk shows. Program is mainly produced in Bosnian language.

Estimated number of potential listeners of *Radio Gračanica* is around 216,054. Radiostation is also available in municipalities of Zenica-Doboj Canton and in Bosanska Posavina area.

Radiostation is also available via IPTV platform Moja TV on channel 177.

## Frequencies

## InfoBox

Radio Gračanica
|  | |
| --- | --- |
| Broadcast area | Tuzla Canton |
| Frequency | Gračanica 87.6 MHz
Gračanica 95.0 MHz
 |
| Branding | Public |
| Programming | |
| Language(s) | Bosnian language |
| Format | Local news, talk and music |
| Ownership | |
| Owner | JU "Bosanski kulturni centar" Gračanica |
| History | |
| First air date | 1 March 1969 (1969-03-01) |
| Call sign meaning | RG 1 |
| Technical information | |
| Transmitter coordinates | 44°41′21″N 18°18′08″E / 44.68917°N 18.30222°E / 44.68917; 18.30222 |
| Repeater(s) | Gračanica/Grič
Gračanica/Hotilj |
| Links | |
| Webcast | On website |
| Website | www.bkc-gracanica.ba |


title: Magdalen Dorothea Vernon

abstract: Magdalen Dorothea Vernon (1901–1991) was a British experimental psychologist who published her research widely and trained many PhD students. She was the first woman to head the then Department of Psychology at the University of Reading, England.

text:
# Magdalen Dorothea Vernon

**Magdalen Dorothea Vernon** (1901–1991) was a British experimental psychologist who published her research widely and trained many PhD students. She was the first woman to head the then Department of Psychology at the University of Reading, England.

## Life and work

Maggie (as she was known) and her brother Philip, were born in Oxford to Katharine Dorothea Ewart and Horace Middleton Vernon. She was named after Magdalen College, the Oxford college where her father was a Fellow. She and her brother both pursued studies in psychology following in the footsteps of their father, an industrial psychologist. She attended Oxford High School and then enrolled in Newnham College, Cambridge on a scholarship, earning her MA in 1926 and Sc.D in 1953.

After graduating with a bachelor's degree, she took a position on the Industrial Health Research Board as an assistant investigator but after three years there, she joined Frederic Bartlett's experimental research group in the Cambridge Psychological Laboratory, where she worked from 1927 to 1946. There, she researched visual perception by studying eye movements when subjects were proofreading.

With her published findings in 1931, Vernon became known as an international expert on reading. Her following book on the subject was widely read and she worked with Scottish psychologist Kenneth Craik as well, which resulted in joint papers on dark adaptation.

### University of Reading

In 1946, she took a lecturer position at the University of Reading. According to an obituary by Davis, "Her presence greatly enhanced the reputation of the department and it is remarkable how many eminent psychologists took their PhDs under Magdalen Vernon's supervision".

She later became head of department, the first woman in that position. Throughout her career, she continued to promote experimental psychology and in 1946 was one of a dozen scholars to found the Experimental Psychology Society and subsequently she became its president. She was promoted to university professor in 1956.

Throughout her life, she substantially influenced "an important group of psychologists".

> Heavily influenced by her former professor, Bartlett, she extended his ideas of "effort after meaning", a term indicating the complex schemata used by the individual in perception of material.

Although she retired in 1967, she continued to write and published a book on human motivation in 1969. When she was 70, she published her last book, which examined reading difficulties.

Since then, the Department of Psychology at the University of Reading have established named-doctorate studentships in her honour.

### Personal life

Magdalen Vernon, died at the age of 90 in Beckenham, England on 1 December 1991.

## Distinctions

## Selected works

She published many influential books on reading and visual perception.

* Vernon, M.D. (1931). The Experimental Study of Reading.
* Vernon, M.D. (1937). Visual Perception.
* Vernon, M.D. (1958). Backwardness in Reading.
* Vernon, M.D. (1965). Psychology of Perception.
* Vernon, M.D. (1969). Human Motivation.
* Vernon, M.D. (1971). Readings and its Difficulties.

## InfoBox

| Magdalen Dorothea Vernon | |
| --- | --- |
| Born | 25 June 1901
Oxford, England |
| Died | 1 December 1991
Beckenham, England |
| Nationality | British |
| Alma mater | University of Cambridge |
| Occupation | Experimental psychologist |
| Employer | University of Reading |
| Parents | * Horace Middleton Vernon (father) * Katharine Dorothea Ewart (mother) |


title: Madame Spy (1942 film)

abstract: Madame Spy is a 1942 American spy film directed by Roy William Neill and starring Constance Bennett, Don Porter and John Litel. It was produced and distributed by Universal Pictures. The screenplay concerns an American intelligence officer who goes undercover and infiltrates a ring of Nazi spies.

text:
# Madame Spy (1942 film)

***Madame Spy*** is a 1942 American spy film directed by Roy William Neill and starring Constance Bennett, Don Porter and John Litel. It was produced and distributed by Universal Pictures. The screenplay concerns an American intelligence officer who goes undercover and infiltrates a ring of Nazi spies.

## Plot

The film opens with war correspondent David Bannister marrying Joan during an air raid in England. When they return to the U.S., their ocean liner is sunk by a German submarine. They and others escape aboard lifeboats and are rescued.

David becomes a radio reporter and does an exposé on the Nazi connections of an American industrialist who is an associate of Alicia Rolf, Joan's close friend. Peter, the head of a Nazi spy ring, then kills the industrialist to protect the espionage organization. David begins to suspect Joan of having Nazi sympathies, but his friend Lt. Cmdr. Drake defends her. David's suspicions worsen when he discovers Joan has received a telegram telling her about an espionage bombing on the West Coast.

David and his taxicab driver friend, Mike, trail Joan to a meeting with Carl Gordon, who was also a passenger on the sunk liner. David is sure Joan is unfaithful to him. When Drake is killed, newspapers claim he was investigating a Nazi spy ring.

Peter asks Joan to stay with him at his country home, and she agrees. David and Mike follow, and are captured. Before Peter can kill them, he is himself felled by an assassin's bullet. David alerts the FBI to the spy ring, but is told that all the Nazis have already been captured. The agent tells David that Joan and Carl are both American spies, who were working to break the ring. David and Joan reconcile.

## Cast

1. Milberg p.45

## Bibliography

* Milberg, Doris. *World War II on the Big Screen*. McFarland, 2010.

## InfoBox

| Madame Spy | |
| --- | --- |
|  | |
| Directed by | Roy William Neill |
| Written by | Clarence Upson Young
Lynn Riggs |
| Produced by | Marshall Grant |
| Starring | Constance Bennett
Don Porter
John Litel
Edward Brophy |
| Cinematography | George Robinson |
| Edited by | Ted J. Kent |
| Music by | Hans J. Salter |
| Production
company | Universal Pictures |
| Distributed by | Universal Pictures |
| Release date | * December 11, 1942 (1942-12-11) |
| Running time | 63 minutes |
| Country | United States |
| Language | English |


title: Fotos

abstract: Fotos are a German indie rock band from Hamburg/Cologne.

text:
# Fotos

**Fotos** are a German indie rock band from Hamburg/Cologne.

## History

Fotos' first self-titled album was released through Labels (a Sublabel of EMI) on 29 September 2006. Fotos can be characterised as British-inspired indie rock in connection with German lyrics. In summer 2007, the band played at the German Hurricane Festival and Southside Festival as well as at the Austrian FM4 Frequency Festival. Following the release of their second album *Nach dem Goldrausch* on 28 March 2008, the band went on tour in Germany and Austria, and played several gigs at festivals in China. They played recently at German music festival organised by Max Mueller Bhavan in Pune, India and also at Delhi Public School Bangalore South where they were opened by the school's rock band "Velocity". In 2008, the band's song "*Fotos*" was used as a Channel 4 "Try Life in Another Language" advert. In February 2009, Fotos represented the state of Lower Saxony at the Bundesvision Song Contest in Potsdam with their song "*Du fehlst mir*", ending on position No. 15.

