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1920s Berlin

The Golden Twenties was a particular vibrant period in the history of Berlin. After the Greater Berlin Act, the city became the third largest municipality in the world and experienced its heyday as a major world city. It was known for its leadership roles in science, the humanities, art, music, film, architecture, higher education, government, diplomacy and industries.

Culture
The Weimar Republic era began in the midst of several major movements in the fine arts. German Expressionism had begun before World War I and continued to have a strong influence throughout the 1920s, although artists were increasingly likely to position themselves in opposition to expressionist tendencies as the decade went on.

A sophisticated, innovative culture developed in and around Berlin, including highly developed architecture and design (Bauhaus, 1919–33); a variety of literature (Döblin, Berlin Alexanderplatz, 1929), film (Lang, Metropolis, 1927, Dietrich, Der blaue Engel, 1930), painting (Grosz), and music (Brecht and Weill, The Threepenny Opera, 1928); criticism (Benjamin), philosophy/psychology (Jung), and fashion. This culture was often considered to be decadent and socially disruptive by rightists.

Film was making huge technical and artistic strides during this period of time in Berlin, and gave rise to the influential movement called German Expressionism. "Talkies", the sound films, were also becoming more popular with the general public across Europe, and Berlin was producing many of them.

The so-called mystical arts also experienced a revival during this time-period in Berlin, with astrology, the occult, and esoteric religions and off-beat religious practices becoming more mainstream and acceptable to the masses as they entered popular culture.

Berlin in the 1920s also proved to be a haven for English writers such as W. H. Auden, Stephen Spender and Christopher Isherwood, who wrote a series of 'Berlin novels', inspiring the play I Am a Camera, which was later adapted into a musical, Cabaret, and an Academy Award winning film of the same name. Spender's semi-autobiographical novel The Temple evokes the attitude and atmosphere of the time.

Science
The University of Berlin (today Humboldt University of Berlin) became a major intellectual centre in Germany, Europe, and the World. The sciences were especially favored — from 1914 to 1933.

Albert Einstein rose to public prominence during his years in Berlin, being awarded the Nobel Prize for Physics in 1921. He served as director of the Kaiser Wilhelm Institute for Physics in Berlin, only leaving after the anti-Semitic Nazi Party rose to power.

Physician Magnus Hirschfeld established the Institut für Sexualwissenschaft (Institute for Sexology) in 1919, and it remained open until 1933. Hirschfeld believed that an understanding of homosexuality could be arrived at through science. Hirschfeld was a vocal advocate for homosexual, bisexual, and transgender legal rights for men and women, repeatedly petitioning parliament for legal changes. His Institute also included a museum.

Street fights
Politically, Berlin was seen as a left wing stronghold, with the Nazis calling it "the reddest city [in Europe] after Moscow." Nazi propagandist Joseph Goebbels became his party's "Gauleiter" for Berlin in the autumn of 1926 and had only been in charge a week before organizing a march through a communist-sympathizing area that devolved into a street riot. The communists, who adopted the motto "Beat the fascists wherever you encounter them!" had their own paramilitary organization called the Roter Frontkämpferbund to battle the Nazis' Sturmabteilung (SA). In February 1927 the Nazis held a meeting in the "Red" stronghold of Wedding that turned into a violent brawl. "Beer glasses, chairs and tables flew through the hall, and severely injured people were left lying covered with blood on the floor. Despite the injuries, it was a triumph for Goebbels, whose followers beat up about 200 communists and drove them from the hall."

Infrastructure and industrialization
The government began printing tremendous amounts of currency to pay reparations; this caused staggering inflation that destroyed middle-class savings. However, economic expansion resumed after mid-decade, aided by U.S. loans. It was then that culture blossomed especially.

The heyday of Berlin began in the mid-1920s when it was the most industrialized city of the Continent. Tempelhof Airport was opened in 1923 and a start was made on S-Bahn electrification from 1924 onwards. Berlin was also the second biggest inland harbor of Germany; all of this infrastructure was needed to transport and feed the over 4 million Berliners throughout the 1920s.

