title: Ovo (Cirque du Soleil)

abstract: Ovo is a touring circus production by Cirque du Soleil that premiered in Montréal, Canada in 2009. Ovo's creator and director, Deborah Colker, took inspiration from the world of insects. The idea for Ovo was not to be about the acts, nor dancing, nor insects, but about movement. The movement of life permeates the entire show, with creatures flying, leaping, bounding, and crawling. Composer Berna Ceppas brought additional life to Ovo with a score inspired by the music of Brazil. Ovo means "egg" in Portuguese and represents the underlying thread of the show. Graphically, inside the logo of Ovo, is an insect. The two O's represent the eyes and the V forms the nose and antennas.

text:
# Ovo (Cirque du Soleil)

***Ovo*** is a touring circus production by Cirque du Soleil that premiered in Montréal, Canada in 2009. *Ovo*'s creator and director, Deborah Colker, took inspiration from the world of insects. The idea for *Ovo* was not to be about the acts, nor dancing, nor insects, but about movement. The movement of life permeates the entire show, with creatures flying, leaping, bounding, and crawling. Composer Berna Ceppas brought additional life to *Ovo* with a score inspired by the music of Brazil. *Ovo* means "egg" in Portuguese and represents the underlying thread of the show. Graphically, inside the logo of *Ovo*, is an insect. The two O's represent the eyes and the V forms the nose and antennas.

## Set and technical information

The stage and set for *Ovo* were designed by Gringo Cardia and utilize irregular shapes throughout. The rear wall is 19 metres (62 ft) wide by 8 metres (26 ft) high and is only supported at the sides, thus allowing the trampolines for the final act to slide into place. During its arena tour, *Ovo* used the stage from the Cirque show *Dralion*. Inset in the wall are 24 "firefly eggs". These are molded fibreglass bulbs fitted with LED bulbs that can produce a full color spectrum of light. The "membranes" seen throughout the performance are quite large in scale, the largest being 24 metres (79 ft) wide by 17 metres (56 ft) high. The egg seen at the beginning of the show is inflated to the size of 8.5 metres (28 ft) wide by 7 metres (23 ft) high.

*Ovo* has the largest flying act yet undertaken by Cirque du Soleil, as of 2010. To support it, eighty cables have to be installed during the performance. This requires the assistance of upwards of forty performers and technicians. The trapeze net itself is 3 metres (9.8 ft) off the ground and spans 30 metres (98 ft) in length and 15 metres (49 ft) in width.

## Cast

The cast of *Ovo* consists of three principal characters and numerous others in supporting roles. At its premiere, the makeup of *Ovo* included 54 performing artists from sixteen different countries.

* **Master Flipo**: The principal character, he keeps everything in this chaotic world in order.
* **Foreigner**: The Foreigner, another principal character, is a fly from a faraway land who brings with him the mysterious *ovo*.
* **Ladybug**: Ladybug is the third principal, who brings life and joy to the world of insects and also ends up falling for the Foreigner.
* **Dragonfly**: The dragonfly flits throughout the entire performance and performs the hand-balancing act.
* **Spiders**: Four spiders provide mystery and caution throughout the show. Their acts include contortion and slackwire.
* **Fleas**: Three spry fleas jump about with flashes of red and yellow as they perform acro-trio.
* **Ants**: The ants carry kiwis and corn with them on their journey as they perform foot juggling.
* **Butterflies**: The butterfly duo flies through the air in a Spanish web (2009–2015)/ aerial straps (2016–present).
* **Firefly**: The firefly flits about, performing with diabolos.
* **Mosquito**: The mosquito adds character to the performance, while also being part of the powertrack, trampoline, and wall act.
* **Scarabs**: The strong scarabs fly through the air, twisting and spinning in the flying trapeze (2009–2015)/ aerial cradle (2016–present).
* **Crickets**: Ten crickets jump and leap about in green streaks as they do air track, trampoline, and wall.
* **Creatura**: A mysterious *Creatura* brings life to the party with his dancing.
* **Cockroaches**: Nine cockroaches are seen singing and playing music throughout the entire performance.

## Acts

*Ovo* has ten acrobatic acts, whereas the rest are dancing or supplemental to the storyline.

* Opening: The exciting and hectic world is portrayed by pounding samba music and bright lights, then a sudden calm—the bright lights change to warm natural light and the heavy samba is replaced by a calming guitar song.
* Foot-juggling and Icarian games *(Ants)*: A group of ants juggle kiwis, corn, eggplant slices, as well as other ants, all on their feet.
* Hand balancing *(Dragonfly)*: A lone dragonfly balances precariously on a high, rotating block.
* Tissue *(Cocoon)*: Combining agility and grace, this soon-to-be butterfly performs a solo contortion on aerial silks, showcasing her theatrical metamorphosis.
* Duo straps *(Butterflies)*: Two butterflies soar across the stage, strung on straps from the ceiling.
* Diabolos *(Firefly)*: A firefly manipulates and tosses multiple diabolos at a time.
* Creatura *(Creatura)*: A comic routine involving a giant suit that resembles multiple slinkys.
* Russian cradle *(Scarabs)*: Based on Corteo's "Paradise" act, three aerial cradles are spaced diagonally above the stage, and fliers are thrown and caught in the arms of catchers in the cradles.
* Web *(Spiders)*: One spider uses the same vertical rope as used by the butterflies to create multiple flexible poses, while another on the ground uses handstands to balance while her back and legs contort in multiple positions.
* Acro trio *(Fleas)*: Two male performers use techniques similar to those in acrobatic gymnastics (acrosport) to toss a female performer in the air.
* Slackwire *(Spider)*: On a loose (and sometimes swinging) wire, a spider balances with its legs and hands, and at one point rides a unicycle.
* "Legs": A unique dance, multiple legs pop up through holes in the stage.
* Wall *(Crickets)*: The crickets bounce on a long trampoline in the floor called a power track; they perform tumbling at an amazing speed. A trampoline is also used by the crickets to jump onto the wall. On the wall, they leap off and land on the trampoline.
* Banquete: The finale of the show.

### Acts in rotation

* Aerial hoop *(Mosquito)*: Two artists fly over the stage on a hoop suspended in the air in an energetic feat of acrobatics.

### Retired acts

* Volants *(Scarabs)*: Using two trapezes on either side of the stage, the scarabs are thrown onto a platform suspended above the centre of the stage, where they are caught and thrown in a banquine-style discipline. This act was replaced by aerial cradle during the arena conversion in 2015.
* Spanish web duo *(Butterflies)*: Two butterflies swing and twist on a long vertical rope. This act was replaced by aerial straps during the arena conversion in 2015.
* Acrosport *(Fleas)*: A group of five male and female fleas use acrobatic gymnastic (acrosport) techniques to toss other fleas in the air as well as create high towers of fleas. This act was replaced by aerial straps during the arena conversion in 2015.

## Costumes

The costumes in *Ovo* were designed by Liz Vandal and evoke the appearance of insects. The outfits were created to have areas that appear as sections to replicate the segmented bodies of insects. This was achieved by using permanent pleating, varying finishes, and coloring methods. To also provide the illusion of exoskeletons, a mixture of fabrics was used to create both hard and soft flexible fabrics, thus providing the look of a hard shell without inhibiting the artists' movements.

The crickets have detachable legs, which are removed for the powertrack act, to give the sense of an insect with six legs. The legs also provide the illusion that the cricket is oversized, aiding the spectator's illusion of being the size of an insect in this world.

Due to the rigidity of some of the costumes, most characters have two versions: the first is more lightweight and functional for their acrobatic performance. The second, on the other hand, is more richly detailed and heavier, and worn while not performing their act.

## Music

The show's musical influences stem primarily from Brazilian genres such as samba; both the creator and music director are Brazilian. Additional texture is added by the use of sounds of insects throughout the soundtrack. Below is a list of the tracks featured on the CD, which was released on April 13, 2010.

1. **Brisa Do Mar** *(Pre-show and opening)*
2. **Foreigner** *(Cricket dance)*
3. **Ants** *(Foot juggling and Icarian games)*
4. **Cocoon** *(Tissue)*
5. **Frevo Zumbido** *(Diabolos)*
6. **Orvalho** *(Hand balancing)*
7. **Carimbo da Creatura** *(Creatura)*
8. **Love Duet**
    * *Spanish web duo (2009–2015)*
    * *Duo straps (2016-present)*
9. **Scarabee**
    * *Volants (2009–2015)*
    * *Russian cradle (2016–present)*
10. **Sexy Web** *(Web)*
11. **Legs** *(Interlude into Wall)*
12. **Flea Girls**
    * *Acrosport (2009-2015)*
    * *Acro trio (2016–present)*
13. **Super Hero** *(Slackwire)*
14. **Secret Samba Luv** *(Clown act)*
15. **Parede** *(Wall)*
16. **Banquete** *(Banquet and bows)*

### Vocalists

* **Marie-Claude Marchand** – From April 23, 2009 (Montreal) to June 27, 2014 (Tokyo)
* **Alexandra Cabanilla** – From June 28, 2014 (Tokyo) to June 7, 2015 (Sendai)
* **Júlia Tázie** – From April 8, 2016 (Lake Charles) to January 20, 2019 (Murcia)
* **Lari Finocchiaro** – From March 7, 2019 (Belo Horizonte)

## Tour

*Ovo* started touring in April 2009 in Montréal, Canada. They performed their 1,000th show on January 29, 2012, while in Santa Monica, California.

## InfoBox

| Ovo | |
| --- | --- |
| Logo for Cirque du Soleil's *Ovo* | |
| Company | Cirque du Soleil |
| Genre | Contemporary circus |
| Show type | Touring show |
| Date of premiere | April 23, 2009 |
| Creative team | |
| Writer, director, and choreographer | Deborah Colker |
| Creation director | Chantal Tremblay |
| Set and props designer | Gringo Cardia |
| Composer and musical director | Berna Ceppas |
| Costume designer | Liz Vandal |
| Lighting designer | Eric Champoux |
| Artistic guides | Guy Laliberté<br>Gilles Ste-Croix |
| Sound designer | Jonathan Deans |
| Makeup designer | Julie Bégin |
| Rigging and acrobatic equipment designer | Fred Gérard |
| Acrobatic performance designer | Phillipe Aubertin |
| Other information | |
| Preceded by | *Criss Angel Believe* (2008) |
| Succeeded by | *Banana Shpeel* (2009) |
| **Official website** | |


abstract: The Government Gazette of the State of New South Wales, also known as the New South Wales Government Gazette, is the government gazette of the Government of New South Wales in Australia. The Gazette is managed by the New South Wales Parliamentary Counsel's Office.

text:
# Government Gazette of the State of New South Wales

The ***Government Gazette of the State of New South Wales***, also known as the ***New South Wales Government Gazette***, is the government gazette of the Government of New South Wales in Australia. The *Gazette* is managed by the New South Wales Parliamentary Counsel's Office.

## History

The first *Government Gazette of the State of New South Wales* was published in 1832. Prior to the publication of the first issue of the *Gazette* on 7 March 1832, official notices were published in the *Sydney Gazette and New South Wales Advertiser*. The articles in the *Gazette* include official notices from municipal councils and government departments about the naming of roads and the acquisition of land as well as changes to legislation and government departments in New South Wales.

Government notices, regulations, forms and orders relating to the Port Phillip District were published in the *Government Gazette of the State of New South Wales* until Victoria separated from New South Wales in 1851.

The *Gazette* has been published online from 2001 and from 1 January 2014, the print edition is no longer published and it is available only as an online edition.

## Digitisation

The *Gazette* has been digitised by the National Library of Australia.

## InfoBox

*Government Gazette of the State of New South Wales*
| Cover page of *Government Gazette of the State of New South Wales*, 4 November 1902 | |
| --- | --- |
| Language | English |
| Publication details | |
| Publisher | Government of New South Wales (Australia) |
| Standard abbreviations<br> | |
| ISO 4 | *Gov. Gaz. State N. S. W.* |


title: James Sherard

abstract: James Sherard was an English apothecary, botanist, and amateur musician.

text:
# James Sherard

**James Sherard** (1 November 1666 – 12 February 1738) was an English apothecary, botanist, and amateur musician.

## Career

He was born in Bushby, Leicestershire to George and Mary Sherwood; it is unknown why his surname was changed. His older brother William also became a noted botanist. James Sherard may have been educated at Merchant Taylors' School, Northwood, which his brother attended, but his name is nowhere to be found in the published list of students. On 7 February 1682, apothecary Charles Watts, who served as curator of Chelsea Physic Garden, took him in as an apprentice. After honing his craft with Watts, Sherard moved to Mark Lane, London, where he started his own very successful business. He was elected a Fellow of the Royal Society in 1706.