## Discography

### Albums

### Videography

1. "Bundesvision Song Contest 2009 - Ergebnisse". Archived from the original on 2014-04-13. Retrieved 2014-03-27.

## InfoBox

| Fotos | |
| --- | --- |
| Tiraspol (2013) | |
| Background information | |
| Origin | Hamburg/Cologne, Germany |
| Genres | Indie rock |
| Years active | 2006–present |
| Labels | Labels/EMI |
|  | |
| Members | Thomas Hessler
Deniz Erarslan
Frieder Weiss
Benedikt Schnermann |
|  | |
| Website | http://www.fotosmusik.de |


title: William Haile (Mississippi politician)

abstract: William Haile was an American politician who served as a U.S. Representative from Mississippi from 1826 to 1828.

text:
# William Haile (Mississippi politician)

**William Haile** (1797  March 7, 1837) was an American politician who served as a U.S. Representative from Mississippi from 1826 to 1828.

## Biography

Born in 1797, Haile moved to Mississippi and settled in Woodville, Wilkinson County. He served as member of the Mississippi House of Representatives in 1826.

### Congress

Haile was elected as a Jacksonian to the Nineteenth Congress to fill the vacancy caused by the death of Christopher Rankin. He was reelected as a Jacksonian to the Twentieth Congress and served from July 10, 1826, to September 12, 1828, when he resigned.

### Later career and death

He was an unsuccessful candidate for reelection in 1828 to the Twenty-first Congress. He served as delegate to the State constitutional convention in 1832. He died near Woodville, Mississippi, March 7, 1837.

* United States Congress. "William Haile (id: H000022)". *Biographical Directory of the United States Congress*.

## InfoBox

| William Haile | |
| --- | --- |
|  | |
| Member of the U.S. House of Representatives
from Mississippi's at-large district | |
| **In office**
July 10, 1826  September 12, 1828 | |
| Preceded by | Christopher Rankin |
| Succeeded by | Thomas Hinds |
| Member of the
Mississippi House of Representatives | |
| **In office**
1826 | |
|  | |
| Personal details | |
| Born | 1797 (1797) |
| Died | March 7, 1837(1837-03-07) (aged 39–40)
near Woodville, Mississippi, U.S. |
| Political party | Jacksonian |
|  | |


title: Valley of the Gods

abstract: The Valley of the Gods is a scenic sandstone valley near Mexican Hat in San Juan County, southeastern Utah, United States. Part of Bears Ears National Monument, the Valley of the Gods is located north of Monument Valley across the San Juan River and has rock formations similar to those in Monument Valley with tall, reddish brown mesas, buttes, towers and mushroom rocks, remnants of an ancient landscape. On December 4, 2017, President Donald Trump issued a proclamation that reduced the area of Bears Ears National Monument, proclaimed by President Barack Obama on December 28, 2016, with new monument boundaries that exclude the Valley of the Gods. The area remains protected public land administered as an Area of Critical Environmental Concern and managed by the Bureau of Land Management, as it was before the monument designation.

text:
# Valley of the Gods

The **Valley of the Gods** is a scenic sandstone valley near Mexican Hat in San Juan County, southeastern Utah, United States. Part of Bears Ears National Monument, the Valley of the Gods is located north of Monument Valley across the San Juan River and has rock formations similar to those in Monument Valley with tall, reddish brown mesas, buttes, towers and mushroom rocks, remnants of an ancient landscape. On December 4, 2017, President Donald Trump issued a proclamation that reduced the area of Bears Ears National Monument, proclaimed by President Barack Obama on December 28, 2016, with new monument boundaries that exclude the Valley of the Gods. The area remains protected public land administered as an Area of Critical Environmental Concern and managed by the Bureau of Land Management, as it was before the monument designation.

## Overview

The Valley of the Gods may be toured via a 17-mile (27 km) gravel road (San Juan County Road 242) that winds around the formations. The road is rather steep and bumpy in parts but is passable by non-four-wheel drive vehicles in dry weather. The western end joins Utah State Route 261 shortly before its 1,200-foot (370 m) ascent up Cedar Mesa at Moki Dugway, while the eastern end starts nine miles (14 km) from the town of Mexican Hat along U.S. Route 163 and heads north, initially crossing flat, open land and following the course of Lime Creek, a seasonal wash, before turning west toward the buttes and pinnacles. Officially named buttes seen from the road include Seven Sailors, Setting Hen Butte, Rooster Butte, Franklin Butte, Battleship Rock, Castle Butte, De Gaulle and His Troops, Lady in the Bathtub, and Bell Butte. In addition to the gravel road, the area is also crisscrossed by off-road dirt trails.

The valley is public land managed by the Bureau of Land Management. No entrance fee is charged and no services are provided in the valley. Dispersed camping is permitted at previously disturbed sites, though campfires are not allowed.

Aerial view of the Valley of the Gods

## InfoBox

| Valley of the Gods | |
| --- | --- |
| Valley of the Gods | |
| Valley of the GodsSan Juan County, Utah
United StatesValley of the GodsValley of the Gods (the United States) | |
| Floor elevation | 4,300 ft (1,300 m) |
| Length | 8.1 mi (13.0 km) |
| Width | 8.7 mi (14.0 km) |
| Area | 152 sq mi (390 km2) |
| Depth | 1,800 ft (550 m) |
| Geography | |
| Coordinates | 37°14′11″N 109°48′49″W / 37.236389°N 109.813611°W / 37.236389; -109.813611 |


title: Trechus maceki

abstract: Trechus maceki is a species of ground beetle in the subfamily Trechinae. It was described by Deuve in 1992.

text:
# Trechus maceki

***Trechus maceki*** is a species of ground beetle in the subfamily Trechinae. It was described by Deuve in 1992.

## InfoBox

| *Trechus maceki* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Carabidae |
| Genus: | *Trechus* |
| Species: | ***T. maceki*** |
| Binomial name | |
| ***Trechus maceki***<br>Deuve, 1992 | |
|


title: Ramsgate Sands

abstract: Ramsgate Sands, also known as Life at the Seaside, is an oil-on-canvas painting by the English artist William Powell Frith, who worked on it from 1851 to 1854. The painting, which depicts a beach scene in Ramsgate, was Frith's first great commercial success: it was exhibited at the Royal Academy summer exhibition in 1854, and bought by Queen Victoria. Frith made a series of similar pictures, showing groups of people in contemporary scenes, including The Derby Day of 1858, The Railway Station of 1862, and Private View at the Royal Academy of 1883.

text:
# Ramsgate Sands

***Ramsgate Sands***, also known as ***Life at the Seaside***, is an oil-on-canvas painting by the English artist William Powell Frith, who worked on it from 1851 to 1854. The painting, which depicts a beach scene in Ramsgate, was Frith's first great commercial success: it was exhibited at the Royal Academy summer exhibition in 1854, and bought by Queen Victoria. Frith made a series of similar pictures, showing groups of people in contemporary scenes, including *The Derby Day* of 1858, *The Railway Station* of 1862, and *Private View at the Royal Academy* of 1883.