Architecture and urban planning

During the interwar period high-quality architecture was built on a large scale in Berlin for broad sections of the population, including poorer people. In particular the Berlin Modernism housing estates built before the beginning of National Socialism set standards worldwide and therefore have been added to the UNESCO World-heritage list in 2008.

As a result of the economically difficult situation during the Weimar Republic, housing construction, which up to that time had been mainly privately financed and profit-oriented, had found itself at a dead end. Inflation was on the up and for citizens on low incomes decent housing was becoming increasingly unaffordable.

Consequently, the search was on to find new models for state-initiated housing construction, which could then be implemented with a passion from 1920 on following the creation of Greater Berlin and the accompanying reform of local and regional government. The requirements for the type of flats to be built and the facilities they were to have were clearly defined, and the city was divided into different building zones. Following some basic ideas of the Garden city movement two- to three-storey housing estates that were well integrated into the landscape of the suburbs of the city were planned. The first large estate of this type with more than 2,000 residential units was the so-called Hufeisensiedlung (Horseshoe Estate) designed by Bruno Taut in Berlin, which introduced a new type of high quality housing and became a prominent example for the use of colors in architecture.

Reputation for decadence
Prostitution rose in Berlin and elsewhere in the areas of Europe left ravaged by World War I. This means of survival for desperate women, and sometimes men, became normalized to a degree in the 1920s. During the war, venereal diseases such as syphilis and gonorrhea spread at a rate that warranted government attention. Soldiers at the front contracted these diseases from prostitutes, so the German army responded by granting approval to certain brothels that were inspected by their own medical doctors, and soldiers were rationed coupon books for sexual services at these establishments. Homosexual behaviour was also documented among soldiers at the front. Soldiers returning to Berlin at the end of the War had a different attitude towards their own sexual behaviour than they had a few years previously. Prostitution was frowned on by respectable Berliners, but it continued to the point of becoming entrenched in the city's underground economy and culture.

Crime in general developed in parallel with prostitution in the city, beginning as petty thefts and other crimes linked to the need to survive in the war's aftermath. Berlin eventually acquired a reputation as a hub of drug dealing (cocaine, heroin, tranquilizers) and the black market. The police identified 62 organized criminal gangs in Berlin, called Ringvereine. The German public also became fascinated with reports of homicides, especially "lust murders" or Lustmord. Publishers met this demand with inexpensive criminal novels called Krimi, which like the film noir of the era (such as the classic M), explored methods of scientific detection and psychosexual analysis.

Apart from the new tolerance for behaviour that was technically still illegal, and viewed by a large part of society as immoral, there were other developments in Berlin culture that shocked many visitors to the city. Thrill-seekers came to the city in search of adventure, and booksellers sold many editions of guide books to Berlin's erotic night entertainment venues. There were an estimated 500 such establishments, that included a large number of homosexual venues for men and for lesbians; sometimes transvestites of one or both genders were admitted, otherwise there were at least five known establishments that were exclusively for a transvestite clientele. There were also several nudist venues. Berlin also had a museum of sexuality during the Weimar period, at Dr. Magnus Hirschfeld's Institute of Sexology. These were nearly all closed when the Nazi regime became a dictatorship in 1933.

Artists in Berlin became fused with the city's underground culture as the borders between cabaret and legitimate theatre blurred. Anita Berber, a dancer and actress, became notorious throughout the city and beyond for her erotic performances (as well as her cocaine addiction and erratic behaviour). She was painted by Otto Dix, and socialized in the same circles as Klaus Mann.

Life
1920s Berlin was a city of many social contrasts. While a large part of the population continued to struggle with high unemployment and deprivations in the aftermath of World War I, the upper class of society, and a growing middle class, gradually rediscovered prosperity and turned Berlin into a cosmopolitan city.