## Music

In time, Sherard came into contact with Wriothesley Russell, 2nd Duke of Bedford through his brother, who had once served as a tutor in Russell's family. Sherard dedicated his first set of trio sonatas (1701, op. 1) to Russell. Printed by Estienne Roger in Amsterdam, the piece is based on Italian sonatas, perhaps those of Arcangelo Corelli. Sherard may have helped premiere the work himself, performing on the violin alongside the Duke's two Italian chamber musicians, cellist Nicola Francesco Haym and violinist Nicola Cosimi. One surviving copy of the work was owned by an apothecary named William Salter. He wrote commentary in the margins, including a note that Sherard was friends with George Frideric Handel; this is plausible considering the two's mutual acquaintance in Haym. Sherard published a second set of trio sonatas in 1711. Both sets are in *da chiesa* form. Sherard's extensive collection of manuscripts of vocal and instrumental music is preserved in the Bodleian Library, and includes unique copies of German church music among other items.

## Botany

In 1711, around the time Sherard finished composing his second set of sonatas, the Duke died, and Sherard's interest in music seems to have died with him. He also fell ill with gout, which prevented him from playing the violin. Instead, he turned to botany; he wrote in August 1716 that "of late the love of Botany has so far prevailed as to divert my mind from things I formerly thought more material". Upon retiring from his business in Mark Lane in the 1720s, he had already acquired an ample fortune. He purchased two manors in Leicestershire and a property at Eltham in Kent, near London, where he largely resided.

Sherard soon found himself maintaining a growing collection of rare plants at Eltham. Despite his ill health, he made several trips to continental Europe in search of seeds for his garden, which soon became recognized as one of the finest in England. In 1721, in order to help with a projected revision of Caspar Bauhin's *Pinax* of 1623, William Sherard brought the German botanist Johann Jacob Dillenius to England. In 1732, James published Dillenius' s illustrated catalog of the collection at Eltham. According to Blanche Henrey it was "the most important book to be published in England during the eighteenth century on the plants growing in a private garden" and a major work for the pre-Linnaean taxonomy of South African plants, notably the succulents of the Cape Province. Dillenius' herbarium specimens from Eltham are preserved in the herbarium of the Oxford Botanical Garden.

## Later life

In 1728, Sherard's brother died, and he was left in charge of executing William's will. He successfully negotiated his brother's endowment of the Sherardian Professorship of Botany at the University of Oxford; following the terms of the will, Dillenius was named the first Sherardian Professor. For his work in endowing the professorship, Sherard was granted a doctorate in medicine by the university in 1731.

On his death in 1738, he had amassed a fortune of 150,000. He was survived by his wife Susanna, with whom he had no children, and was buried at the Evington parish church in Leicestershire.

## InfoBox

| James Sherard | |
| --- | --- |
| Born | (1666-11-01)1 November 1666<br>Bushby, Leicestershire, England |
| Died | 1 November 1738(1738-11-01) (aged 72) |
| Nationality | English |
| Alma mater | Merchant Taylors' School, Northwood |
| **Scientific career** | |
| Fields |  |
| Institutions | Chelsea Physic Garden |
|  | |


title: Grochowa, Ząbkowice Śląskie County

abstract: Grochowa is a village in the administrative district of Gmina Bardo, within Ząbkowice Śląskie County, Lower Silesian Voivodeship, in south-western Poland. It lies approximately 5 kilometres (3 mi) north of Bardo, 6 kilometres (4 mi) south-west of Ząbkowice Śląskie, and 67 kilometres (42 mi) south of the regional capital Wrocław.

text:
# Grochowa, Ząbkowice Śląskie County

**Grochowa** \[ɡrɔˈxɔva\] is a village in the administrative district of Gmina Bardo, within Ząbkowice Śląskie County, Lower Silesian Voivodeship, in south-western Poland.

It lies approximately 5 kilometres (3 mi) north of Bardo, 6 kilometres (4 mi) south-west of Ząbkowice Śląskie, and 67 kilometres (42 mi) south of the regional capital Wrocław.

## InfoBox

| Grochowa | |
| --- | --- |
| Village | |
| Grochowa Mary wayside shrine 2021 | |
| Grochowa | |
| Coordinates: 50°33′08″N 16°45′18″E / 50.55222°N 16.75500°E / 50.55222; 16.75500 | |
| Country | Poland |
| Voivodeship | Lower Silesian |
| County | Ząbkowice Śląskie |
| Gmina | Bardo |


title: Princess Feodora of Denmark

abstract: Princess Feodora of Denmark was a Danish princess as a daughter of Prince Harald of Denmark and granddaughter of Frederick VIII of Denmark. As the wife of Prince Christian of Schaumburg-Lippe she became a Princess of Schaumburg-Lippe by marriage.

text:
# Princess Feodora of Denmark

**Princess Feodora of Denmark** (Feodora Louise Caroline-Mathilde Viktoria Alexandra Frederikke Johanne) (3 July 1910  17 March 1975) was a Danish princess as a daughter of Prince Harald of Denmark and granddaughter of Frederick VIII of Denmark.

As the wife of Prince Christian of Schaumburg-Lippe she became a Princess of Schaumburg-Lippe by marriage.

## Early life

Princess Feodora was born on 3 July 1910 at the Jægersborghus country house in Gentofte north of Copenhagen, Denmark.

She was the first child and daughter of Prince Harald of Denmark, son of King Frederik VIII of Denmark and Princess Louise of Sweden. Her mother was Princess Helena of Schleswig-Holstein-Sonderburg-Glücksburg, daughter of Friedrich Ferdinand, Duke of Schleswig-Holstein-Sonderburg-Glücksburg and Princess Karoline Mathilde of Schleswig-Holstein-Sonderburg-Augustenburg.

## Marriage and issue

Feodora married her first cousin, Prince Christian of Schaumburg-Lippe on 9 September 1937 at Fredensborg Palace, Zealand, Denmark. Prince Christian was a son of Prince Frederick of Schaumburg-Lippe and Princess Louise of Denmark who was a sister of Feodora's father, Prince Harald. Prince Christian was the head of a junior line of the House of Schaumburg-Lippe which resided at Náchod in Bohemia.

Feodora and Christian had four children:

* Prince Wilhelm of Schaumburg-Lippe (b. 19 August 1939).
    + Prince Christian of Schaumburg-Lippe (b. 1971); married Lena Giese in 2009.
    + Princess Desiree of Schaumburg-Lippe (b. 1974); married Michael Iuel and has three children.
* Prince Waldemar of Schaumburg-Lippe (b. 19 December 1940 - d. 11 August 2020).
    + Princess Eleonore-Christine Eugenie Benita Feodora Maria of Schaumburg-Lippe (born 22 December 1978 in Hørsholm, Denmark)
    + Mario-Max Prinz zu Schaumburg-Lippe (b. 23 December 1977)
* Princess Marie of Schaumburg-Lippe (b. 27 December 1945).
* Prince Harald of Schaumburg-Lippe (b. 27 March 1948).

## Later life

Prince Christian died in 1974. Princess Feodora died on 17 March the following year in Bückeburg, Lower Saxony, Germany.

## Ancestry

### Citations

### Bibliography

* Bramsen, Bo (1992). *Huset Glücksborg. Europas svigerfader og hans efterslægt* \[*The House of Glücksburg. The Father-in-law of Europe and his descendants*\] (in Danish) (2nd ed.). Copenhagen: Forlaget Forum. ISBN 87-553-1843-6.

## InfoBox

| Princess Feodora of Denmark | |
| --- | --- |
| *Princess Christian of Schaumburg-Lippe* | |
| Born | (1910-07-03)3 July 1910
Jægersborghus Mansion, Gentofte, Copenhagen, Denmark |
| Died | 17 March 1975(1975-03-17) (aged 64)
Bückeburg, Lower Saxony, West Germany |
| Spouse | Prince Christian of Schaumburg-Lippe |
| Issue | Prince Wilhelm
Prince Waldemar
Princess Marie
Prince Harald |
| Names  Feodora Louise Caroline-Mathilde Viktoria Alexandra Frederikke Johanne | |
| House | Glücksburg |
| Father | Prince Harald of Denmark |
| Mother | Princess Helena Adelaide of Schleswig-Holstein-Sonderburg-Glücksburg |


title: Mr. Lucci

abstract: Jeron C. Gibson, better known by his mononym Mr. Lucci or sometimes by Lu Diamond, is an American hip hop recording artist, actor and entrepreneur. In 2001, Mr. Lucci released his first album Diabolical, followed by My Life (2004), 100% Real (2007), 10th Anniversary (2010), V.V.S. (2011) and Certified 1ct (2012).

text:
# Mr. Lucci

**Jeron C. Gibson** (born November 15, 1982), better known by his mononym **Mr. Lucci** or sometimes by **Lu Diamond**, is an American hip hop recording artist, actor and entrepreneur. In 2001, Mr. Lucci released his first album *Diabolical*, followed by *My Life* (2004), *100% Real* (2007), *10th Anniversary* (2010), *V.V.S.* (2011) and *Certified 1ct* (2012).

## Early life

Born in Lone Star, Texas, Lucci was the son of a preacher and the youngest of three children. After the death of his father, Lucci and his family moved to Dallas. There his interest in music grew as he sat next to a stereo and wrote lyrics to old rap and R&B songs that played, which lead to the development of his writing skills. Lucci's big break came his freshman year when his brother introduced him to the owner of the local barber shop. Craig asked Lucci to rap something, so Lucci freestyle, he asked Lucci to rap once again, so Lucci continued to freestyle. The following day Craig and Kevin A., C.E.O of Iconic Records, asked Lucci's mother for approval to work with the then 15-year-old.

## Career

In 1999, at the age of sixteen, Mr. Lucci joined Iconic Records as the youngest member of the label. Kevin A. featured Mr. Lucci on Mr. Pookie's solo album, *Tha Rippla*, notably inn the songs "Crook For Life" and "Smoke One", which quickly grew to be crowd favorites across the Southern Region. In 2001, Mr. Lucci released his first solo album, *Diabolical*, with guest appearances by Mr. Montis, Mr. Pookie and Big Chief and the Iconic Records owner, Kevin A., who used his own production ("Ghetto House Muzik"). The album's popularity was fueled by hits such as the title track "Diabolical" and the popular underground pro-marijuana hit "Getting High". *Diabolical* sold 50,000+ units. (*Diabolical* and *Tha Rippla* still hold the title for most units sold by an independent artist from Dallas, according to Nielsen Sound Scan). A short time later, Mr. Lucci and Mr. Pookie left Iconic Recording to form their own label, Crawl 2 Ball, after a bitter, protracted dispute with the label owner over non-payment of royalties.

In 2003, Mr. Lucci and Mr. Pookie established Stoney Crook Records, an independent record label on which they released both the regular double-disc and the chopped and screwed single-disc versions of *My Life* (which peaked at #59 on Billboard R&B/Hip-Hop Album Charts in April 2004), selling the CDs hand-to-hand from the trunks of their cars and hand-delivering them personally to small mom-and-pop record stores in Texas, Louisiana, Arkansas and beyond, and moving over 40,000 units by themselves and local distribution. Mr. Lucci, along with Mr. Pookie, also collaborated with Paul Wall in 2004 on "What Cha Gon’ Do", a track on Wall's last independent solo album, *Chick Magnet*. Mr. Lucci collaborated with Mr. Pookie and Mr. Montis in 2005 on "Don't Test Us" Mr. Pookie's *Return of Tha Rippla* album, which entered the *Billboard* charts on the "Hot R&B/Hip-Hop Songs" with a five-week run peeking at #90.

In 2007, Mr. Lucci branched out on his own to release *100% Real* with distribution through Select-O-Hits and under the direction of the executive producer Cyber Sapp, a well known producer best known for the Gucci Mane single "Freaky Girl". Sapp's production work on *100% Real* includes ″Tough Love″ which features Deonte' from Dallas, "I Like It" featuring Stub-a-lean, "Bout Gone" featuring Bohagon and Twista, "100% Real", "Actin'", "Flippin Through My City" and "Hater Season".

In early 2010, Mr. Lucci and Mr. Pookie reunited for a 10th anniversary album titled *Tha Classic*, released by their independent Stoney Crook Records. In 2011, with the recent success and positive feedback from their fans, they released solo projects but utilized one another by releasing both albums on the same day and combining their marketing tools as a unit. Both albums were released by Stoney Crook Records. In 2012, Mr. Lucci and Mr. Pookie agreed it was time separate, leaving Stoney Crook Records to Mr. Pookie. Mr. Lucci, along with his business partner, laid the foundation for Star City Music Group on which he released a solo album, *Certified 1ct*, featuring artists such as Stub-a-lean and Killa Kyleon, distributed by SoSouth.