## Background

After the South Eastern Railway reached Ramsgate Town railway station in 1846, the town of Ramsgate rapidly became a popular destination for day trips from London. Frith was already a successful artist. He became a member of the Royal Academy in 1853, and the painting was based on studies made by Frith during a holiday in Ramsgate in September 1851, where he was inspired by the variety of everyday life. Dunedin Public Art Gallery holds an oil sketch from 1851–52.

## Description

Frith takes advantage of the location to paint people of different social classes in contemporary modern dress. The seaside was a place where the different classes, ages, and sexes could mix without the usual barriers. Frith populates the painting with a variety of stock characters – a grandmother with a parasol, a gentleman seated reading a newspaper, an over-dressed "swell", a variety of entertainers and vendors. Frith also included a self-portrait: he is looking over the shoulder of the man on the far right, with two ladies and a girl in white in front. The small girl paddling in the sea near the centre of the painting, staring directly out of the picture, is thought to be his daughter. All are viewed from the sea, looking towards the beach, separating the viewer from the scene. Many of the buildings in the background – the clock tower, the granite obelisk erected in 1822, building with battlements on Harbour Parade, and the gable end of the building at the junction of Albion Place and Madeira Walk above the cliffs – remain recognisable today.

Unusually, to modern eyes, the characters are wearing their usual clothes on the beach, including crinolines for the women and waistcoats for the men, alongside more recognisable seaside images of sandcastles, donkey rides, and a Punch and Judy show. Two telescopes hint at people-watching or voyeurism (the morality of women observing men bathing was a contemporary issue, particularly as men often bathed naked). Bathing machines are visible in the background, but the painting shows no bathers, only genteel paddling at the edge of the sea.

The painting measures 77 × 155.1 centimetres (30.3 × 61.1 in). The back of the painting bears the inscription "Life at the Sea side".

## Reception

The painting received a mixed reception. It was dismissed by one contemporary commentator as "vulgar Cockney business" or a "tissue of vulgarity" and it was rejected by several potential buyers before it was exhibited at the Royal Academy summer exhibition in 1854.

However, it became very popular with the viewing public at the exhibition, and it was praised by critics for its realistic depiction of modern life. It was voted the "picture of the year" by the journal *Royal Academy Pictures* and was purchased by the printers Lloyd Brothers for 1,000 guineas. When Queen Victoria expressed an interest in buying the painting – she had visited Ramsgate several times in the 1820s and 1830s, staying at Townley House and Albion House – it was sold for the same price to her, and displayed at Osborne House.

Lloyd Brothers retained the right to reproduce the painting as an engraving for sale to the public as prints, and Frith may have earned as much as £3,000 from the sales.

* "*Ramsgate Sands (Life at the Seaside)*". *Royal Collection Trust*. Inventory no. 405068.
* William Powell Frith - *Ramsgate Sands*, 2 June 2010
* A thousand words, *The Guardian*, 11 June 2011
* *Water, Leisure and Culture: European Historical Perspectives*, Susan C. Anderson, Bruce Tabb, p. 89-92

## InfoBox

| Ramsgate Sands | |
| --- | --- |
| *Life at the Seaside* | |
|  | |
| Artist | William Powell Frith |
| Year | 1851–1854 |
| Medium | Oil-on-canvas |
| Subject | Holidaymakers on the beach at Ramsgate. |
| Dimensions | 77.0 cm × 155.1 cm (30.3 in × 61.1 in) |
| Owner | Royal Collection |
| Accession | RCIN 405068 |


title: Magdalen Green railway station

abstract: Magdalen Green railway station served the area of Magdalen Green, Dundee, Scotland from 1878 to 1956 on the Dundee and Perth Railway.

text:
# Magdalen Green railway station

**Magdalen Green railway station** served the area of Magdalen Green, Dundee, Scotland from 1878 to 1956 on the Dundee and Perth Railway.

## History

The station opened on 1 June 1878 by the Dundee and Perth Railway. The station building was on the eastbound platform but there was no signal box until 1925. It closed to both passengers and goods traffic on 11 June 1956.

| Preceding station | Historical railways | | | Following station |
| --- | --- | --- | --- | --- |
| Dundee West
Line open, station closed |  | Dundee and Perth Railway |  | Ninewells
Line open, station closed |

56°27′12″N 2°59′50″W / 56.4532°N 2.9972°W / 56.4532; -2.9972

## InfoBox

| Magdalen Green | |
| --- | --- |
| This picture was taken from the footbridge, which is the only surviving element of the otherwise demolished station. However, the fence begins to form a bay shape near the green shed, which would have cleared a space for the platform. | |
| General information | |
| Location | Magdalen Green, Dundee
Scotland |
| Platforms | 2 |
| Other information | |
| Status | Disused |
| History | |
| Original company | Dundee and Perth Railway |
| Pre-grouping | Caledonian Railway |
| Post-grouping | London, Midland and Scottish Railway |
| Key dates | |
| 1 June 1878 (1878-06-01) | Opened |
| 11 June 1956 (1956-06-11) | Closed |
|  | |
|  | |
|  | |


title: Rajavinte Makan

abstract: Rajavinte Makan is a 1986 Indian Malayalam-language gangster film directed and produced by Thampi Kannanthanam from a screenplay written by Dennis Joseph and based on the 1980 novel Rage of Angels by Sidney Sheldon. It stars Mohanlal, Ratheesh, Ambika and Mohan Jose. In the film, Vincent Gomes sets out to exact revenge against Home Minister N. Krishnadas. Kannanthanam's 1985 film Aa Neram Alppa Dooram was commercially unsuccessful, which jeopardised his career. This led him to create his own production company Sharon Pictures. It was shot extensively in and around Ernakulam. Filming began in early 1986 and took about one month to complete. The film was shot with a relatively small budget compared to films at the time as Kannanthanam was in financial crisis at the time. The soundtrack was composed by S. P. Venkatesh, while the cinematography and editing were handled by Jayanan Vincent and K. Sankunni. Rajavinte Makan was released on 16 July 1986 and became a turning point in Mohanlal's career as it catapulted him into superstardom in Kerala. It was remade in Tamil as Makkal En Pakkam and in Kannada as Athiratha Maharatha. Ambika reprised her role in Tamil and Kannada versions. It was also remade in Telugu as Aahuthi and in Hindi as Kanwarlal.

text:
# Rajavinte Makan

***Rajavinte Makan*** (transl.The King's Son) is a 1986 Indian Malayalam-language gangster film directed and produced by Thampi Kannanthanam from a screenplay written by Dennis Joseph and based on the 1980 novel *Rage of Angels* by Sidney Sheldon. It stars Mohanlal, Ratheesh, Ambika and Mohan Jose. In the film, Vincent Gomes sets out to exact revenge against Home Minister N. Krishnadas.