Cinema
Cinema in Weimar culture did not shy away from controversial topics, but dealt with them explicitly. Diary of a Lost Girl (1929) directed by Georg Wilhelm Pabst and starring Louise Brooks, deals with a young woman who is thrown out of her home after having an illegitimate child, and is then forced to become a prostitute to survive. This trend of dealing frankly with provocative material in cinema began immediately after the end of the War. In 1919, Richard Oswald directed and released two films, that met with press controversy and action from police vice investigators and government censors. Prostitution dealt with women forced into "white slavery", while Different from the Others dealt with a homosexual man's conflict between his sexuality and social expectations. By the end of the decade, similar material met with little, if any opposition when it was released in Berlin theatres. William Dieterle's Sex in Chains (1928), and Pabst's Pandora's Box (1929) deal with homosexuality among men and women, respectively, and were not censored. Homosexuality was also present more tangentially in other films from the period.

The following significant films about 1920s Berlin show the metropolis between 1920 and 1933:

 * Dr. Mabuse the Gambler, 1922 - first (silent) film about the character Doctor Mabuse from the novels of Norbert Jacques, by Fritz Lang
 * The Last Laugh, 1924 - the aging doorman at a Berlin hotel is demoted to washroom attendant but gets the last laugh, by F.W. Murnau
 * Slums of Berlin (Die Verrufenen), 1925 - an engineer in Berlin is released from prison, but his father throws him out, his fiancée left him and there is no chance to find work. Directed by Gerhard Lamprecht.
 * Die letzte Droschke von Berlin, 1926 - showing the life of an old coachman in Berlin still driving the droshky during the time when the automobile arises. Directed by Carl Boese.
 * Die Stadt der Millionen, 1927 - first full-length documentary and experimental movie on Berlin, its people and their attitude towards life. Directed by Adolf Trotz.
 * Berlin: Symphony of a Metropolis, 1927 - expressionist documentary film of 1920s Berlin by Walter Ruttmann
 * Refuge (Zuflucht), 1928 - a lonely and tired man comes home after several years abroad, lives with a market-woman in Berlin and starts working for the Berlin U-Bahn. Directed by Carl Froelich.
 * Asphalt, 1929 - the Berlin underworld touches a policeman's life, Film Noir classic by Joe May
 * Mother Krause's Journey to Happiness , 1929 - depicts the cruelty of poverty in Wedding district and Communism as a rescuing force that reaches a mother and a child too late. Directed by Phil Jutzi.
 * People on Sunday, 1930 - Avant-garde look at daily life in Berlin, screenplay by Billy Wilder and Curt Siodmak
 * Symphonie einer Weltstadt (Berlin - Wie es war), 1930 - documentary view of Berlin by Leo de Laforgue. First showed in 1950.
 * Die drei von der Tankstelle, 1930 - three friends are broke, so they sell their car and open a filling station in Berlin. The film shows the rising level of motorisation in Germany. Directed by Wilhelm Thiele.
 * Cyankali, 1930 - a poor female office employee in Berlin gets pregnant, but abortion is not allowed in the Weimar Republic. So she goes to a quack doctor who applies toxic potassium cyanide to her. Directed by Hans Tintner.
 * Emil and the Detectives, 1931 - the Adventure film based on the novel Emil and the Detectives by Erich Kästner shows Berlin from children's point of view. Director: Gerhard Lamprecht.
 * M, 1931 - Berlin thriller by Fritz Lang; beginnings of film noir and the endings of expressionism
 * Berlin-Alexanderplatz, 1931 - first film adaptation of the novel Berlin Alexanderplatz from Alfred Döblin, directed by Phil Jutzi
 * Looking for His Murderer (Der Mann, der seinen Mörder sucht), 1931 - a man in Berlin plunged in debt does not succeed in committing suicide and has to hire a murderer to kill him within twelve hours. But in the same night he falls in love with a girl who wants to stop the appointed killer. Directed by Robert Siodmak.
 * Grand Hotel, 1932 - showing the life of permanent residents in a Berlin Hotel. Directed by Edmund Goulding. Academy Award for Best Picture (1931–1932).
 * Kuhle Wampe, 1932 - about a working-class family in Berlin in 1931 where survival is difficult during the Great Depression. Directed by Slatan Dudow.
 * Die Umwege des schönen Karl, 1938 - a young waiter comes to Berlin in 1930 to serve at the best wine restaurant, and he tries unsuccessfully to get into the high society. Directed by Carl Froelich.
 * Rotation, 1949 - showing the life of a working-class family in Berlin between 1920 and 1945, from the Great Depression over the Third Reich until the Battle of Berlin. Directed by Wolfgang Staudte.
 * The Beaverskin (Die Buntkarierten), 1949 - the fate of a typical working-class family in Berlin between 1883 and 1949 facing child labour, trade union engagement, war, depression, unemployment and the rise and fall of Nazism. Directed by Kurt Maetzig.
 * Der eiserne Gustav, 1958 - based on the novel by Hans Fallada and telling the true story of horse-drawn cabman Gustav Hartmann from Wannsee district who drove sensationally to Paris in 1928 to demonstrate against the rise of the motorcar taxicab. Directed by George Hurdalek.