In 2013, Mr. Lucci collaborated with the Maybach Music Group official DJ A Bay Bay, Dorrough, Big Chief, T.Cash, Pooca Leroy, Young Black and Tum Tum to make their city anthem "I'm From Dallas".

In January 2016, Gibson turned himself in to federal prison on felony drug charges.

## Discography

* 2001: *Diabolical*
* 2004: *My Life*
* 2007: *100% Real*
* 2010: *10th Anniversary*
* 2011: *V.V.S.*
* 2012: *Certified 1ct*

### Mixtapes

| Year | Mixtape titles | DJ |
| --- | --- | --- |
|
| 2001 | Mr. Lucci & Mr. Pookie: Texas Freestyle Massacare (August 7, 2001) |  |
|
| 2004 | Mr. Lucci: My Testimony (August 13, 2004) |  |
|
| 2005 | Fear Factor Music: Dallas Crooks (April 3, 2005) | *DJ Smallz* |
|
| 2006 | Street Pharmacy: Southern Flows Vol.3 (November 21, 2006) |  |
|
| 2007 | Stoney Crook: It's All Us (March 6, 2007) | *Rapid Ric* |
|
| 2010 | Algierz: Still Crook'n (February 2, 2010) |  |
|
| 2013 | Southern Smoke: 14 Day Theory (March 5, 2013) | *DJ Smallz* |

## Guest appearances

List of guest appearances with other performing artists
| Title | Year | Other artist(s) | Album |
| --- | --- | --- | --- |
| Abstract Hustle | 2010 | Paul Wall | *10th Anniversary* |
| 1 Deep | 2011 | Lil' Wil | *V.V.S.* |
| Bout Gone | 2011 | Twista, Bohagon | *V.V.S.* |
| Bout Money | 2011 | Trae The Truth | *V.V.S.* |
| I Love It | 2012 | Killa Kyleon | *Certified 1ct* |
| Problems | 2014 | Alley Boy | *2ct* |
| Make A Play | 2014 | Yo Gotti | *2ct* |

## InfoBox

| Mr. Lucci | |
| --- | --- |
| Mr. Lucci in a promotional photo | |
| Background information | |
| Birth name | Jeron C. Gibson |
| Also known as | Lu Diamond |
| Born | (1982-11-15) November 15, 1982 |
| Origin | Dallas, Texas, United States |
| Genres | Hip hop |
| Occupations |  |
| Years active | 1999–present |
| Labels | * Iconic Records * Diamond Music Group |
|  | |
| Website | mrlucci.com |


title: Marti Barris

abstract: Marti Barris was an American actress and popular singer. She recorded for Keen Records during the late 1950s and early 1960s, but never had a big hit. She was the daughter of Harry Barris and Loyce Whiteman, both musicians. Baris graduated from Burbank High School. When she was 19, she signed with Verve Records. She was the first female vocalist to sing with Freddy Martin's orchestra. In 1960, she began playing Peppi Mint on the Howdy Doody television program.

text:
# Marti Barris

**Marti Barris** (April 6, 1937 – December 13, 1995) was an American actress and popular singer. She recorded for Keen Records during the late 1950s and early 1960s, but never had a big hit. She was the daughter of Harry Barris and Loyce Whiteman, both musicians.

Baris graduated from Burbank High School. When she was 19, she signed with Verve Records. She was the first female vocalist to sing with Freddy Martin's orchestra. In 1960, she began playing Peppi Mint on the *Howdy Doody* television program.

## Discography

* "Can't You Read Between the Lines"/"Ahbe Casabe"-Keen 4018
* "You're My Thrill"/"Sweet Talk"-Keen 1959

## InfoBox

| Marti Barris | |
| --- | --- |
| 1960 | |
| Background information | |
| Birth name | Frances Maurine Barris |
| Born | (1937-04-06)April 6, 1937
Hollywood, California, U.S. |
| Died | December 13, 1995(1995-12-13) (aged 58)
Los Angeles, California, U.S. |
| Occupation(s) | Actress, vocalist |


title: Martje Venter Hospital

abstract: Martje Venter Hospital is a Provincial government funded hospital for the Enoch Mgijima Local Municipality area in Tarkastad in South Africa. The hospital departments include Emergency department, Out Patients Department, Paediatric ward, Maternity ward, Surgical Services, Medical Services, Operating Theatre & CSSD Services, Pharmacy, Anti-Retroviral (ARV) treatment for HIV/AIDS, VCT, Laundry Services, Kitchen Services and Mortuary.

text:
# Martje Venter Hospital

**Martje Venter Hospital** is a Provincial government funded hospital for the Enoch Mgijima Local Municipality area in Tarkastad in South Africa.

The hospital departments include Emergency department, Out Patients Department, Paediatric ward, Maternity ward, Surgical Services, Medical Services, Operating Theatre & CSSD Services, Pharmacy, Anti-Retroviral (ARV) treatment for HIV/AIDS, VCT, Laundry Services, Kitchen Services and Mortuary.

## InfoBox

| Martje Venter Hospital | |
| --- | --- |
| Eastern Cape Department of Health | |
|  | |
| Geography | |
| Location | Tarkastad, Eastern Cape, South Africa |
| Coordinates | 32°01′S 26°16′E / 32.017°S 26.267°E / -32.017; 26.267 |
| Organisation | |
| Care system | Public |
| Type | Community |
| Services | |
| Emergency department | Yes |
| Beds | 20 |
| History | |
| Opened | Moved October 1969 |
| Links | |
| Website | Martje Venter Hospital |
| Other links | List of hospitals in South Africa |


title: Milena Nekvapilová

abstract: Milena Nekvapilová is a Czech former tennis player. She has career-high WTA rankings of 214 in singles, achieved on 17 November 1997, and 146 in doubles, set on 22 February 1999. Nekvapilová won four singles titles and 21 doubles titles on the ITF Women's Circuit. She made her WTA Tour main-draw debut in the doubles event of the 1999 Belgian Open partnering Hana Šromová. Nekvapilová retired from professional tennis in 2009.

text:
# Milena Nekvapilová

**Milena Nekvapilová** (born 9 May 1977) is a Czech former tennis player.

She has career-high WTA rankings of 214 in singles, achieved on 17 November 1997, and 146 in doubles, set on 22 February 1999. Nekvapilová won four singles titles and 21 doubles titles on the ITF Women's Circuit.

She made her WTA Tour main-draw debut in the doubles event of the 1999 Belgian Open partnering Hana Šromová.

Nekvapilová retired from professional tennis in 2009.

## ITF finals

| $100,000 tournaments |
| --- |
| $75,000 tournaments |
| $50,000 tournaments |
| $25,000 tournaments |
| $10,000 tournaments |

### Singles: 8 (4–4)

| Result | W-L | Date | Tournament | Surface | Opponent | Score |
| --- | --- | --- | --- | --- | --- | --- |
| Win | 1–0 | 13 April 1997 | ITF Hvar, Croatia | Clay | Helena Vildová | 7–6(2), 6–4 |
| Win | 2–0 | 20 April 1997 | ITF Dubrovnik, Croatia | Clay | Pavlina Nola | 6–2, 0–6, 6–2 |
| Win | 3–0 | 15 June 1997 | ITF Kędzierzyn-Koźle, Poland | Clay | Zuzana Hejdová | 6–3, 2–6, 6–3 |
| Loss | 3–1 | 22 June 1997 | ITF Doksy, Czech Republic | Clay | Kateřina Kroupová-Šišková | 3–6, 6–3, 6–7(3) |
| Loss | 3–2 | 14 June 1998 | ITF Kędzierzyn-Koźle, Poland | Clay | Zuzana Ondrášková | 6–0, 1–6, 2–6 |
| Loss | 3–3 | 21 June 1998 | ITF Doksy, Czech Republic | Clay | Jana Hlaváčková | 6–3, 2–6, 2–6 |
| Win | 4–3 | 13 June 1999 | ITF Doksy, Czech Republic | Clay | Veronika Martinek | 6–1, 7–6(5) |
| Loss | 4–4 | 19 August 2001 | ITF Valašské Meziříčí, Czech Republic | Clay | Katarzyna Strączy | 6–7(3), 6–4, 2–6 |

### Doubles: 41 (21–20)

| Result | No. | Date | Tournament | Surface | Partner | Opponents | Score |
| --- | --- | --- | --- | --- | --- | --- | --- |
| Win | 1. | 26 September 1994 | ITF Bratislava, Slovakia | Clay | Martina Špačková | Libuše Průšová
Alena Vašková | 7–6(6), 6–3 |
| Loss | 1. | 17 July 1995 | Toruń, Poland | Clay | Jana Macurová | Monika Maštalířová
Natalia Nemchinova | 3–6, 6–7(2) |
| Win | 2. | 7 August 1995 | Paderborn, Germany | Clay | Sylva Nesvadbová | Anna Linkova
Monika Maštalířová | 6–1, 6–4 |
| Win | 3. | 14 August 2005 | Wahlscheid, Germany | Clay | Sylva Nesvadbová | Angelika Rösch
Tanja Tsiganii | 2–6, 6–4, 6–4 |
| Win | 4. | 4 September 2005 | Poreč, Croatia | Clay | Sylva Nesvadbová | Kristina Pojatina
Petra Rihtaric | 6–4, 6–1 |
| Win | 5. | 11 September 2005 | Umag, Croatia | Clay | Sylva Nesvadbová | Karin Baleková
Petra Plačková | 6–4, 6–4 |
| Loss | 2. | 27 November 1995 | Salzburg, Austria | Carpet (i) | Sylva Nesvadbová | Evelyn Fauth
Barbara Schwartz | 7–6(1), 6–7(6), 3–6 |
| Loss | 3. | 4 December 1995 | Přerov, Czech Republic | Carpet (i) | Sylva Nesvadbová | Olga Vymetálková
Martina Nedelková | 5–7, 6–3, 6–4 |
| Loss | 4. | 17 December 1995 | Ostrava, Czech Republic | Carpet (i) | Olga Vymetálková | Monika Kratochvílová
Martina Nedelková | 4–6, 6–3, 3–6 |
| Win | 6. | 24 February 1996 | Nuremberg, Germany | Carpet (i) | Sylva Nesvadbová | Michaela Hasanová
Martina Nedelková | 6–4, 7–5 |
| Loss | 5. | 28 July 1996 | Valladolid, Spain | Hard | Monika Maštalířová | Shiri Burstein
Limor Gabai | 2–6, 4–6 |
| Loss | 6. | 14 December 1996 | Přerov, Czech Republic | Hard (i) | Hana Šromová | Kateřina Šišková
Eva Melicharová | 2–6, 6–7(5) |
| Loss | 7. | 25 January 1997 | Istanbul, Turkey | Hard (i) | Monika Maštalířová | Jana Ondrouchová
Hana Šromová | 2–6, 1–6 |
| Win | 7. | 28 February 1997 | Jaffa, Israel | Hard | Hana Šromová | Nóra Köves
Patrícia Marková | 6–4, 6–2 |
| Loss | 8. | 8 March 1997 | Tel Aviv, Israel | Hard | Hana Šromová | Henriëtte van Aalderen
Andrea van den Hurk | 6–0, 3–6, 4–6 |
| Loss | 9. | 19 April 1997 | Dubrovnik, Croatia | Clay | Hana Šromová | Patrícia Marková
Zuzana Váleková | 6–2, 5–7, 4–6 |
| Win | 8. | 26 April 1997 | Prostějov, Czech Republic | Clay | Sylva Nesvadbová | Olga Vymetálková
Hana Šromová | 6–2, 7–6(6) |
| Win | 9. | 18 May 1997 | Prešov, Slovakia | Clay | Hana Šromová | Olga Vymetálková
Jana Macurová | 2–6, 6–4, 6–2 |
| Win | 10. | 31 May 1997 | Warsaw, Poland | Clay | Hana Šromová | Olga Vymetálková
Jana Ondrouchová | w/o |
| Win | 11. | 14 June 1997 | Kędzierzyn-Koźle, Poland | Clay | Jana Macurová | Libuše Průšová
Zuzana Průšová | 6–4, 6–2 |
| Win | 12. | 26 October 1997 | Joué-lès-Tours, France | Hard (i) | Hana Šromová | Eva Dyrberg
Maiken Pape | 5–7, 6–3, 6–4 |
| Win | 13. | 2 April 1998 | Athens, Greece | Clay | Hana Šromová | Jana Macurová
Gabriela Chmelinová | 6–3, 7–5 |
| Loss | 10. | 13 June 1998 | Kędzierzyn-Koźle, Poland | Clay | Hana Šromová | Katharzyna Teodorowicz
Anna Bieleń-Żarska | 6–7(5), 1–6 |
| Loss | 11. | 15 June 1998 | Doksy, Czech Republic | Clay | Hana Šromová | Zuzana Lešenarová
Lucie Šteflová | 3–6, 7–5, 2–6 |
| Win | 14. | 15 August 1998 | Bratislava, Slovakia | Clay | Hana Šromová | Lenka Němečková
Katarína Studeníková | 6–2, 6–4 |
| Win | 15. | 22 May 1999 | Salzburg, Austria | Clay | Hana Šromová | Cindy Schuurmans
Magdalena Zděnovcová | 6–3, 6–4 |
| Win | 16. | 12 June 1999 | Doksy, Czech Republic | Clay | Gabriela Chmelinová | Rochelle Rosenfield
Anna Bieleń-Żarska | 2–6, 6–3, 6–4 |
| Loss | 12. | 3 June 2000 | Doksy, Czech Republic | Clay | Jana Macurová | Andrea Plačková
Pavlina Slitrová | 3–6, 4–6 |
| Win | 17. | 24 June 2000 | Sopot, Poland | Clay | Hana Šromová | Marketa Kochta
Ludmila Richterová | 6–3, 6–2 |
| Win | 18. | 2 June 2001 | Doksy, Czech Republic | Clay | Hana Šromová | Olga Vymetálková
Gabriela Chmelinová | 2–6, 6–4, 6–1 |
| Win | 19. | 23 June 2001 | Gorizia, Italy | Clay | Hana Šromová | Tatiana Kovalchuk
Andreea Ehritt-Vanc | 5–7, 6–1, 6–1 |
| Loss | 13. | 15 July 2001 | Darmstadt, Germany | Clay | Hana Šromová | Magdalena Kučerová
Lydia Steinbach | 1–6, 2–6 |
| Loss | 14. | 11 August 2001 | Rimini, Italy | Clay | Hana Šromová | Petra Mandula
Patricia Wartusch | 2–6, 1–6 |
| Loss | 15. | 22 October 2001 | Opole, Poland | Carpet (i) | Hana Šromová | Magdalena Kučerová
Lydia Steinbach | 3–6, 2–6 |
| Win | 20. | 5 November 2001 | Cairo, Egypt | Clay | Hana Šromová | Zuzana Hejdová
Gabriela Voleková | 6–3, 6–2 |
| Loss | 16. | 28 July 2002 | Český Krumlov, Czech Republic | Clay | Gabriela Chmelinová | Tina Hergold
Katalin Marosi | 6–7(2), 5–7 |
| Loss | 17. | 24 August 2002 | Valašské Meziříčí, Czech Republic | Clay | Hana Šromová | Renata Kučerová
Gabriela Chmelinová | 4–6, 1–6 |
| Loss | 18. | 28 September 2002 | Sopron, Hungary | Clay | Hana Šromová | Daniela Klemenschits
Sandra Klemenschits | 7–6(2), 2–6, 2–6 |
| Loss | 19. | 5 October 2002 | Trenčianske Teplice, Slovakia | Clay | Hana Šromová | Jana Macurová
Gabriela Chmelinová | 1–2 ret. |
| Loss | 20. | 30 August 2003 | Maribor, Slovenia | Clay | Lucie Kriegsmannová | Iveta Gerlová
Zuzana Zemenová | 0–6, 1–6 |
| Win | 21. | 4 October 2003 | ITF Trenčianske Teplice, Slovakia | Clay | Zuzana Zemenová | Blanka Kumbárová
Tereza Szafnerová | 1–6, 6–1, 7–5 |