Kannanthanam's 1985 film *Aa Neram Alppa Dooram* was commercially unsuccessful, which jeopardised his career. This led him to create his own production company Sharon Pictures. It was shot extensively in and around Ernakulam. Filming began in early 1986 and took about one month to complete. The film was shot with a relatively small budget compared to films at the time as Kannanthanam was in financial crisis at the time. The soundtrack was composed by S. P. Venkatesh, while the cinematography and editing were handled by Jayanan Vincent and K. Sankunni.

*Rajavinte Makan* was released on 16 July 1986 and became a turning point in Mohanlal's career as it catapulted him into superstardom in Kerala. It was remade in Tamil as *Makkal En Pakkam* and in Kannada as *Athiratha Maharatha*. Ambika reprised her role in Tamil and Kannada versions. It was also remade in Telugu as *Aahuthi* and in Hindi as *Kanwarlal.*

## Plot

Vincent Gomes is a notorious gangster who wants to exact revenge against Kerala Home Minister N. Krishnadas as Krishnadas worked with Vincent earlier, but Krishnadas double-crossed Vincent in order to gain favour among the people and the political party. Vincent plans a payback and becomes successful after manipulating Adv. Nancy, who carries the case of his file which if submitted to the court may lead to imprisonment for several years.

Vincent learns that Nancy's struggles as an orphan and a single mother. Due to Vincent's plan, Nancy loses her job and Vincent, who is remorseful of his actions, makes amends to Nancy and become friends. Vincent confesses to Nancy and tells her that he wants to stop his activities and proposes to her. However, Nancy denies and tells him that she cannot accept anyone else as her husband. Krishnadas goes after Vincent with his political power, where Vincent loses his wealth.

Vincent plans to kill Krishnadas and entrusts the duty to his trusted friends Kumar and Peter. However, Kumar and Peter are killed during the assassination attempt against Krishnadas. Enraged, Vincent drives towards Krishnadas' guest house where he kills many policemen and Krishnadas's political aides. When Vincent is about to kill Krishnadas, Nancy begs for Krishnadas's life and proclaims that Krishnadas is the father of her child. With Vincent being shocked at the revelation, the cops reach the site and shoots Vincent. Vincent dies as Nancy rushes to his side, sadly holding his dead body. The film ends with Nancy staring at a picture of Vincent Gomes, the most powerful underworld don to have lived.

## Cast

## Production

### Development

Thampi Kannanthanam and Dennis Joseph had earlier collaborated in the revenge drama, *Aa Neram Alppa Dooram* (1985). However, the film was a critical and commercial failure. Following this, Kannanthanam stopped receiving offers for direction from producers. This plunged him into financial crisis. Dennis Joseph had on the other hand established himself as one of the most sought after scriptwriters in the Malayalam film industry with the successes of *Nirakkoottu* and *Shyama*.

After talking with his friend, Joshiy, Kannanthanam decided to venture into production by directing his first production venture. On Joshiy's request Kannanthanam met Dennis Joseph in Madras (now known as Chennai) to brainstorm ideas for a new film. Joseph had suggested that they do a film set in a tribal background, similar to *Madhumati* (1958). However, Kannanthanam wasn't keen on the idea as the theme had already been explored by J. Sasikumar, to whom he had served as assistant director, in *Picnic* (1975). Then, Joseph narrated the story of *Rajavinte Makan* to Kannanthanam. Since the story had its protagonist in an antihero role Joseph did not think the film could perform well at the box office. However, Kannanthanam liked the story and asked Joseph to prepare a script. The film's script took Joseph 5–6 days to complete.

### Casting

Dennis Joseph wanted Mammootty to play the role of Vincent Gomes in the film. He narrated the script to Mammootty, which the latter liked. However, on learning that the film was being produced and directed by Kannanthanam, Mammootty backed out. In a 2018 interview with Safari TV, Dennis Joseph told that the failure of Kannanthanam's *Aa Neram Alppa Dooram* affected Mammootty very much and he was not keen on working with Kannanthanam again. The incident created a permanent rift between them. Following Mammootty's rejection, they approached Mohanlal on the sets of *Kariyilakkattu Pole*, who was ready to do the film. This led to Joseph making modifications to the script to suit Mohanlal's style. To meet the film's budget Kannanthanam had to sell his car and ancestral property. The film also marked the debut of S. P. Venkatesh. The female lead was chosen to be Ambika. Her mother, Kallara Sarasamma told Thambi that he should pay her ₹1.25 lakhs. However, after a few days Ambika adjusted the amount to ₹1 lakh. Mohanlal was paid a remuneration of ₹1 lakh, the same as Ambika.

For the role of Vincent Gomes' right-hand man, Kannanthanam suggested a few names to Joseph. However, they rejected the role citing that they did not want to play right hand to Mohanlal. Joseph then suggested that the role be split into two. For one of them, Joseph suggested K. G. George's relative, Mohan Jose. For the second role, they decided to cast a new face. Gayathri Ashokan sent Joseph a few stills from the 1985 film *Onnu Muthal Poojyam Vare* featuring Suresh Gopi. Impressed by his looks, Kannanthanam called Gopi for an interview and was cast in the film. This was Suresh Gopi's first major role in Malayalam cinema.

## Themes

The basic plot of *Rage of Angles* by Sidney Sheldon was adapted by Joseph for *Rajavinte Makan*. However, the book has been uncredited. In *Rage of Angels*, the central character is a top female lawyer, Jennifer Parker who is torn between a top US senator and a mafia chief. *Rajavinte Makan* features a female prosecutor, Nancy who vacillates between the home minister, Krishnadas and the liquor baron, Vincent Gomes. Sreedhar Pillai of *India Today* felt that the film showcased overtly political themes and also felt that the characters of Krishnadas and Vincent Gomes closely resembled former home minister Vayalar Ravi and liquor baron Chandrasenan. Writing for *Full Picture*, Aradhya Kurup wrote, "This uncredited adaptation is a toned-down version of the powerful narrative by Sheldon. One of the highlights of the film is the mafia don’s characterization — Vincent Gomez. He is a calmer version of the fierce Michael Moretti. Understandably, the cinema chooses to glorify the don and cut down the heroine’s role."

## Music

| Rajavinte Makan | |
| --- | --- |
| Soundtrack album by S. P. Venkatesh | |
| Released | 1986 |
| Genre | Popular music |
| Length | 12:34 |
| Language | Malayalam |
| Label | Ranjni Audios |
| Producer | S. P. Venkatesh |
| S. P. Venkatesh chronology | |
| *Vivahithare Ithile*
(1986) ***Rajavinte Makan***
(1986) *Bhoomiyile Rajakkanmar*
(1986) | |

The soundtrack features three songs composed by S. P. Venkatesh, with lyrics penned by Shibu Chakravarthy. Venkatesh got his break from this film.

Rajavinte Makan
| No. | Title | Singer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Vinnile Gandharva" | Unni Menon | 03:52 |
| 2. | "Paadam Njan Aa Ganam" | Lathika | 04:30 |
| 3. | "Devangane" | Unni Menon, Lathika | 04:12 |
| Total length: | | | 12:34 |

## Release

The film was released on 16 July 1986. The film was certified with a U certificate. In Kerala, the film was distributed by Joy Thomas through Jubilee Productions. After watching the film S. N. Swamy visited Joseph and told him that the film would be a failure at the box office. Swamy felt that the film's political theme was more suited for scriptwriters such as T. Damodaran. However the film was a major commercial success, completing a 100-day theatrical run.