 * Wolf unter Wölfen, 1964 - the four-part movie based on the novel Wolf Among Wolves by Hans Fallada describes the Hyperinflation in the Weimar Republic in 1923 which led to widespread unemployment, homelessness, starvation and rioting in Berlin. Directed by Hans-Joachim Kasprzik.
 * Ganovenehre, 1966 - comedy about the panderer and crime environment in 1925 Berlin. Directed by Wolfgang Staudte.
 * Cabaret, 1972 - set in the early 1930s depicting Weimar Berlin from the writings of Christopher Isherwood; film by Bob Fosse
 * Shot on Command – The Sass Brothers, Once Berlin's Big Crooks, 1972 - Franz and Erich Sass from Moabit district become the most famous and innovative bank robbers during 1920s Berlin. After a series of criminal acts in Denmark they get arrested, extradited to Nazi Germany and executed. Directed by Rainer Wolffhardt.
 * Memories of Berlin: The Twilight of Weimar Culture, 1976 - Documentary about Berlin's cultural scene during the Weimar Republic, by Gary Conklin
 * The Serpent's Egg, 1977 - an unemployed Jew in 1923 Berlin is offered a job by a professor performing medical experiments, foreshadowing Nazi human experimentation. Directed by Ingmar Bergman.
 * Schöner Gigolo, armer Gigolo, 1978 - a Prussian officer returns home to Berlin following the end of World War I. Unable to find employment elsewhere, he works as a gigolo in a brothel run by a Baroness; by David Hemmings.
 * Despair, 1978 - against the backdrop of the Nazis' rise, a Russian émigré and chocolate magnate in Berlin goes slowly mad. Directed by Rainer Werner Fassbinder.
 * Pinselheinrich, 1979 - episodes from the life of famous Berlin illustrator Heinrich Zille. Zille gets dismissed from his work, starts to live from his funny and socially critical drawings but uses his earnings and rising fame to help people who are poorer than him. Directed by Hans Knötzsch.
 * Berlin Alexanderplatz, 1980 - elaborate film of the novel written by Alfred Döblin. Made for television (in many parts) by Rainer Werner Fassbinder.
 * Fabian, 1980 - in the late 1920s Berlin a copywriter observes the night life with his friend, gets unemployed during the Great Depression, but meets a new girlfriend. When his friend commits suicide and his girlfriend leaves him for a film career, he loses his livelihood. Based on the novel by Erich Kästner and directed by Wolf Gremm.
 * Als Unku Edes Freundin war, 1981 - during the 1920s a circus driven by Sinti comes to the outskirts of Berlin. A Sinti girl becomes the friend of a poor German boy who tries to buy a bicycle to earn money for his family as a paperboy. Directed by Helmut Dziuba.
 * Claire Berolina, 1987 - portrait of Claire Waldoff who became a famous cabaret singer in 1920s Berlin and was close friends with composer Walter Kollo, writer Kurt Tucholsky and illustrator Heinrich Zille. She was an important part of cultural and lesbian life in Berlin until the Nazi Machtergreifung ended her success. Directed by Klaus Gendries.
 * Kai aus der Kiste, 1988 - during the hyperinflation in the Weimar Republic 1923 in Berlin a boy and his friends start a campaign of competitive advertising for an American chewing gum brand and use the resources of the metropolis for it. Based upon the novel by Wolf Durian and directed by Günter Meyer.
 * Hanussen, 1988 - while recovering from being wounded during World War I, the Doctor discovers that Austrian Klaus Schneider possesses empathic powers. After the war, Schneider changes his name into Erik Jan Hanussen and goes to Berlin to perform as a hypnotist and mind reader. When he predicts Adolf Hitler's Machtergreifung and the Reichstag fire, the Nazis murder him. Directed by István Szabó.
 * Spider's Web (Das Spinnennetz), 1989 - based on the 1923 novel by Joseph Roth and focused on a young opportunistic Leutnant who suffered personal and national humiliation during the downfall of the German Empire, and now becomes increasingly active in the right-wing underground of the early 1920s Berlin. Directed by Bernhard Wicki.
 * A Letter Without Words, 1998 - reconstructing the life of a wealthy, Jewish amateur filmmaker in Berlin during the 1920s and early 1930s on the basis of authentic filmic material presented by her granddaughter. Directed by Lisa Lewenz.
 * Invincible, 2001 - the true story of a Jewish strongman in 1932 Berlin by Werner Herzog
 * Sass, 2001 - based on the true story of brothers Franz and Erich Sass from Moabit district, who became the most famous and innovative bank robbers during 1920s Berlin. Directed by Carlo Rola.
 * Love in Thoughts (Was nützt die Liebe in Gedanken), 2004 - about the so-called Steglitz student tragedy in 1927, when two young men made a suicide pact under the influence of alcohol, music and sex, which led to a tragedy. Directed by Achim von Borries.
 * Night Over Berlin, 2013 - a Jewish doctor and SPD-deputy at Reichstag faces the rising rows between Communists and Nazis in Berlin, the growing antisemitism, the Nazi Machtergreifung until the Reichstag fire, followed by the end of the key civil liberties in 1933.