## InfoBox

Milena Nekvapilová
| Country (sports) | Czech Republic |
| --- | --- |
| Born | (1977-05-09) 9 May 1977
Czechoslovakia |
| Turned pro | 1994 |
| Retired | 2009 |
| Plays | Right-handed (two-handed backhand) |
| Prize money | $70,969 |
| Singles | |
| Career record | 165–138 |
| Career titles | 4 ITF |
| Highest ranking | No. 214 (17 November 1997) |
| Grand Slam singles results | |
| US Open | Q1 (1998) |
| Doubles | |
| Career record | 184–108 |
| Career titles | 21 ITF |
| Highest ranking | No. 146 (22 February 1999) |


title: Obusier de 400 Modèle 1915/1916

abstract: The Obusier de 400 Modèle 1915/1916 were French railway howitzers that saw action during the First World War and World War II. The mle 1915/1916 was the largest caliber railway howitzers in service with the French Army during the First World War.

text:
# Obusier de 400 Modèle 1915/1916

The **Obusier de 400 Modèle 1915/1916** were French railway howitzers that saw action during the First World War and World War II. The mle 1915/1916 was the largest caliber railway howitzers in service with the French Army during the First World War.

## History

Although the majority of combatants had heavy field artillery prior to the outbreak of the First World War, none had adequate numbers of heavy guns in service, nor had they foreseen the growing importance of heavy artillery once the Western Front stagnated and trench warfare set in. Since aircraft of the period were not yet capable of carrying large diameter bombs the burden of delivering heavy firepower fell on the artillery. Two sources of heavy artillery suitable for conversion to field use were surplus coastal defense guns and naval guns.

A paradox faced artillery designers, while large caliber naval guns were common, large caliber land weapons were less common due to their weight, complexity and lack of mobility. Large caliber field guns often required extensive site preparation because the guns had to be dismantled into loads light enough to be towed by a horse team or the few traction engines of the time. Building a new gun could address the problem of taking apart, transporting and reassembling a large gun but this did not make existing heavy weapons any more mobile. Rail transport proved to be the most practical solution because the problems of heavy weight, lack of mobility and reduced setup time were addressed.

## Design

Perhaps influenced by the success of the German's Big Bertha 420 mm (17 in) howitzer at the Belgian forts at Liège, Namur, and Antwerp and the French fort at Maubeuge the French Army issued a requirement for new super-heavy artillery capable of destroying deeply dug in German trenches and concrete fortifications. Existing 200–300 mm (7.9–11.8 in) coastal defense guns and siege mortars had proven to be only moderately effective, so the new weapon would need to be much larger. High-angle fire, projectile weight and explosive yield were the primary considerations. Since the mle 1915/1916 were classified as howitzers instead of guns the barrel did not need to be very long. The lack of spare industrial capacity or materials to produce a new weapon led to a decision to convert surplus naval gun barrels instead.

### Barrels

There were two models of howitzer produced, the mle 1915 and the mle 1916 which were differentiated by the gun barrels used:

* On July 22, 1915, at the request of the French GHQ, the Ministry of War ordered the construction of eight model 1915 howitzers and rail carriages from Saint Chamond. The barrels for these howitzers were a conversion of existing Canon de 340 mm (13 in) Modèle 1887 L/42 naval guns which were shortened to 25 calibers and bored out to 400 mm (16 in). The barrels came from the decommissioned pre-dreadnought battleship Brennus and the two *Valmy-class* coastal defense ships. Six barrels were converted in 1915, with three others following in early 1916. Of the nine barrels converted, eight were rail mounted while the ninth tube served as a test piece on the Gâvres firing range.
* A second order was placed in January 1917 for four more model 1916 howitzers and rail carriages with three spare barrels, which were a conversion of Canon de 340 mm (13 in) Modèle 1912 L/45 naval guns which were shortened to 25 calibers and bored out to 400 mm. These came from the canceled Normandie-class dreadnought battleships. Both the mle 1915 and mle 1916 had the same general characteristics and used the same projectiles. The theoretical barrel life was 1,000 rounds and in case of severe barrel wear it was planned to bore the barrels out again to 415 mm (16.3 in), but this was never implemented.

### Comparison

Compared to the original naval gun and the modified howitzer, the mle 1915/1916 barrel is 25% shorter, the largest projectile weighs nearly twice as much, the muzzle velocity is only 60 per cent of the original and the range of the projectile is slightly shorter despite firing at greater angles of elevation.

Comparison of the 340 mm mle 1887 & 400 mm mle 1915/1916
|  | Length | Projectile | Velocity | Range |
| --- | --- | --- | --- | --- |
| **mle 1887** | 14.13 m (46 ft 4 in) L/42 | 420–490 kg (930–1,080 lb) | 740–780 m/s (2,400–2,600 ft/s) | 18 km (11 mi) at 18° |
| **mle 1915/1916** | 10.65 m (34 ft 11 in) L/25 | 641–900 kg (1,413–1,984 lb) | 465–530 m/s (1,530–1,740 ft/s) | 15.1–16 km (9.4–9.9 mi) at 65° |

### Other conversions

With the success of the mle 1915/1916 in mind, the French Army requested more howitzers be built but a lack of 340 mm barrels suitable for conversion forced them to find an alternative. Surplus Canon de 305 mm (12 in) Modèle 1887 L/45 naval guns were converted to 370 mm (15 in) using the same process of shortening the barrels, boring them out and building rail carriages for them. The resulting eight howitzers and four spare barrels were called the Obusier de 370 modèle 1915 and they served alongside the Obusier de 400 Modèle 1915/1916 in both world wars.

### Rail carriage

The railway carriage for the howitzers was called the *affut à Berceau Saint-Chamond* and was used on a number of different railway guns. The howitzers were mounted on rectangular steel bases, which were suspended on two railway bogies. The rear bogie had four axles, while the front bogie had six axles. The number of axles was determined by the weight limit for European railways of 17 t (17 long tons) per axle and 17 × 10 = 170 t (170 long tons). Since the barrels were naval guns that were not intended for use at high angles of elevation the trunnions were relocated relatively far forward and the howitzers were nose heavy which is why the front bogie had more axles than the rear.

The howitzers had a Welin breech block and used separate loading bagged charges and projectiles. To load the howitzer the barrel was lowered to -8° and a loading ramp to the howitzer's breech could be erected. The howitzers had a hydro-pneumatic cradle recoil system where the cradle recoiled up a slightly inclined rear deck which helped return the howitzer to battery after firing. The carriage used ground platform anchoring and the rear bogie could be jacked up to help absorb recoil. The carriage used a car traversing mount so traverse was limited to a few degrees each side of the howitzer centerline. The howitzers normally required two days of setup before firing, which consisted of reinforcing an area of track with wooden beams and digging a pit for the earth anchor and another for howitzers breech at angles of elevation more than 45°. There were also four jack stands that could be lowered onto the platform and fastened to the timbers to provide a stable firing platform.

## Battery organization

French railway batteries usually consisted of two trains. The first was the firing train, with a locomotive, a workshop wagon, two ammunition carriages, and one or two railway guns. The second was the administrative train, with a locomotive, additional ammunition carriages, a headquarters wagon, three or more berthing carriages, a kitchen wagon and carriages for construction material and lifting equipment. In 1916 there were four batteries and in 1918 six batteries, each with two howitzers per army. Each battery was commanded by a captain of artillery, with a lieutenant and 125 men.

## First world war

### Verdun

The first use of the mle 1915/1916 was during the Battle of Verdun. Two mle 1915/1916's (those of the 77th Battery of the 3rd Foot Artillery Regiment) were deployed 13 km (8.1 mi) to the south-west at Baleycourt to participate in the preparation for the French counteroffensive on October 21, 1916. It is estimated that 373 rounds of 370 mm and 400 mm were fired during this battle. Fort Douaumont was the first to be hit and then Fort Vaux. On October 23, 1916, of the fifty or so shells striking the fort, six pierced the concrete, earth, and masonry defensive works. The first exploded in the infirmary, another in the hallway, three others smashed a casemate attached to the barracks and lastly, a munitions depot was hit, triggering a fire. Explosions and toxic gases forced the German garrison to evacuate the fort, allowing the French to reoccupy it the next day.

### The Somme

The next use of the mle 1915/196 was during the artillery preparation of the Battle of the Somme. From June 30, 1916, they shelled the commune of Morcourt and reduced the fortified villages of Herbécourt, Estrées and Belloy-en-Santerre to ruins.

### Second Battle of the Aisne

In April 1917, the French offensive on the Chemin des Dames was accompanied by attacks north of Reims. The preparatory artillery bombardment fell on the forts of Brimont, Witry-lès-Reims and Berru, as well as tunnels and shelters under Mount Cornillet and Mont-sans-nom. The three tunnels were up to 30 m (98 ft) underground and could accommodate up to three battalions which could be used for German counter-attacks. Aerial photographs showed the entrances and the ventilation shafts of this subterranean complex. This, supplemented by information provided by a prisoner, led to them being targeted. The first twelve shots targeted the tunnel's entrances to trap the Germans inside. On May 20, 1917, the ventilation shafts were bombarded and one of the shells, fired from Mourmelon-le-Petit penetrated 30 m (98 ft 5 in) of limestone and exploded in the gallery killing more than 400 German troops who died in the explosion, tunnel collapse and asphyxiation.