According to a trade analysis written by Sridhar Pillai and published in *India Today* on February 28, 1987, *Rajavinte Makan* had a production cost of ₹ 15 lakhs and was expected to collect ₹ 75 lakhs by the end of its run. A second article published by *Malayala Manorama* much later on 2 October 2018, on the event of Kannanthanam's passing, cites the production and distribution budget as ₹40 lakhs, with a final gross of ₹85 lakhs at the box office.

## Legacy

*Rajavinte Makan* is considered to be the turning point in Mohanlal's career as it shot him into superstardom in Malayalam cinema. Even the dialogues from the movie are still famous today, such as: "My phone number is 2255." This dialogue was referenced in the 2022 film *Aaraattu*. The character of Vincent Gomes portrayed by Mohanlal has over the years attained a cult status in Malayalam cinema. In an interview, the writer Dennis Joseph states: "He is not one of those loud, flamboyant dons. He is soft-spoken yet menacing in an understated way. That’s what makes Vincent Gomez so iconic." The film title design of *Rajavinte Makan* was reused for Kannanthanam's next project, *Vazhiyorakkazhchakal* (1987) believing it to be a sign of good luck.

## InfoBox

| Rajavinte Makan | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Thambi Kannanthanam |
| Screenplay by | Dennis Joseph |
| Story by | Rajeev |
| Produced by | Thambi Kannanthanam |
| Starring | Mohanlal
Suresh Gopi
Ratheesh
Ambika
Mohan Jose |
| Cinematography | Jayanan Vincent |
| Edited by | K. Sankunni |
| Music by | S. P. Venkatesh |
| Production
company | Sharon Pictures |
| Distributed by | Jubilee Productions |
| Release date | * 16 July 1986 (1986-07-16) (India) |
| Running time | 132 minutes |
| Country | India |
| Language | Malayalam |


title: USA-268

abstract: USA-268, also known as NROL-37, is an American signals intelligence satellite. Though officially classified, it is presumed to be an Advanced Orion satellite, making it one of the largest and most expensive satellites ever built.

text:
# USA-268

**USA-268**, also known as **NROL-37**, is an American signals intelligence satellite. Though officially classified, it is presumed to be an Advanced Orion satellite, making it one of the largest and most expensive satellites ever built.

## Launch

USA-268 was launched at 17:51 UTC on June 11, 2016 from Space Launch Complex 37B, on its second attempt. It was the ninth flight of a Delta IV Heavy, and the fifth carrying an Advanced Orion.

## InfoBox

USA-268
| Launch of USA-268 | |
| --- | --- |
|  | |
| Mission type | Signals intelligence |
| Operator | National Reconnaissance Office |
| COSPAR ID | 2016-036A |
| SATCAT no. | 41584 |
|  | |
|  | |
| Spacecraft properties | |
| Spacecraft type | Advanced Orion |
|  | |
|  | |
| Start of mission | |
| Launch date | June 11, 2016, 17:51 (2016-06-11UTC17:51Z) UTC |
| Rocket | Delta IV Heavy |
| Launch site | Cape Canaveral SLC-37B |
|  | |
|  | |
| Orbital parameters | |
| Reference system | Geocentric |
| Regime | Geostationary |
| Semi-major axis | 42,165 kilometers (26,200 mi) |
| Perigee altitude | 35,587 kilometers (22,113 mi) |
| Apogee altitude | 36,002 kilometers (22,371 mi) |
| Inclination | 6.3 degrees |
| Period | 1436.1 minutes |
|  | |
|  | |


title: Fotos Politis

abstract: German educated Greek stage director Fotos Politis, 1890–1934, was one of the most prominent figures in the revival of the ancient Greek tragedies in the 20th century. A literary and theater reviewer and playwright, who was responsible for the creation of what came to be called "the theatrical tradition of the National Theater of Greece", he developed original teaching methods for aspiring young actors in Athenian drama schools while the rehearsals for the plays that he staged were known for their long duration and exhaustive intensity. Politis felt an obligation to educate not only the actors, corrupted by the French "Théâtre de boulevard" of the time, but also the general public by bringing it in contact with the masterpieces of ancient Greek tragedy, Shakespeare, classical European theater and avant-garde theater.

text:
# Fotos Politis

German educated Greek stage director **Fotos Politis** (Greek: Φώτος Πολίτης), 1890–1934, was one of the most prominent figures in the revival of the ancient Greek tragedies in the 20th century. A literary and theater reviewer and playwright, who was responsible for the creation of what came to be called "the theatrical tradition of the National Theater of Greece", he developed original teaching methods for aspiring young actors in Athenian drama schools while the rehearsals for the plays that he staged were known for their long duration and exhaustive intensity. Politis felt an obligation to educate not only the actors, corrupted by the French "Théâtre de boulevard" of the time, but also the general public by bringing it in contact with the masterpieces of ancient Greek tragedy, Shakespeare, classical European theater and avant-garde theater.

## Early years

Born in Athens in an academic environment, Politis was the son of Nicolaos Politis, a professor at the University of Athens, who was considered the father of Greek folklore studies and cultural traditions, while his younger brother, Linos Politis, also a professor, taught modern Greek literature. In 1906–1908 he attended classes at the Athens Odeum's (conservatoire) drama school and received the second prize in a drama competition with his play *The Vampire*.

At the end of 1908, he left for four years to study law in Germany. During this time and parallel with his law studies, he took courses in philosophy, being deeply influenced by German idealism. He was also influenced by the ideas of the Austrian-Jewish director Max Reinhardt, who staged ancient Greek tragedies, which Politis followed closely, as well as most of the new ideas that disseminated from the Max Reinhardt Seminar in Vienna, the most important German-language acting school. It was the time when the role of the director began to become as prevalent as that of the playwright and the protagonist.

In early 1913, Politis was drafted, because of the Balkan Wars and had to return to Greece to enlist.

## Reviewer and critic in the 20s and 30s

After returning from the front, he begins his first reviews with a byline in January 1915, in the daily *Nea Hellas* (New Greece), which was supporting Prime Minister Eleftherios Venizelos. Until his early death in 1934, he wrote 1103 reviews in various newspapers, like *Politeia* (The State), *Eleftheron Vema* (Free Tribune) and *Proia* (Morning).

Apart from his columns in the daily press, he collaborated from 1927 with Costis Bastias' newly published literary review *Ellinika Grammata* (Hellenic Letters). There he joined the closely knit ideological circle of the magazine, consisting of Costis Bastias (publisher), Yannis Apostolakis, Politis' older first cousin, mentor and later professor of literature at the University of Thessaloniki, Alexandros Delmouzos, prominent educator and proponent for the instruction of demotic Greek in the school system, K. Th. Demaras, Greece's foremost scholar on the Greek Enlightenment and later professor of Modern Greek Studies at the French university Paris I – Sorbonne Panthéon, and George N. Politis, Politis' elder brother and the magazine's top book reviewer. The circle supported the "demotic" (vernacular) language, Greek cultural traditions, German idealism, closely linked to the Enlightenment and was critical of rampant nationalism and communism.