title: 1920s Berlin


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Bhumika (film)

Bhumika (English: Role) is a 1977 Indian film directed by Shyam Benegal. The film stars Smita Patil, Amol Palekar, Anant Nag, Naseeruddin Shah and Amrish Puri.

The film is broadly based on the Marathi-language memoirs, Sangtye Aika of the well-known Marathi stage and screen actress of the 1940s Hansa Wadkar, who led a flamboyant and unconventional life, and focuses on an individual's search for identity and self-fulfilment. Smita Patil gives a strong performance of transforming from a vivacious teenager to a wiser but deeply wounded middle-aged woman.

The film won two National Film Awards and Filmfare Best Movie Award. It was invited to Carthage Film Festival 1978, Chicago Film Festival, where it was awarded the Golden Plaque 1978, and in 1986 it was invited to Festival of Images, Algeria.

Plot
Bhumika tells the life story of an actress, Usha (Smita Patil), who is the granddaughter of a famous female singer of the old tradition from the Devadasi community of Goa. Usha's mother (Sulabha Deshpande) is married to an abusive and alcoholic man. Following his early death, and over her mother's objections, Usha is taken to Bombay by family hanger-on Keshav Dalvi (Amol Palekar) to audition successfully as a singer in a Bombay studio: the first step in a process, watched approvingly by Usha's doting grandmother and with horror by her mother, that will eventually carry her to on-camera adolescent stardom, and to an ill-starred love marriage with Keshav. Usha's motives for stubbornly pursuing this relationship (culminating in a pre-marital pregnancy) with the unattractive and much older Keshav — who appears to have lusted after her since childhood — are not spelled out. Presumably, she either feels indebted to him for his loyalty to her family (of which he frequently reminds her) and for her own worldly success; or simply views him as a means to escape her abusive home. She is also a headstrong girl who clearly enjoys her acting career and is bent on challenging her uptight mother (who opposes the match because Keshav does not belong to their caste, just as she opposes cinema itself because of its presumed disreputability).