### United States service

At least two of these weapons were operated by the 53rd Coast Artillery Regiment, Coast Artillery Corps in France during World War I (almost all US Army-manned heavy and railway artillery in that war was operated by Coast Artillery units). The US Army built a one-off experimental 16-inch (406 mm) railway howitzer M1918 with some influence from the French design. Based on experience with these weapons, the Coast Artillery abandoned the low-angle disappearing carriage (after deploying one at Fort Michie, New York) for its next generation of large coast defense guns, the 16-inch gun M1919 and the 16-inch howitzer M1920. Barbette carriages with an elevation of 65 degrees were designed for the new weapons to allow plunging fire as enemy ships approached; this type of carriage was later used for new installations of 16-inch ex-Navy guns in World War II.

## Second World War

All twelve howitzers were deployed to batteries of the 371° Regiment of the ALVF (Artillery lourde sur voie ferrée) in the Alsace and Lorraine area to reinforce the Maginot Line defenses. They saw no action due to a lack of targets in those sectors. After the French Armistice, eight of these were used by the Germans as *40 cm Haubitze (Eisenbahn) 752(f)*. Two batteries ( Nos. 693 and 686) were composed of three howitzers each and were engaged during the Siege of Leningrad, the other two acted as spares. None are thought to have survived World War II.

## Ammunition

Ammunition types
|  | Shell weight | Charge1 | Velocity | Range | Charge2 | Velocity | Range | Charge3 | Velocity | Range |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| High explosive | 900 kg (2,000 lb) | 36.5 kg (80 lb) | 330 m/s (1,100 ft/s) | 9.58 km (5.95 mi) | 46 kg (101 lb) | 385 m/s (1,260 ft/s) | 12 km (7.5 mi) | 74 kg (163 lb) | 465 m/s (1,530 ft/s) | 15.8 km (9.8 mi) |
| Common | 890 kg (1,960 lb) | 36 kg (79 lb) | 330 m/s (1,100 ft/s) | 3.58 km (2.22 mi) | 46 kg (101 lb) | 385 m/s (1,260 ft/s) | 11.9 km (7.4 mi) | 74 kg (163 lb) | 465 m/s (1,530 ft/s) | 15.1 km (9.4 mi) |
| Armor piercing | 641 kg (1,413 lb) | 29 kg (64 lb) | 345 m/s (1,130 ft/s) | 10.2 km (6.3 mi) | 39.5 kg (87 lb) | 420 m/s (1,400 ft/s) | 12.8 km (8.0 mi) | 66.3 kg (146 lb) | 530 m/s (1,700 ft/s) | 16 km (9.9 mi) |
|

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2. "STG". *www.lignemaginot.com*. Retrieved 2018-06-23.
3. François, Guy (2008). *L'artillerie lourde à grande puissance*. Vol. II. Paris: Histoire & collections. pp. 22–53. ISBN 978-2-352-50085-8.
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5. Friedman, Norman (2011). *Naval Weapons of World War One*. S. Yorkshire: Seaforth Pub. p. 210. ISBN 978-1-84832-100-7.
6. "obusier de 400mm sur affut truc". *forest.frenchboard.com* (in French). Retrieved 2018-06-23.
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11. Miller, H. W., LTC, USA (1921). *Railway Artillery, vols. I and II*. Washington: Government Printing Office. pp. vol. I, pp. 443–457, vol. II, pp. 109–120.`{{cite book}}`: CS1 maint: multiple names: authors list (link)
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## InfoBox

| Obusier de 400 Modèle 1915/1916 | |
| --- | --- |
| French 400 mm (16 in) howitzer | |
| Type | Railway gun |
| Place of origin | France |
| Service history | |
| In service | 1916–1945 |
| Used by | France
Germany
United States |
| Wars | World War I
World War II |
| Production history | |
| Designed | 1915 |
| Manufacturer | St Chamond |
| Produced | 1916-1918 |
| No. built | 8 × mle 1915
4 × mle 1916 |
| Specifications | |
| Mass | Complete:137 t (135 long tons)
Barrel: 47.5 t (46.7 long tons) |
| Length | 19 m (62 ft 4 in) |
| Barrel length | 10.65 m (34 ft 11 in) L/25 |
| --- | |
| Shell | Separate loading bagged charges and projectiles |
| Caliber | 400 mm (16 in) |
| Breech | Welin breech block |
| Recoil | Hydro-pneumatic |
| Carriage | 1×4 axle bogie and 1×6 axle bogie |
| Elevation | -8° to +65° |
| Traverse | 12° |
| Rate of fire | 1 round every 5 minutes |
| Muzzle velocity | 465–530 m/s (1,530–1,740 ft/s) |
| Effective firing range | 13–14 km (8.1–8.7 mi) |
| Maximum firing range | 16 km (9.9 mi) |


title: Express-class schooner

abstract: The Express class was a class of two schooner-rigged advice-boats of the Royal Navy. John Henslow designed the schooners to carry dispatches. To achieve speed they were long and sharp-lined. However, the Navy did not like them and so the Navy Board ordered no more after the launch of the two in 1800. Both were commissioned in January 1801 for Jersey, and both sailed in a year or so for Trinidad. Express served until she was sold in 1813; Advice was lost in 1804 in the West Indies, or sold there in 1805. The Navy tried again to find a design for an advice-boat. In 1804 it ordered 18 Ballahoo-class schooners. Then a year later it ordered 12 Cuckoo-class schooners. Both classes were built in Bermuda.

text:
# Express-class schooner

The ***Express* class** was a class of two schooner-rigged advice-boats of the Royal Navy. John Henslow designed the schooners to carry dispatches. To achieve speed they were long and sharp-lined. However, the Navy did not like them and so the Navy Board ordered no more after the launch of the two in 1800.

Both were commissioned in January 1801 for Jersey, and both sailed in a year or so for Trinidad. *Express* served until she was sold in 1813; *Advice* was lost in 1804 in the West Indies, or sold there in 1805.

The Navy tried again to find a design for an advice-boat. In 1804 it ordered 18 *Ballahoo*-class schooners. Then a year later it ordered 12 *Cuckoo*-class schooners. Both classes were built in Bermuda.

## Ships

| Name | Builder | Begun | Launched | Fate |
| --- | --- | --- | --- | --- |
| *Express* | John Randall & Co., Rotherhithe | July 1800 | December 1800 | Sold 1813 |
| *Advice* | John Randall & Co., Rotherhithe | July 1800 | December 1800 | Lost 1804 or sold c. 1805 |

## Citations

* Winfield, Rif (2008). *British Warships in the Age of Sail 1793–1817: Design, Construction, Careers and Fates*. Seaforth. ISBN 978-1-86176-246-7.

## InfoBox

|  | |
| --- | --- |
| Class overview | |
| Name | *Express* class |
| Operators | Royal Navy |
| In service | 1800-1812 |
| Planned | 2 |
| Completed | 2 |
| Lost | 0 or 1 |
| Retired | 1 or 2 |
| General characteristics | |
| Class and type | *Express* class |
| Type | Schooner |
| Tons burthen | 1784894 (bm) |
| Length | * 88 ft 0 in (26.8 m) (overall) * 72 ft 7+12 in (22.1 m) (keel) |
| Beam | 21 ft 6 in (6.6 m) |
| Depth of hold | 13 ft 1 in (4.0 m) |
| Propulsion | Sails |
| Sail plan | Schooner |
| Complement | 30 |
| Armament | 6 × 12-pounder carronades |


title: Gordon Meade

abstract: Gordon Meade is a poet.

text:
# Gordon Meade

**Gordon Meade** (born 1957) is a poet.

## Biography

Gordon Meade studied English at the University of Dundee and Newcastle University. In 1993 he was appointed a creative writing fellow at Duncan of Jordanstone College of Art and Design in Dundee. He was also writer in residence for Dundee District Libraries.

Since 2000 he has led creative writing workshops for adults and vulnerable young children in drop-in centres and hospitals, as well as at universities in Germany, Belgium and Luxembourg. From 2008-2010 and 2011-2012 he was one of the Royal Literary Fund writing fellows at the University of Dundee.

Meade's latest work, *Les Animots: A Human Bestiary*, a book-length series of illustrated poems, was published in 2015.

## Works

* *The Singing Seals* (Chapman Publishing, 1991) ISBN 0906772338
* *The Scrimshaw Sailor* (Chapman Publishing, 1996) ISBN 0906772737
* *A Man at Sea* (Diehard Press, 2003) ISBN 0946230781
* *The Cleaner Fish* (Arrowhead Press, 2006) ISBN 1904852106
* *The Private Zoo* (Arrowhead Press, 2008) ISBN 1904852106
* *The Familiar* (Arrowhead Press, 2011) ISBN 1904852297
* *Sounds of the Real World* (Cultured Llama Publishing, 2013) ISBN 0992648505
* *Les Animots: A Human Bestiary* (Cultured Llama Publishing, 2015) ISBN 0992648599
* *The Year of the Crab* (Cultured Llama Publishing, 2017) ISBN 0995738130
* *Zoospeak: Poems and Photography* (Enthusiastic Press, 2020) ISBN 1916113044

* – Interview with Cultured Llama Publishing 2014


title: Groszkowo, Pomeranian Voivodeship

abstract: Groszkowo is a village in the administrative district of Gmina Sztutowo, within Nowy Dwór Gdański County, Pomeranian Voivodeship, in northern Poland. It lies approximately 5 kilometres (3 mi) south of Sztutowo, 10 km (6 mi) north-east of Nowy Dwór Gdański, and 38 km (24 mi) east of the regional capital Gdańsk. Before 1772 the area was part of Kingdom of Poland, 1772-1919 Prussia and Germany, 1920-1939 Free City of Danzig, September 1939 - February 1945 Nazi Germany. For the history of the region, see History of Pomerania.

text:
# Groszkowo, Pomeranian Voivodeship

**Groszkowo** \[ɡrɔʂˈkɔvɔ\] is a village in the administrative district of Gmina Sztutowo, within Nowy Dwór Gdański County, Pomeranian Voivodeship, in northern Poland. It lies approximately 5 kilometres (3 mi) south of Sztutowo, 10 km (6 mi) north-east of Nowy Dwór Gdański, and 38 km (24 mi) east of the regional capital Gdańsk.

Before 1772 the area was part of Kingdom of Poland, 1772-1919 Prussia and Germany, 1920-1939 Free City of Danzig, September 1939 - February 1945 Nazi Germany. For the history of the region, see History of Pomerania.

## InfoBox

| Groszkowo | |
| --- | --- |
| Village | |
|  | |
| Groszkowo | |
| Coordinates: 54°17′27″N 19°11′47″E / 54.29083°N 19.19639°E / 54.29083; 19.19639 | |
| Country | Poland |
| Voivodeship | Pomeranian |
| County | Nowy Dwór Gdański |
| Gmina | Sztutowo |
| Population | 150 |


title: Presbyterianism in South Korea

text:
# Presbyterianism in South Korea

According to a 2021 Gallup Korea poll, 17% of South Koreans identify as Protestant; this is about 8.5 million people. About two-thirds of these are Presbyterians. Presbyterians in South Korea worship in over 100 different Presbyterian denominational churches who trace their history back to the United Presbyterian Assembly.

## History

In the past, Christianity in Asia was not very common. Of Asian countries, Korea had the most Christians. As Korean Protestantism began with the Western missionaries to Korea, the majority were American Presbyterian and Methodist. Protestantism was introduced to Korea in the late 19th century through missionaries. Lay people like Seo Sang-ryun and Baek Hong-Joon spread their knowledge of the Gospels after their conversion, and Christianity, of which the Catholic form had been suppressed in the middle of the 19th century, began to grow again in Korea.

**Protestant missionaries in Korea**

In 1884, Seo founded the first Protestant Christian community in Korea. The following year, the first American Protestant missionary and physician, Horace N. Allen of the Northern Presbyterians, arrived in Korea, and began medical work in 1885. Horace G. Underwood, a fellow Northern Presbyterian missionary, later joined this effort. His efforts were to "Christianize" the Koreans. Many people witnessed the extraordinary expansion of Protestant Christianity thanks to the early missionary method. Park (1992) states how the Nevius Plan and indirect missionary programs such as educational, medical, and social services. The indirect missionary method was effective because most Koreans in the beginning were apprehensive and hostile toward the Westerners to include missionaries. Through indirect programs, early missionaries slowly diminished the hostility and distrust of natives. The missionaries could communicate and sometimes convert Koreans. Clearly, the indirect missionary method worked well enough since small Protestant churches arose.