## Stage director, theatrical educator, translator

In 1918, Politis participated in the founding of the "Hellenic Theater Co." by the Society of Greek Playwrights. The playwright Miltiades Lidorikis presided over the new company, with the poet Pavlos Nirvanas, the stage director Spyros Melas and Politis on the board. Politis was further appointed professor with the company's drama school. He soon starts the translation in modern Greek iambic verse of Sophocles' *Oedipus Rex* and chooses one of Greece's greatest actors, Aimilios Veakis, whose memorable performance as King Lear at the Royal (National) Theater of Greece in 1938 has remained indelibly written in the history of 20th century Greek theater, to appear in the homonymous role. Under the direction of Fotos Politis, *Oedipus Rex* opened in the old 19th-century neoclassical theater "Olympia" on Academias Street. The performance became a milestone in the revival of ancient tragedy, with the ideas of Max Reinhardt often evident, in the interpretation of the play. Politis was acclaimed as a director, the tickets were sold out, while the prominent reviewer Marios Ploritis wrote of "The first face to face confrontation with the interpretation of ancient drama". The Greek stage director and historian of the theater Mitsos Lygizos observed about the contribution of the "Hellenic Theater Company" that:

> *It was founded to put a stop to the ridiculous parodies, desecrations and clownery of Sophocles, Shakespeare and Ibsen by various theatrical companies of the time.*

In 1925, when the Greek Actors' Union decided to create the "Professional School of Drama", Politis was appointed professor of repertoire and acting and from 1927 he started staging performances. Shakespeare's *The Merchant of Venice* (1927), Ibsen's *John Gabriel Borkman* (1928), the 17th century Cretan religious drama *Abraham's sacrifice* (1929), etc. He also tried his first open air performance of ancient tragedy, Euripides' *Hecuba* (1927), with Greece's famous actress Marika Kotopouli and her troupe, in the all marble Panathenaic Stadium, build in the 1890s for the first Olympic Games of modern times. The stage director Alexis Solomos described the performance, as the most renowned *Hecuba* of the interwar period.

## At the National Theater (1930-1934)

Source:

### Naming the National Theater (background)

There is some confusion as to the actual name of the National or Royal Theater and the various alternating forms this name took, following political changes. At the end of the 19th century, King George I of Greece founded the Royal Theater, with Ernst Ziller as architect, which began its performances in 1900. Its existence was short lived, since it closed in 1908. The property belonged to King George I and the Royal Family and it was rented out to various troupes. The 1922 republican revolution confiscated the building, tore down the royal insignia and continued to rent it. In 1930, by law, the Greek state founded a National Theater, with the intention of erecting a new building, but due to the depression, it was decided to temporarily use the old Royal Theater. When in 1935, the monarchy was reinstated and King George II returned to Greece, the National Theater was renamed Royal Theater, but was now a state owned theater. In fact, the State indemnified Royal Prince Nicholas, uncle of King George II, who had inherited the building. With the beginning of the German occupation in 1941, the theater was renamed National Theater. After the Liberation in 1944, the building itself was named Royal Theater, but the state theater company appearing continued to be officially called National Theater. The only thing to remember is that the National or Royal Theater founded in 1930, had no ideological connection, nor was it a continuation of the old Royal Theater of 1900–1908, but represented an entire new ideology expressed by Fotos Politis. The only thing in common were the walls, and that because of lack of money.

### The founding of the National Theater

When in January 1930, George Papandreou became minister of Education (1930–1932), in the cabinet of prime minister Eleftherios Venizelos (1928–1932), his dream was to found the National Theater of Greece, where the country's two leading actresses, Kyveli, to whom he was married, and Marika Kotopouli, along with leading actor Aimilios Veakis, would participate in collaboration with an important stage director like Spyros Melas. He immediately started working with the poet Ioannis Gryparis, who was Secretary of Letters and Arts in the ministry, since the 1922 revolution of republican officers, that had forced King Constantine I to abdicate. An ardent supported of a new state National Theater, Gryparis had been in the ministry for the past eight years, but for a short thirteen-month period (June 1925 – July 1926) when he was removed by the Theodore Pangalos dictatorship. Already in 1923, he had told Fotos Politis that he had decided to go ahead with the creation of a National Theater, while in 1924, he gave an interview to Costis Bastias, where he describes with precision all the problems that had to be met for such an undertaking, like the building, financing through a tax on gambling and lotteries, the cast and the administration. Much of the ground work was already prepared and prime minister Eleftherios Venizelos had given his approval. The new law was published on May 5, 1930, and the first immediate appointments were Ioannis Gryparis, as director general, Costis Bastias, as secretary general and Fotos Politis as stage director.

### Fotos Politis gains control of the Theater

After Spyros Melas refused the position of prime stage director and Miltos Lydorikis was hired and resigned, Minister Papandreou accepted to elevate Fotos Politis to the position of prime stage director in the beginning of 1931. From there on, things started moving. The 15 member Board was replaced by a more active seven member body and the executive committee's members were reduced and its decisions became merely advisory. It was renamed as the Artistic Committee. By mid-November 1931, the chairman of the board, theater historian Nicolaos Laskaris, resigned, feeling bypassed by the small, hardcore decision making group of Politis, Gryparis, Bastias and poet Pavlos Nirvanas, a member of the Artistic Committee. Due to his continuous presence in the Athenian press as a journalist and columnist, Bastias replies to most of the attacks in the press against a theater that had yet to be inaugurated. When Petros Pikros, the ex editor-in-chief of the communist daily *Rizospastis* (The Radical) and managing editor of the Marxist review *Protoporoi* (The Vanguardists), attacks the theater, Bastias replies with two articles, "The National Theater and Marxist theory", saying:

> *It seems to be wrong, but we have come to respect the artists and their talent wherever they blossom, either in the hothouses of the rich, or the huts of the poor. We respect them when they are called Goethe or when they are called Gorky. It is sufficient for us that it's present.*

In August 1931, just prior to the inauguration of the National Theater, Politis travels to Germany and Austria to be informed and brought up to date with the latest developments in Max Reinhardt's productions. Upon his return he continuous building the foundations of a new theatrical tradition and adding to the Greek theater, after the playwright and the actor, a new third factor —the director. Till then, leading first ladies like Kyveli or Marika Kotopouli ruled their troupes with an iron hand, making all the important decisions. Sometimes, a director would be used, but in a secondary capacity. But, Politis reduced the importance of the protagonists, creating harmonic and disciplined ensembles, far from the hastily prepared and improvised productions, having to train the cast in a new acting method. This demanded exhaustive teaching and rehearsals. Costis Bastias describes for us how demanding Politis was:

> *During the July and August recess, the actors of the National Theater took part in three rehearsals per day, including Sundays. One in the morning 10 - 1, one in the afternoon 5 - 8, and one at night 10 - 12½. To these nine hours, if we add the time spend at home to study the plays for their better understanding and to memorize their lines, one can realize the labor involved for the director, the actors and the understudies.*

### Politis first stage director of the National Theater

On Saturday evening, March 19, 1932, the most important cultural event of the interwar period in Greece took place. The inaugural performance of the newly renovated National Theater with Aeschylus' tragedy *Agamemnon* and a one-act comedy by Gregorios Xenopoulos was a great success. Every last seat was sold out, as the Athenians flocked to the new theater — the gentlemen in white or black tie and the ladies in long evening gowns.