Once the two are wed, Usha is shocked to find Keshav continuing to act as her "business manager", arranging starring roles for her opposite heartthrob Rajan (Anant Nag), who is himself in (unrequited) love with her. Since Keshav's own business is unsuccessful, the family remains entirely dependent on Usha's earnings – a fact that Keshav clearly resents. He thus becomes both a jealous husband with a fragile ego and nasty temper, as well as (in effect) a greedy pimp who compels his wife to take risqué work despite her dislike of her co-star and her protests that she "only wants to be a housewife" now that their daughter has been born. Not surprisingly, the relationship becomes increasingly poisoned, particularly by Keshav's suspicion (fed by star-magazine gossip) that she is having an affair with Rajan, which is partly true. Verbally and physically abused by her husband and periodically obliged to live in a hotel, separated from her daughter and mother, the desperately unhappy actress eventually instigates two unsatisfying liaisons: with the nihilistic and self-centered director Sunil Verma (Naseeruddin Shah), with whom she plots a double-suicide (which he foils), and then with the wealthy businessman Vinayak Kale (Amrish Puri), who keeps her as a pampered mistress on his palatial estate. Here Usha briefly finds a kind of "respectability" as a de facto second wife, earning a measure of love and admiration from Kale's mother (Dina Pathak), son, and bedridden first wife — but (as she learns one day when she tries to take the boy to a nearby fair) at the cost of even the most rudimentary freedom. Unable to abide by Kale's feudal patriarchal rules, she finds her only hope of escape in the intervention of her still-legitimate husband, the hated Keshav, who promptly brings her back to a Bombay festooned with billboards of her own face, and to the same drab hotel and lonely prospects. As Kale's bitter wife remarks to Usha as the latter prepares to leave, "The beds change, the kitchens change. Men's masks change, but men don't change." Usha's daughter, now grown-up, invites Usha to live with her and her husband, but Usha refuses. The movie ends with Usha, alone in her hotel room, receiving a phone call from Rajan.

Cast

 * Smita Patil as Urvashi alias Usha
 * Amol Palekar as Keshav Dalvi
 * Anant Nag as Rajan
 * Amrish Puri as Vinayak Kale
 * Naseeruddin Shah as Sunil Verma
 * Dina Pathak as Mrs. Kale, Vinayak's mother
 * Kulbhushan Kharbanda as Film Producer Harilal
 * Sulabha Deshpande as Shanta
 * Kiran Vairale as Sushma Dalvi
 * Mohan Agashe as Siddharth Sutar
 * Benjamin Gilani as actor Mohan playing Mughal prince in song 'Saawan ke din aaye'
 * Abishek
 * Baby Rukhsana as Young Usha
 * B. V. Karanth as Usha's father
 * Kusum Deshpande as Shanta's mother
 * Rekha Sabnis as Mrs.Yashwant Kale
 * Baby Bitto as young Sushma
 * G. M. Durrani as music teacher
 * Sudarshan Dheer as dance director (he is also the choreographer of this movie)
 * Master Abhitab as Dinu
 * Sunila Pradhan as actress Ms.Bala the 'Princess'
 * Om Puri as stage actor as 'Evil king'
 * Savita Bajaj as Basanti

Production
The film was based on autobiography of the doyenne of Marathi theatre and cinema Hansa Wadkar during the 1940s and 50s. The biography was told to journalist Arun Sadhu, who used the title of the hit musical, Sangtye Aika (1959) or " "Listen, and I'll Tell."

The film was set in Maharashtra region. Benegal's previous films were based in Hyderabad region, and since he was unfamiliar with the region, he roped in screenwriter and playwright Girish Karnad to co-write the script. Another noted theatre director and playwright Satyadev Dubey wrote the dialogues. The story moves back and forth across flashbacks to the early life of Wadkar. Apart from the non-linear narrative, the film also employed the film within a film device.

Lead actress, a 22-year-old Smita Patil still new to the medium, found the role daunting initially, yet as the filming progress, playing the multi-layered character, she found not only her space the industry and went to win the Best Actress Award for her performance, and today it is considered one of the best performances of her career.