The Presbyterian Church of Victoria began mission work in 1889, followed in 1892 by the Southern Presbyterians, and in 1898 by the Presbyterian Church in Canada. Together they formed the Council of Mission of Presbyterian Churches and in 1901 opened the Pyongyang Theological Seminary in Pyongyang.

In 1907, the Independent Presbytery of Jesus Christ was formed, and seven Korean pastors were ordained. In 1921 the general assembly of the Presbyterian Church of Chosun was formed and sent seven missionaries to China.

During and even somewhat before the Japanese occupation, churches from practically all Christian denominations faced many hardships and were actively persecuted by the Japanese administration. The imposition of Shinto rites of worship further exacerbated religious persecution during the occupation. While South Korea was under rule of Japan at the time, they decided to open up their “personal boundaries” to other countries, such as the United States, who were responsible for introducing Protestantism to Korea. During this era, South Korea was mostly practicing Buddhism. Many Presbyterians were among those who resisted and fought for Korean independence. Following the conclusion the Second World War, the withdrawal of Japan, and the partitioning of Korea, Presbyterian churches in the communist-leaning northern parts of Korea were dissolved. In the Syngman Rhee-led parts of Korea south of the 38th Parallel they were reconstructed in 1946. The 33rd general assembly of the Presbyterian Church of Chosun was held in 1947. Two years later the name "Presbyterian Church in Korea" was adopted. Christianity expanded rapidly after the Korean War. People needed hope after such destruction and annihilation, many turned towards religion to keep hope alive.

## Korean Protestant churches

To be considered Protestant, Baker (2016) defines “those who confessed belief in a specific Protestant creed, and they were expected to meet regularly for worship services in a Protestant church”. Protestants gave more credit to women for institutional roles in the church, much farther than Catholics have. Also assigning women titles such as exhorter and deaconess. In 1989 there were nearly 30,000 protestant churches. In the same time there were nearly one fourth of South Korea’s 40 million people were protestant Christian. No less than 25 percent of the population in South Korea is now Protestant Christian. Currently, Protestant churches are to be found in nearly all of the larger villages, also the towns and cities. Seoul is filled with so many church buildings and signs of the cross, that it has been called "a city of churches." In 2011, according to the Ministry of Culture, Sports and Tourism there were almost 78,000 Protestant churches in Korea. South Korea has the world’s largest church congregation at the Yoido Full Gospel Church.

The following year saw significant growth for the Presbyterian church in Korea. Among the reasons contributing to the growth in size of Christian communities in Korea was the fact that unlike in other countries, Christianity was not associated with colonial or imperialist power. The Protestant Christian message came to Korea at a time when the religious and cultural heritage of the country had lost much of its strength and relevance for the common people. In addition to being unencumbered by imperialist or colonial connotations, the Christian communities themselves contributed to their own growth. Presbyterian churches adopted what was called the "Möbius method" in which each new convert was strongly encouraged to become an evangelist and convert others, and much like the Möbius strip this practice is intended to make Christianity in Korea boundless. Together with the post-World War II revival movement, these factors contributed greatly to the immense growth of Christianity in Korea in the decades since.

Eventually, Korean Christians established their own churches not just in Korea but in other parts of the world; Korea is second only to the United States in the number of missionaries sent abroad. Several thousand Korean Presbyterian missionaries are active in many other countries.

Growth, however, was not free of turmoil, but accompanied by schisms. After World War II but before the end of the Korean War the Presbyterian Church in Korea (고신, Go-shin) and the Presbyterian Church in Korea (재건, Jae-gun) were formed. A few years later the conservative and progressive parts of the Presbyterian Church separated. As a result, in the last major Presbyterian schism, the Presbyterian Church in Korea (통합, Tong-hap) and the Presbyterian Church in Korea (합동, Hap-dong) were formed in 1959. From these bodies several denominations separated. Today there are more than 100 Presbyterian churches/denominations in South Korea. In the 21st century, a new General Assembly of the Orthodox Presbyterian Church of Korea (Founder. Ha Seung-moo) in 2012 declared itself an authentic historical succession of Scottish Presbyterian John Knox.

## Korean Protestant faith

The Korean Protestant belief in God or known as “Hananim”, meaning “God in heaven”. Their conception of the supreme God was presiding over the affairs of heaven and earth, and controlling the fate of humans. Contrary to Shamanism beliefs, which include but are not limited to seeking out a shaman for material wishes, longevity, health, male births and wealth -- Christians believe that God will supply their needs while remaining truthful, obedient and faithful to God. However, Korean Protestants were obligated to incorporate some aspects of shamanistic rituals.

The belief of God also was the creator and sustainer of the universe, who has the power to liberate from suffering, healing, provide salvation or giving consolation. Similarly to Korean Shamanism, shamans were able to cast out evil spirits and cure diseases, just as how the teachings of Jesus Christ has done.

## Confessional basis

## Korean Presbyterian denominations

All of these churches have the same confessional basis the Apostle Creed and the Westminster Confession.

Korean Presbyterians have many outreach programs. Many are very conservative, some are liberal. There are close connections with the United States and Canadian Presbyterian churches.


title: Mountain buzzard

abstract: The mountain buzzard is a bird of prey that lives in montane forests in East Africa, it and the forest buzzard of southern Africa were, until recently, considered to be a single species.

text:
# Mountain buzzard

The **mountain buzzard** (***Buteo oreophilus***) is a bird of prey that lives in montane forests in East Africa, it and the forest buzzard (*Buteo trizonatus*) of southern Africa were, until recently, considered to be a single species.

## Description

A small buzzard and quite similar to the steppe buzzard *Buteo buteo vulpinus*, the migratory subspecies of the Palearctic common buzzard which winters over most of Africa. The adult has brown upperparts with paler underparts with heavy brown blotches on the breast, belly, flanks and underwing coverts. The underside of the flight feathers is barred with a distinct black band along the rear edge of the wing. The tail is brown above, light grey below and shows faint narrow bars which are broadest just before the tail tip. Juveniles are buffier below and less heavily marked than the adults.

## Distribution

The mountain buzzard occurs in the mountainous regions of eastern Africa from Ethiopia, west through Kenya, Uganda, South Sudan and Rwanda to eastern Democratic Republic of Congo then south into Tanzania, Burundi and Malawi.

## Habitat

This species occurs in montane forest and fragments of montane forest, including plantations of exotic trees such as eucalyptus. In the southern part of its range, i.e. Malawi, it is restricted to montane rainforest and does not hunt in open habitats outside the forest.

## Habits

The mountain buzzard spends most of the day perched within the forest cover, but it can sometimes be seen soaring overhead. It is a territorial bird which is usually seen singly or in pairs. The main prey consists of small mammals, reptiles, and insects which are caught after the bird sights them from an open perch before gliding down and capturing them. In Uganda this species has been recorded hunting bats at caves.

Mountain buzzards construct a stick nests in the upper fork of tall forest trees. In East Africa nests with eggs have been reported from in January and March, while a nests with chicks have been reported in March, June and July. In Malawi there are no confirmed breeding records, but displaying pairs are most active in September and a juvenile has been seen in October.

## Taxonomy

The mountain buzzard and the forest buzzard are said to form a superspecies with the common buzzard and the Madagascar buzzard *Buteo brachypterus*, and may be also with the red-tailed hawk *Buteo jamaicensis* of North and South America and the rufous-tailed hawk *Buteo ventralis* of southern South America. The mountain buzzard has been classified as a subspecies of common buzzard, then split as a single species with the forest buzzard but nor these two are regarded as separate species.

## InfoBox

| Mountain buzzard | |
| --- | --- |
|  | |
| In Ethiopia | |
| Conservation status | |
|
Near Threatened  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Aves |
| Order: | Accipitriformes |
| Family: | Accipitridae |
| Genus: | *Buteo* |
| Species: | ***B. oreophilus*** |
| Binomial name | |
| ***Buteo oreophilus***
Hartert, EJO & Neumann, 1914 | |
|


title: Martha Ellen Reeves

abstract: Martha Ellen Reeves is a professor in the Markets and Management Studies Program at Duke and adjunct faculty member in the Women's Studies Program at Duke University, USA. Reeves studied at the University of Montana, Truman State University in English literature and Keele University,, for industrial relations and human resources management. Reeves is the author of Women in Business: Theory, Case Studies and Legal Challenges, Suppressed, Forced Out and Fired: How Successful Women Lose their Jobs, Evaluation of Training and co-author of articles on business, including "Queens of the Hill: Creative Destruction and the Emergence of Executive Leadership of Women", Leadership Quarterly, and, "Sector, size, stability, and scandal: Explaining the presence of female executives in Fortune 500 firms", Gender in Management: An International Journal, 2011, pp. 84–105.

text:
# Martha Ellen Reeves

**Martha Ellen Reeves** is a professor in the Markets and Management Studies Program at Duke and adjunct faculty member in the Women's Studies Program at Duke University, USA. Reeves studied at the University of Montana (B.A. 1973), Truman State University (M.A. 1976) in English literature and Keele University, (Ph.D. 1998), for industrial relations and human resources management.

Reeves is the author of *Women in Business: Theory, Case Studies and Legal Challenges* (Routledge, 2010, second edition, 2016), *Suppressed, Forced Out and Fired: How Successful Women Lose their Jobs* (Quorum, 2000), *Evaluation of Training* (Industrial Society, U.K., 1993) and co-author of articles on business, including "Queens of the Hill: Creative Destruction and the Emergence of Executive Leadership of Women" (with S. A. Furst), *Leadership Quarterly* (2008, pp. 372–384), and, "Sector, size, stability, and scandal: Explaining the presence of female executives in Fortune 500 firms" (with David Brady, Katelin Isaacs, Rebekah Burroway, Megan Reynolds), *Gender in Management: An International Journal*, 2011, pp. 84–105.


title: Martin Haldbo Hansen

abstract: Martin Haldbo Hansen is a Danish rower. Together with Lars Christensen he finished fourth in the double sculls at the 1996 Olympics.

text:
# Martin Haldbo Hansen

**Martin Haldbo Hansen** (born 2 February 1969 in Frederikssund) is a Danish rower. Together with Lars Christensen he finished fourth in the double sculls at the 1996 Olympics.

## InfoBox

Martin Haldbo Hansen
| Medal record | | |
| --- | --- | --- |
| Men's rowing | | |
| Representing  Denmark | | |
| World Rowing Championships | | |
|  | 1995 Tampere | M2x |


title: Milan Vještica

abstract: Milan Vještica is a retired Serbian professional footballer who played as a defender.

text:
# Milan Vještica

**Milan Vještica** (Serbian Cyrillic: Милан Вјештица; born 15 November 1979) is a retired Serbian professional footballer who played as a defender.

## Club career

Vještica began his professional football career with Novi Sad in the late 1990s. He spent several seasons with the Canaries playing in the lower leagues, before moving to their cross-town rivals Vojvodina in the summer of 2001. Vještica stayed just a half a season there, joining Russian club Zenit Saint Petersburg during the 2002 winter transfer window. He spent five seasons at Petrovsky Stadium between 2002 and 2006. In January 2008, Vještica signed a contract with Partizan. In January 2012, Vještica signed a contract with Ural Yekaterinburg. The following year, he helped Ural to win promotion to the Premier League. After the first part of the 2013–14 season, his contract with the club was terminated by mutual consent. On 14 February 2014, Dynamo Saint Petersburg announced the signing of Vještica on a permanent basis.

## International career

Vještica made one appearance for the Yugoslav national under-21 team during the qualification campaign for the 2002 UEFA Under-21 Championship.