For the next 32 months, until his premature passing away at daybreak of December 4, 1934, Fotos Politis staged 35 plays by the most prominent playwrights of all time. His repertoire included Aeschylus, Sophocles, Euripides, Shakespeare, Molière, Goldoni, Schiller, de Musset, Ibsen, Zweig, Shaw, O'Neill, as well as modern Greek playwrights like Demetrios Byzantios, Gregorios Xenopoulos, Pantelis Horn, Spyros Melas and Alecos Lydorikis. For Politis, this was his way to uplift an audience by bringing it in contact with the masterpieces of theatrical art from all over the world, from the ancient Greek tragic poets to the contemporary playwrights. Through his stage direction, he assisted his public to approach the essence of every play. The general secretary of the theater, Costis Bastias, who had closely followed Politis' staging methods, observed:

> *Politis enforced what he called "internal stage direction" to distinguish it from the other one, the "external direction", whose ambition did not surpass a well designed drawing room. \[...\] But the stage director's work is to translate the work of the poet to the language of the stage. In other words, he finds the way to bring to the surface the play's deeper meaning, to shed light on the characters, and thus to bring the audience closer to the playwright. This is his purpose, and to achieve it everything turns to putty in his hands: the actor, the set designer, the costumes, the musician, the dancer. Everything is used to serve the poet and his creation.*

The novelist, playwright and columnist Angelos Terzakis, who played a major role in the development of the National (Royal) Theater since 1937, as general secretary, director of repertoire and director general in succession, remarked concerning Politis' preferences in the repertoire and staging, that he had certain specific beliefs:

> *He struck a blow without mercy against the french "théâtre de boulevard", that equated the theater stage to a nightclub scene. An implacable blow to a star system that turned theater to a low-level track, where personal narcissistic vanities are satisfied. A blow to the playwrights who come to terms by buying and selling the lower instincts and tastes of the public.*

The National Theater received innumerable attacks in the press because of its hostile attitude against the popular Théâtre de boulevard, its views toward the all-mighty leading actors and its repertorial selections, especially the limited number of contemporary Greek plays. In the beginning of October 1932, the Theater inaugurated its new season, its second season, with Shakespeare's *The Merchant of Venice*. Bastias again wrote about Fotos Politis and the new season:

> *How much ink and how much paper have been consumed on polemics both to the idea of a National Theater and its Administration. But when last March arrived and the unforgettable performances of Agamemnon, Julius Caesar and others were staged \[...\] Almost one hundred performances, attended with enthusiasm by most of the capital's populace \[...\] Those that saw the inspiring staging by Fotos Politis, are in a position to appreciate the efforts and the honesty that are to be found in the work of the National Theater. If one takes notice of the methods employed until now, he will surely agree. The impromptu staging of performances, the lack of a stage director able to conceive the ideological essence of the great works, how quickly each play was staged, seldom allowing the actor to withdraw from his self and to enter his role, to get under the skin of the character that he is impersonating. \[...\] In other words, instead of the character standing out, it is the actor. This is the result of what the leading actors have established. Against this long standing method, this anti-theatrical system, Fotos Politis is campaigning.*

## An epilogue to Fotos Politis' life and contribution

Fotos Politis' contribution to the theater and literary criticism was indeed of significant consequence. He introduced a theatrical standard, when he first entered the world of the theater, much more demanding than what was currently in use. He fought against hastily prepared productions that were then prevalent, the miserable repertoire based on the "french boulevard", and the authoritative ways of the leading actors-managers, who in no way wanted to collaborate with the new and upcoming stage directors. He supported the struggle for the Demotic Greek language to prevail, the strict adherence to the texts without unwarranted alterations, the European avant-garde movements in the theater, which he knew quite well, and the stage director's predominance, as the foremost head of the artistic creation, who interprets the playwright, and with his baguette conducts the actors, set designers, costume designers, musicians, choreographers, to bring about the desired result. As University of Athens professor of theatrical studies Katerina Arvaniti has written:

> *Politis was a prominent director with whom ancient tragedy was recognized as a unique theatrical form. He laid the foundations of the National Theater's tradition.*

The establishment of a theatrical tradition is not a simple matter, especially one that has to do with the founding of a venerable institution like Greece's "National Theater". Usually, many decades, if not centuries like the Comèdie Française, are required. Politis' persistence for hundreds of exhaustive rehearsals now becomes clear. The singular teaching of elocution in the manner required by Greek tragedy, the rhythm of the performances, the movement and gestures of the ancient chorus and the performers with detailed sketches by Politis of their every stance, as seen in his prompt books (Regiebuch), something that Reinhardt did in great detail. But also meticulous directions to the actors for the sounds of the performance (cries, footsteps, banging), that combined with the music created an acoustic whole, the directions to set designer Kleovoulos Klonis expressing the spirit of the production, something that Klonis, familiar with the European avant-garde, would interpret with his expressionistic, bulky, architectural cubes and his Jessner stairs, and to modern painters like Spyros Papaloukas and Fotis Kontoglou who worked on the sets, as well as directions for lighting and special effects. All these together create the complicated puzzle, which today gives us the opportunity to better understand the great stage director Fotos Politis' wonderful productions.

The theatrical tradition that Fotos Politis created at Greece's National Theater, was continued after his death in 1934 by Costis Bastias and director Dimitris Rondiris. The following year, Bastias became director of repertoire, a new institution for that time, and wrote a 68-page report setting down both the theoretical principles of a National Theater and the specific plays that should be staged from the ancient theater, Elizabethan theater, classical theater, contemporary theater and avant-garde theater, with a critical analysis of each. Theater reviewer Costas Georgousopoulos, who also teaches at the Department of Theater Studies at the University of Athens and discovered the report in 1991, wrote:

> *A most important document concerning our theatrical studies, which establishes that the natural stages for ancient tragedy are the open-air theaters of antiquity and further substantiates a theatrical point of view, almost avant-garde, whose influence is only realized today.*

On the other hand, Dimitris Rondiris, who had studied at the Reinhardt Seminar and had worked as an assistant to Max Reinhardt at the Salzburg Festival, when Reinhardt was director of the Deutsches Theater in Berlin, had been recalled to Athens by the board of the National Theater to become assistant director to Fotos Politis. After Politis' death, he succeeded him as prime stage director of the National Theater, and after World War II became its director general. Rondiris, with Bastias, continued the tradition of the National Theater, enriched it and added their theory that the tragedies of the ancient Greek poets are staged only in the open air theaters of antiquity, for which they were written, and not in the closed Renaissance theaters. This is a view that had not been adopted by Fotos Politis.

From 1935 until April 1941, when the Axis Powers occupied Greece, the tradition, as well as the fame, of the National Theater grew by leaps and bounds, with Bastias becoming director general (1937), and the passing of a new law that gave him the authority to act more or less independently, despite the existence of a dictatorship, and Rondiris, perfecting his exhaustive teaching methods and his unique staging inspiration. The National Theater became a huge organization with its actors, directors, set and costume designers, musicians, dancers and a whole operatic company that was added and began its performances in 1940, The National Opera of Greece. The major emphasis of Bastias and Rondiris was the revival of ancient Greek tragedy with performances throughout Greece and abroad. One of the most renowned was the first performance of ancient tragedy since antiquity at the theater of Epidaurus with the *Electra* of Sophocles in 1938.