## Statistics

| Season | Club | Division | Apps | Goals |
| --- | --- | --- | --- | --- |
| Yugoslavia | | | | |
| 2001–02 | Vojvodina | D1 | 17 | 0 |
| Russia | | | | |
| 2002 | Zenit Saint Petersburg | D1 | 7 | 0 |
| 2003 | | | 28 | 0 |
| 2004 | | | 15 | 0 |
| 2005 | | | 12 | 1 |
| 2006 | | | 4 | 0 |
| | Rostov | | 16 | 0 |
| | 2007 | | 26 | 0 |
| Serbia | | | | |
| 2007–08 | Partizan | D1 | 9 | 0 |
| Russia | | | | |
| 2008 | Shinnik Yaroslavl | D1 | 9 | 0 |
| 2009 | | D2 | 29 | 0 |
| 2010 | | 32 | 8 |
| 2011–12 | | Zhemchuzhina-Sochi | 10 | 1 |
| | | Ural Yekaterinburg | 5 | 2 |
| | | 2012–13 | 24 | 4 |
| | 2013–14 | D1 | 13 | 0 |
| 2013–14 | Dynamo Saint Petersburg | D2 | 9 | 0 |
| Yugoslavia | | | 17 | 0 |
| Russia | | | 239 | 16 |
| Serbia | | | 9 | 0 |
| Total | | | 265 | 16 |

## Honours

### Club

Zenit Saint Petersburg Partizan Ural Yekaterinburg

### Individual

## InfoBox

Milan Vještica
| Vještica with Ural in 2013 | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Milan Vještica | | |
| Date of birth | (1979-11-15) 15 November 1979 | | |
| Place of birth | Novi Sad, SFR Yugoslavia | | |
| Height | 1.88 m (6 ft 2 in) | | |
| Position(s) | Defender | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1997–2001 | Novi Sad | - | (-) |
| 2001 | Vojvodina | 17 | (0) |
| 2002–2006 | Zenit Saint Petersburg | 66 | (1) |
| 2006–2007 | Rostov | 42 | (0) |
| 2008 | Partizan | 9 | (0) |
| 2008–2010 | Shinnik Yaroslavl | 70 | (8) |
| 2011 | Zhemchuzhina-Sochi | 10 | (1) |
| 2012–2013 | Ural Yekaterinburg | 42 | (6) |
| 2014 | Dynamo Saint Petersburg | 9 | (0) |
| Total |  | **265** | **(16)** |
| International career | | | |
| 2001 | FR Yugoslavia U21 | 1 | (0) |
| \*Club domestic league appearances and goals | | | |


title: Radical 163

abstract: Radical 163 or radical city (邑部) meaning "city" is one of the 20 Kangxi radicals composed of 7 strokes. This radical character transforms into 阝 when used as a right component. In the Kangxi Dictionary, there are 350 characters to be found under this radical. 邑 is also the 159th indexing component in the Table of Indexing Chinese Character Components predominantly adopted by Simplified Chinese dictionaries published in mainland China, with 阝 (right) listed as its associated indexing components.

text:
# Radical 163

**Radical 163** or **radical city** (邑部) meaning **"city"** is one of the 20 Kangxi radicals (214 radicals in total) composed of 7 strokes. This radical character transforms into  (counted as 3 strokes in Traditional Chinese, 2 strokes in Simplified Chinese) when used as a right component (not to be confused with  on the left derived from ).

In the *Kangxi Dictionary*, there are 350 characters (out of 49,030) to be found under this radical.

is also the 159th indexing component in the *Table of Indexing Chinese Character Components* predominantly adopted by Simplified Chinese dictionaries published in mainland China, with  (right) listed as its associated indexing components.

## Evolution

## Derived characters

| Strokes | Characters |
| --- | --- |
| +0 |  |
| +2 | SC (=鄧) |
| +3 | SC (=鄺) |
| +4 | (= -\> )    (=邦) SC (=鄔) |
| +5 | SC (=郵)           SC (=鄒) SC (=鄴) SC (=鄰) |
| +6 | SC (= -\> )         (=邢)      SC (=郟) SC (=鄶) SC (=鄭) SC (=鄆) |
| +7 | (=郎)        SC (=酈) SC (=鄖) |
| +8 | (=部) JP (=鄉) SC (=鄲) |
| +9 | (=鄉) |
| +10 | (=鄉) |
| +11 |  |
| +12 |  |
| +13 |  |
| +14 |  |
| +15 |  |
| +16 | SC (=酇) |
| +17 |  |
| +18 |  |
| +19 |  |

## Literature

* Fazzioli, Edoardo (1987). *Chinese calligraphy : from pictograph to ideogram : the history of 214 essential Chinese/Japanese characters*. calligraphy by Rebecca Hon Ko. New York: Abbeville Press. ISBN 0-89659-774-1.
* Lunde, Ken (Jan 5, 2009). "Appendix J: Japanese Character Sets" (PDF). *CJKV Information Processing: Chinese, Japanese, Korean & Vietnamese Computing* (Second ed.). Sebastopol, Calif.: O'Reilly Media. ISBN 978-0-596-51447-1.

## InfoBox

|  | |
| --- | --- |
|  | |
| (U+9091) "city" | |
| Pronunciations | |
| Pinyin: |  |
| Bopomofo: | ㄧˋ |
| Wade–Giles: | i4 |
| Cantonese Yale: | yap1 |
| Jyutping: | jap1 |
| Japanese Kana: | ユウ yū / オウ ō (on'yomi) |
| Sino-Korean: | 읍 eup |
| Hán-Việt: | ấp |
| Names | |
| Chinese name(s): | (⻏) 右耳旁 yòu'ěrpáng |
| Japanese name(s): | おおざと oozato |
| Hangul: | 고을 goeul |
| Stroke order animation | |
|  | |


title: James Mullinger

abstract: James Mullinger is an English-Canadian alternative comedian based in New Brunswick. Though primarily a stand-up comic, Mullinger has held a number of roles in other media including a presenter of Blimey! An Englishman in Atlantic Canada, co-writer and co-producer of The Comedian's Guide to Survival, and actor in the upcoming NBrexit. In 2022, he published his memoir, Brit Happens: Or Living the Canadian Dream, with Goose Lane Editions. In 2016, Mullinger broke Jerry Seinfeld's record ticket sales at Harbour Station and outsold performances including Guns N' Roses, Iron Maiden, and Snoop Dogg.

text:
# James Mullinger

**James Mullinger** (born 11 March 1978) is an English-Canadian alternative comedian based in New Brunswick. Though primarily a stand-up comic, Mullinger has held a number of roles in other media including a presenter of *Blimey! An Englishman in Atlantic Canada*, co-writer and co-producer of *The Comedian's Guide to Survival*, and actor in the upcoming *NBrexit*. In 2022, he published his memoir, *Brit Happens: Or Living the Canadian Dream*, with Goose Lane Editions. In 2016, Mullinger broke Jerry Seinfeld's record ticket sales at Harbour Station and outsold performances including Guns N' Roses, Iron Maiden, and Snoop Dogg.

## Early life

Mullinger grew up in Maidenhead, Berkshire. He was educated at East Berkshire College then studied English Literature and Women's Studies at Kingston University. Mullinger grew up seeing shows at Norden Farm and has since performed there. As a teenager, his favourite comedians included Ben Elton, Frank Skinner, Steve Martin, and Monty Python.

## Career

Mullinger began performing stand-up comedy in 2005. The same year, he reached the finals of Jimmy Carr's *Comedy Idol*, *You Must Be Joking* at the Newbury Comedy Festival, and *Your Comedy Stars* at the Edinburgh Fringe. He also started the Upstairs at the Masons comedy club in the function room of Mayfair's Masons Arms pub which, in addition to bringing in local comedians, attracted comedians such as Russell Brand, Richard Herring, Greg Davies, and Michael McIntyre. His debut show in 2009, *The Bad Boy of Feminism*, sold out at the Camden Fringe. Since then, he has performed a number of shows—*James Mullinger's Schooldays*, *The Man With No Shame* (2012/2013), *Living the Canadian Dream* (2014/2015), and *Anything is Possible*—across both Canada and the UK. *The Man With No Shame* was centred around readings from his teenage diaries.

Between November 2011 and January 2012, Mullinger hosted *Movie Kingdom*, a web series co-created with friend and collaborator Mark Murphy. The pair reviewed movies and interviewed celebrities. It was later developed as a Comedy Central web series titled *A Moment With*, which featured actors including Anne Hathaway, Andrew Garfield, and Javier Bardem and comedians Jackie Mason, Ross Noble, and Stewart Lee. In 2016, he and Murphy collaborated on *The Comedian's Guide to Survival*, a film based on and dramatizing Mullinger's experiences as a comedian. *The Inbetweeners* star James Buckley portrayed the fictionalised version of Mullinger.

The same year, he worked with Hemmings House on *City on Fire*, a documentary showing Mullinger getting ready for his first sold-out show at Harbour Station and exploring his love of New Brunswick. He also finished shooting the first season of *Comedy Bootcamp* on Bell Aliant TV1 in 2016. In 2022, Mullinger published his memoir *Brit Happens: Or Living the Canadian Dream* with Goose Lane Editions. *NBrexit*, his next major venture, is a sitcom about a comedian forced to move to Canada (whereas Mullinger made the choice) to escape a Brexit scandal. It was filmed in Miramichi and claims to be the first English-speaking sitcom filmed and set entirely in New Brunswick. Mullinger also made an effort to employ people living in New Brunswick. It is scheduled to air in March 2023.

Mullinger worked at *GQ* 2000-2014, starting during a two-week work experience after university. He was a journalist, comedy editor, and photo editor, and interviewed celebrities such as Daniel Craig, Tom Cruise, and George Clooney. In 2012, he was at the centre of controversy when he airbrushed Kate Winslet to look thinner and have longer legs. While the pushback was difficult, he said that the argument was valid and that he "was just an idiot" and that it was a "big mistake" rather than an intentional act of misogyny. Despite this, he won Employee of the Year three times during his fourteen-year stint there.

Mullinger has appeared on *Street-Cred Sudoku* alongside Robin Ince, Sue Perkins and Rufus Hound. In Canada, he toured the country for *Blimey! An Englishman in Atlantic Canada* and *Atlantic Edition* and played villain Mr. Green in the children's show *Ug Wug*. Mullinger is also editor-in-chief of *Maritime \[EDIT\]*, a quarterly publication centred on Atlantic Canada, and co-hosts *Field & Mullinger's Underground Nights* with Paul Field. He has been nominated for a Just for Laughs Comedy Award and a Canadian Comedy Award for Best Live Show. Mullinger credits a comedy course taught by Logan Murray and Hils Jago for helping him garner the confidence needed to perform standup.

## Personal life

Mullinger and his Canadian-born wife, Pam, moved to Saint John, New Brunswick from London in 2014. His wife worked with *Vanity Fair* and *Wallpaper\** while in London and as of 2022 was a marketing consultant and advertising director for several magazines, including *Kinfolk*. The couple have two sons, Hunter and River, who play Mullinger's children in his show *NBrexit*. Mullinger is a self-proclaimed feminist and has performed to benefit women's charities. On November 9, 2021, he became a Canadian citizen. As of 2022, Mullinger lives in the town of Rothesay.

## InfoBox

| James Mullinger | |
| --- | --- |
|  | |
| Born | (1978-03-11) 11 March 1978<br>Berkshire, England, UK |
| Nationality | * English * Canadian |
| Occupation | Comedian |
| Years active | 2005–present |
| Website | www.jamesmullinger.com |


title: Grot Deil

abstract: Grot Deil is an uninhabited Baltic Sea island in the Breitling between the mainland of Mecklenburg and the island of Poel. It has an area of approximately 0.17 hectares and belongs to the municipality of Blowatz. The flat bodden island is approximately 55 metres long and wide. Its shape resembles a U lying on its side because of an indentation in the northwest. It is located 340 metres from the mainland and 520 metres from Poel. Grot Deil was used as pasture until the mid-1970s, and has since become a habitat for breeding birds. A homogeneously developed sea aster reedbed grows on the island with drifts of sea club-rush, tall fescue and greater sea-spurrey as well as the species on the Red List of Mecklenburg-Western Pomerania such as English scurvygrass, saltmarsh sedge, sea aster and sea wormwood. /ref> Grot Deil is part of the Wismar Bay Special Area of Conservation and the bird reserve of "Wismar Bay and Salzhaff".

text:
# Grot Deil

**Grot Deil** is an uninhabited Baltic Sea island in the Breitling between the mainland of Mecklenburg and the island of Poel. It has an area of approximately 0.17 hectares and belongs to the municipality of Blowatz.

The flat bodden island is approximately 55 metres long and wide. Its shape resembles a U lying on its side because of an indentation in the northwest. It is located 340 metres from the mainland and 520 metres from Poel.

Grot Deil was used as pasture until the mid-1970s, and has since become a habitat for breeding birds. A homogeneously developed sea aster reedbed grows on the island with drifts of sea club-rush (*Bolboschoenus maritimus*), tall fescue (*Festuca arundinacea*) and greater sea-spurrey (*Spergularia media*) as well as the species on the Red List of Mecklenburg-Western Pomerania such as English scurvygrass (*Cochlearia anglica*), saltmarsh sedge (*Festuca salina*), sea aster (*Aster tripolium*) and sea wormwood (*Artemisia maritima*). /ref\>

Grot Deil is part of the Wismar Bay Special Area of Conservation and the bird reserve of "Wismar Bay and Salzhaff".