At first, the Theater traveled to other Greek cities, like Patras and Thessaloniki. Then Greek architect Constantine Doxiadis designed a traveling theater with trucks and buses that could be set up anywhere and covered the whole country. It was named Arma Thespidos (The Chariot of Thespis). In 1939, the main company of the National (Royal) Theater traveled abroad for the first time. It began with Alexandria and Cairo in the spring and after returning to Athens left again in June and July to perform Sophocles' *Electra* and Shakespeare's *Hamlet*, at Oxford, Cambridge, London, Frankfurt and Berlin carefully balancing the two sides which by the end of that summer would be at war.

The Theater's "Grand Tour", as it came to be called among theatrical circles, was a great success both in the U.K. and in Germany and was rated as equal to the Comédie-Française and the Moscow Art Theater. Concerning Dimitri Rondiris' stage direction the reviewers wrote that he surpassed the wildest dreams of his teacher Max Reinhardt, while Richard Prentis noted:

> *The Greek acting of Hamlet the other night came off magnificently. It found not a new world but an old one —the world of Shakespeare.*

The *News Chronicle's* Henry Bean wrote: "Hamlet in modern Greek —a new way of doing Shakespeare to end all new ways" and commented about the *Electra* that: "It takes many years in perfecting the difficult technique of the spoken chorus". And W. A. Darlington noted in the *Daily Telegraph*: "The most impressive performance of the *Electra* that I have seen". But in the end, after the performance of the *Electra* at His Majesty's Theatre, the venerable *The Times* of London wrote:

> *The success of the Greek Royal Theatre, of which last night's performance gave proof, not as an organization only but as an artistic project, is in great measure due to the man, himself a dramatist of high rank, who has long watched over its fortunes and is its Director-General. London, having had opportunity to enjoy the fruits of his work, may now express gratitude to him as an ambassador of his nation's art, for certainly in no country has the stage owed more to the energy, enthusiasm, and connoisseurship of a single man than the Greek stage owes to M. Costis Bastias.*

Post mortem recognition of Fotos Politis, as well as his successors and students.

## Bibliography

* Arvaniti, Katerina, *Η αρχαία ελληνική τραγωδία στο Εθνικό Θέατρο* (Ancient Greek Tragedy at the National Theater), vol. I, *Θωμάς Οικονόμου - Φώτος Πολίτης - Δημήτρης Ροντήρης* (Thomas Oikonomou – Fotos Politis – Dimitris Rondiris), Athens 2010. ISBN 978 960 211 9174.
* Bastias, Costis, "Φώτος Πολίτης" (Fotos Politis), periodical *Evdomas*, June 20, 1931. Reprinted in: Costis Bastias, *Φιλολογικοί Περίπατοι* (Literary Promenades, Conversations with 38 authors), pp. 134–141, Kastaniotis Editions, Athens 1999. ISBN 960-03-2577-4.
* Bastias, Costis, "Fotos Politis dies yesterday", daily *Ι Kathemerini*, December 4, 1934.
* Bastias, John C., *Κωστής Μπαστιάς — Δημοσιογραφία, Θέατρο, Λογοτεχνία* (a biography), (Costis Bastias — Journalism, Theater, Literature), chapter 17, "The National Theater I — The Fotos Politis Era (1930 - 1934), pp. 183-210. Kastaniotis Editions, Athens 2005. ISBN 960-03-3969-4.
* Gouli, Eleni, "Πολίτης Φώτος" (Politis, Fotos), in the *Λεξικό Νεοελληνικής Λογοτεχνίας* (Dictionary of Modern Greek Literature), Patakis Editions, Athens 2007. ISBN 978-960-16-2237-8.
* Lygizos, Mitsos, *Το νεοελληνικό πλάι στο παγκόσμιο θέατρο* (Modern Greek theater next to world theater), vol. B, Athens 1980.

## Works

* "Tsimiskis" (a tragedy), review *Νέα Ζωή* (New Life), Alexandria, Egypt, pp. 49–109.
* "Karagiozis the Great" (satirical play), Athens 1924.
* Fotos Politis, *Επιλογή κριτικών άρθρων* (A selection of reviews), vol. I & II, Theater reviews, vol. III, Literary reviews. Edited by Nicos Politis, Ikaros Editions, Athens 1983.

## InfoBox

| Fotos Politis | |
| --- | --- |
|  | |
| Born | 1890<br>Athens, Greece |
| Died | 1934 (aged 4344)<br>Athens, Greece |
| Occupation(s) | stage director, reviewer, playwright and translator |
| Father | Nikolaos Politis |


title: William Haines (artist)

abstract: William Haines was an English engraver and painter.

text:
# William Haines (artist)

**William Haines** (21 June 1778 – 24 July 1848) was an English engraver and painter.

## Early life

Haines was born at Bedhampton, Hampshire, on 21 June 1778; but taken in infancy to Chichester he always regarded that city as his native place. He was educated at the Midhurst grammar school, witnessing while there the destruction by fire of Cowdray House. Two years after that disaster he was with Thew, the engraver, at Northaw, Hertfordshire, where, when sufficiently proficient, he worked with Scriven and others on the Boydell-Shakespeare plates.

## Travels

In 1800 he went to the Cape of Good Hope; his ship, outsailed by the convoy, successfully resisting on the voyage an attack by a French privateer. At Cape Town and in excursions up the country he made numerous drawings (Caffres, Hottentots, &c.), resembling Catlin's later American pictures. From the Cape he passed to Philadelphia, where he engraved a number of book illustrations (‘Johnson's Poets,’ ‘Bradford's British Classics,’ &c.) and some portraits (Drs. Barton and Rush, Sir W. Jones, Franklin, &c.).

## Career in England

Returning to England he commenced (1805) work in London, adding miniature-painting to his practice as an engraver, which brought him again to Chichester and his connections there. Hayley (for whose ‘Life of Romney’ he had engraved a plate) warmly befriended him, and on his recommendation he proceeded (after his Chichester engagements were concluded) to Southampton, but with little result.

Again in London his professional prospects improved; he adopted a larger scale, and ultimately painted in oils. Among his many sitters for miniatures at 1 Boyle Street, London, where he resided 1816-30 and built a studio, were Lords Strangford and Portarlington, Lord Fitzroy Somerset (afterwards Lord Raglan), Sir Andrew Barnard, and other Peninsula officers; the Earl Stanhope (engraved by Reynolds), Sir Charles Forbes, Baron Garrow, Legh, the traveller, Salamè, interpreter; Lady Anne Barnard, the Misses Porter, Moore, Theodore Hook, Miss Stephens. He painted portraits in oils of Buchanan McMillan and Captain (Sir E.) Parry (both engraved by Reynolds).

## Death

Haines retired to East Brixton, where he died 24 July 1848.

An engraving of Haines's painting *The Lyrist* was published in Friendship’s Offering, 1827 with a poetical illustration  The Lyrist. by Letitia Elizabeth Landon.

## References and sources

References Sources * This article incorporates text from a publication now in the public domain: Stephen, Leslie; Lee, Sidney, eds. (1890). "Haines, William". *Dictionary of National Biography*. Vol. 24. London: Smith, Elder & Co.