1. Map Portal Environment Mecklenburg-Western Pomerania

## InfoBox

Grot Deil
|  | |
| --- | --- |
| Geography | |
| Location | Breitling |
| Coordinates | 53°59′17″N 11°29′17″E / 53.988088°N 11.488020°E / 53.988088; 11.488020 |
| Area | 0.0017 km2 (0.00066 sq mi) |
| Length | 0.055 km (0.0342 mi) |
| Width | 0.055 km (0.0342 mi) |
| Administration | |
| **DE-MV** | |
| Demographics | |
| Population | 0 |


abstract: The Primetime Emmy Award for Outstanding New Series was a Primetime Emmy Award presented to the best new television series sporadically from 1954 to 1973.

text:
# Primetime Emmy Award for Outstanding New Series

The **Primetime Emmy Award for Outstanding New Series** was a Primetime Emmy Award presented to the best new television series sporadically from 1954 to 1973.

## Winners and nominations

### 1950s

| Year | Program | Network | Nominee(s) |
| --- | --- | --- | --- |
| 1953
(6th) |
| | *Make Room for Daddy* | ABC | Louis F. Edelman, executive producer; Sheldon Leonard, Charles Stewart, producers |
| | | *The United States Steel Hour* | George Kondolf, Carol Irwin, producers |
| | *Adventure* | CBS | Robert Northshield, producer |
| | *Ding Dong School* | NBC | Reinald Werrenrath, producer |
| | | *Letter to Loretta* | Tom Lewis, Matthew Rapf, executive producers |
| | *Person to Person* | CBS | John Aaron, Jesse Zousmer, Charles Hill, Robert Sammon, Edward R. Murrow, producers |
| 1956
(9th) |
| | *Playhouse 90* | CBS | Peter Kortner, executive producer; Julian Claman, Martin Manulis, Herbert Brodkin, producers |
| | *Air Power* | CBS | Perry Wolff, James B Faichney, producers |
| | *The Dinah Shore Chevy Show* | NBC | Bob Banner, Robert Wells, producers |
| | | *The Ernie Kovacs Show* | Louis Heyward, producer |
| | | *The Steve Allen Sunday Show* | Nick Vanoff, producer |
| 1957
(10th) |
| | *The Seven Lively Arts* | CBS | John Houseman, executive producer; Robert Herridge, producer |
| | *Leave it to Beaver* | CBS | Joe Connelly, Bob Mosher, producers |
| | *Maverick* | ABC | William T. Orr, executive producer; Roy Huggins, Coles Trapnell, producers |
| | *Tonight Starring Jack Paar* | NBC | Perry Cross, Paul Keyes, Bob Shanks, producers |
| | | *Wagon Train* | Howard Christie, Richard Lewis, executive producers; Frederick Shorr, producer |
|

### 1970s

| Year | Program | Network | Nominee(s) |
| --- | --- | --- | --- |
| 19691970
(22nd) |
| | *Room 222* | CBS | Gene Reynolds, producer |
| | *The Bill Cosby Show* | NBC | Bill Cosby, executive producer; Marvin Miller, producer |
| | *The Forsyte Saga* | PBS | Donald Wilson, producer |
| | *Marcus Welby, M.D.* | ABC | David J. O'Connell, producer; David Victor, executive producer |
| | *Sesame Street* | NET | David D. Connell, executive producer; Sam Gibbon, producer; Lutrelle Horne, producer; Jon Stone, producer |
| 19701971
(23rd) |
| | *All in the Family* | CBS | Norman Lear, producer |
| | *The Bold Ones: The Senator* | NBC | David Levinson |
| | | *The Flip Wilson Show* | Bob Henry, producer; Monte Kay, executive producer |
| | *Mary Tyler Moore* | CBS | James L. Brooks, executive producer; Allan Burns, executive producer; David Davis, producer |
| | *The Odd Couple* | ABC | Jerry Belson, executive producer; Jerry Davis, producer; Garry Marshall, executive producer |
| 19711972
(24th) |
| | *Elizabeth R* | PBS | Roderick Graham, producer; Christopher Sarson, executive producer |
| | *Columbo* | NBC | Everett Chambers, producer; Richard Levinson, executive producer; William Link, executive producer |
| | | *Sanford and Son* | Aaron Ruben, producer; Bud Yorkin, executive producer |
| | *The Six Wives of Henry VIII* | PBS | Mark Shivas, producer; Ronald Travers, producer |
| | *The Sonny & Cher Comedy Hour* | CBS | Chris Bearde, producer; Allan Blye, producer |
| 19721973
(25th) |
| | *America: A Personal History of the United States* | NBC | Michael Gill, producer |
| | *The Julie Andrews Hour* | ABC | Julie Andrews, Star; Nick Vanoff, producer |
| | | *Kung Fu* | Jerry Thorpe, producer |
| | *M\*A\*S\*H* | CBS | Gene Reynolds, producer |
| | | *Maude* | Norman Lear, executive producer; Rod Parker, producer |
| | | *The Waltons* | Robert L. Jacks, producer; Lee Rich, executive producer |


title: Wisconsin's 99th Assembly district

abstract: The 99th Assembly district of Wisconsin is one of 99 districts in the Wisconsin State Assembly. Located in southeastern Wisconsin, the district comprises parts of northwest Waukesha County, northeast Jefferson County, and southeast Dodge County. It includes the cities of Oconomowoc and part of the city of Hartford, and the villages of Chenequa, Hartland, Lac La Belle, Nashotah, and Neosho. The district is represented by Republican Cindi Duchow, since October 2015. The 99th Assembly district is located within Wisconsin's 33rd Senate district, along with the 97th and 98th Assembly districts.

text:
# Wisconsin's 99th Assembly district

The **99th Assembly district of Wisconsin** is one of 99 districts in the Wisconsin State Assembly. Located in southeastern Wisconsin, the district comprises parts of northwest Waukesha County, northeast Jefferson County, and southeast Dodge County. It includes the cities of Oconomowoc and part of the city of Hartford, and the villages of Chenequa, Hartland, Lac La Belle, Nashotah, and Neosho. The district is represented by Republican Cindi Duchow, since October 2015.

The 99th Assembly district is located within Wisconsin's 33rd Senate district, along with the 97th and 98th Assembly districts.

## List of past representatives

List of representatives to the Wisconsin State Assembly from the 99th district
| Member | Party | Residence | Counties represented | Term start | Term end | Ref. |
| --- | --- | --- | --- | --- | --- | --- |
| *District created* | | | | | | |
| Kenneth Merkel | Rep. | Brookfield | Waukesha | January 1, 1973 | January 6, 1975 |  |
| Susan Engeleiter | Rep. | Brookfield | | January 6, 1975 | January 1, 1979 |  |
| John M. Young | Rep. | Brookfield | | January 1, 1979 | January 3, 1983 |  |
| Thomas A. Loftus | Dem. | Sun Prairie | Dane | January 3, 1983 | January 7, 1985 |  |
| John M. Young | Rep. | Brookfield | Milwaukee, Waukesha | January 7, 1985 | January 5, 1987 |  |
| Margaret Farrow | Rep. | Elm Grove | | January 5, 1987 | January 2, 1989 |  |
| *--Vacant--* | | | | January 2, 1989 | September 22, 1989 |  |
| Frank Urban | Rep. | Brookfield | | September 22, 1989 | January 6, 2003 |  |
| | | | | | | Waukesha |
| Michael A. Lehman | Rep. | Hartford | Dodge, Waukesha | January 6, 2003 | January 3, 2005 |  |
| Don Pridemore | Rep. | Hartford | | January 3, 2005 | January 7, 2013 |  |
| Chris Kapenga | Rep. | Delafield | Waukesha | January 7, 2013 | August 6, 2015 |  |
| *--Vacant--* | | | | August 6, 2015 | October 9, 2015 |  |
| Cindi Duchow | Rep. | Delafield | | October 9, 2015 | *Current* |  |
| | | | | | | Jefferson, Waukesha |

## InfoBox

| Wisconsin's 99th
State Assembly district | |
| --- | --- |
| --- | |
| 2024 map defined in 2023 Wisc. Act 94
2022 map defined in *Johnson v. Wisconsin Elections Commission*
2011 map was defined in 2011 Wisc. Act 43 | |
| Assemblymember | Cindi Duchow
Delafield  since October 9, 2015 (8 years) |
| Demographics | 93.5% White
0.79% Black
2.4% Hispanic
1.45% Asian
1.09% Native American
0.11% Hawaiian/Pacific Islander |
| Population (2020)
Voting age | 59,032
45,709 |
| Website | Official website |
| Notes | Southeast Wisconsin |


title: Martha Ernstdóttir

abstract: Martha Ernstdóttir is an Icelandic long-distance runner. She competed in the women's marathon at the 2000 Summer Olympics.

text:
# Martha Ernstdóttir

**Martha Ernstdóttir** (born 22 December 1964) is an Icelandic long-distance runner. She competed in the women's marathon at the 2000 Summer Olympics.

## Personal life

Martha is married to Jón Oddsson who was a member of both the Icelandic men's national football team and the Icelandic track and field national team. She is the aunt of middle-distance track athlete Aníta Hinriksdóttir.

## InfoBox

Martha Ernstdóttir
| Personal information | |
| --- | --- |
| Nationality | Icelandic |
| Born | (1964-12-22) 22 December 1964<br>Reykjavík, Iceland |
| Height | 159 cm (5 ft 3 in) |
| Weight | 46 kg (101 lb) |
| Sport | |
| Sport | Long-distance running |
| Event | Marathon |


title: Martin Hall (Providence College)

abstract: Martin Hall, also known as the George M. Bradley House is a historic house on the upper campus of Providence College. The house was built in 1850 by architect Thomas Alexander Tefft in an Italian Villa style for Chief Justice Charles S. Bradley, a successful attorney who served on the Rhode Island Supreme Court. In 1926, the house and properties were purchased by Providence College. The house was given a wood-framed dormitory addition to its rear, becoming Guzman Hall, the college's first on-campus dormitory. It continued to be a dormitory, housing pre-ecclesiastical students, until 1962, when a new Guzman Hall was opened on land formerly included in the Good Shepherd property, which had been purchased by the college in 1955. After reconstruction in 2022, there were rumors of the building being renamed to “Morze Hall”. At that time, the house was remodeled to its original configuration and renamed for Saint Martin de Porres. Until 1994 the house was used as the house of the President of Providence College, at which time St. Dominic House, another house which was a part of the Good Shepherd property, became the President's residence. After serving several years as a Dominican residence, the house was used as the college's Office for Institutional Advancement, and is now home to the College's Mission and Ministry, as well as Information Technology. The building was listed on the National Register of Historic Places in 1972.

text:
# Martin Hall (Providence College)

**Martin Hall**, also known as the **George M. Bradley House** is a historic house on the upper campus of Providence College.

The house was built in 1850 by architect Thomas Alexander Tefft in an Italian Villa style for Chief Justice Charles S. Bradley, a successful attorney who served on the Rhode Island Supreme Court. In 1926, the house and properties were purchased by Providence College. The house was given a wood-framed dormitory addition to its rear, becoming Guzman Hall, the college's first on-campus dormitory. It continued to be a dormitory, housing pre-ecclesiastical students, until 1962, when a new Guzman Hall was opened on land formerly included in the Good Shepherd property, which had been purchased by the college in 1955. After reconstruction in 2022, there were rumors of the building being renamed to “Morze Hall”. At that time, the house was remodeled to its original configuration and renamed for Saint Martin de Porres. Until 1994 the house was used as the house of the President of Providence College, at which time St. Dominic House, another house which was a part of the Good Shepherd property, became the President's residence. (This was done because the new president, Rev. Philip A. Smith, O.P., had previously lived in St. Dominic House and did not want to move.) After serving several years as a Dominican residence (like St. Dominic House had before), the house was used as the college's Office for Institutional Advancement, and is now home to the College's Mission and Ministry, as well as Information Technology.

The building was listed on the National Register of Historic Places in 1972.

## InfoBox

|  | |
| --- | --- |
| Glover Cleveland House | |
| U.S. National Register of Historic Places | |
|  | |
| Martin Hall | |
|  | |
| Location | Providence, Rhode Island |
| Coordinates | 41°50′31″N 71°26′14″W / 41.84194°N 71.43722°W / 41.84194; -71.43722 |
| Built | 1850 |
| Architect | Tefft, Thomas Alexander |
| Architectural style | Italian Villa |
| NRHP reference No. | 72000037 |
| Added to NRHP | January 13, 1972 |