Crew

 * Director : Shyam Benegal
 * Producer : Lalit M. Bijlani, Bhisham M. Bijlani, Freni Variava, Silloo F. Variava
 * Writer : Hansa Wadkar (based on Marathi novel "Sangtye Aika")
 * Screenplay : Shyam Benegal, Girish Karnad, Satyadev Dubey
 * Dialogues : Satyadev Dubey
 * Cinematographer : Govind Nihalani
 * Editor : Bhanudas Divakar, Ramnik Patel
 * Costume Designer : Kalpana Lajmi
 * Choreographer : Sudarshan Dheer

Music
The song 'Baju re Mondar' is sung by two stalwart vocalists of Hindustani classical music, Saraswati Rane daughter of Ustad Abdul Karim Khan of Kirana gharana and Meena Fatherpekar her grand daughter.

Awards and nominations

 * rowspan="2"|1977
 * Smita Patil
 * National Film Award for Best Actress
 * Won
 * Satyadev Dubey, Shyam Benegal, Girish Karnad
 * National Film Award for Best Screenplay
 * Won
 * rowspan="2"|1978
 * Lalit M. Bijlani, Freni Variava
 * Filmfare Award for Best Film
 * Won
 * Smita Patil
 * Filmfare Award for Best Actress
 * Nominated
 * }
 * Smita Patil
 * Filmfare Award for Best Actress
 * Nominated
 * }

Trivia
In scene after the marriage of Usha and Keshav, the song 'Ek bangla bane nyara' from movie President (1937 film) sung by K.L. Saigal plays in the background.

In Amrish Puri's autobiography, The Act of Life he recounts "As for Bhumika, it was an absolutely different role, wherein I played a landlord from Goa. Interestingly, during the making of this film, Shyam told me, “Your face is very hard for this role and I cannot take anybody else either. So, I want you to look a bit softer.” I said, “What can I do?”" He suggested, “Go to a beauty parlour and get some facial done.” I said, “But the face would remain the same.” He said, “No, no, the softness would come.” So, I was sent to Taj Mahal Hotel for about ten sessions of facials, which were naturally paid for and it did make a difference; for I noticed that the face indeed looked much softer. Here is a strong character of a zamindar, who marries this girl and takes her to his village in Goa. She lives over there till the time she wants her freedom and claims that she could go anywhere and how any restrictions could be imposed on her within those four walls? She retaliates and nonchalantly defies my orders. That is when I was to slap her saying, “No, I brought you with a condition. I told you how you would have to be staying here and you are trying to go against that condition. I won’t allow it. You don’t want to live here, I’ll send you back even now.”

This zamindar was a gentle, principled man who was soft-spoken but firm, as he laid all his cards before the woman, Smita Patil. Normally, we slap in such a way that without hitting the other actor, you have to react. I discussed with Shyam that by giving a real slap we would get the right reaction. He approved of the idea but warned me not to slap her forcefully. I rehearsed the scene without hitting her, but slapped her in the final shot not realising the impact. It had the desired effect and what a fantastic reaction came on her face, as she looked daggers at me. It conveyed, “How dare you slap me?” But Smita was a natural actress and very professional. Her performance was always acclaimed. As the shot ended she ran after me to hit me. The whole unit was enjoying the incident."

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Bhumika (film)


text:
Talk:Six Flags New England

Employee Treatment
I would just like to comment on the content of this article, specifically the portion about employee treatment. The article is based mainly on rumor and hearsay, and I for one would like to see a source. I've been a season pass holder for two years to SFNE, and the vast majority of employees I've spoken to at SFNE enjoy their jobs and like working there. This was the first I ever heard of any such employee mistreatment at SFNE. There were the mechanics who went on strike last February, but that was for more pay and benefits, not due to mistreatment from management. — Preceding unsigned comment added by 68.0.224.10 (talk) 05:05, 11 July 2005 (UTC)

 * You're right, that paragraph needs a source. I've removed it for now.. if someone wants to rewrite it with sources and without the opinion, feel free. Rhobite 05:14, July 11, 2005 (UTC)

 * I don't know the paragraph, but I DO know people who used to work there that were highly disgruntled by their treatment there. 207.159.176.253 (talk) 14:59, 17 April 2008 (UTC)

I worked there myself as a college student in the mid 80's. Treatment wasn't bad, but we were expected to work very long hours (often 10 AM to 1 AM) which, for a 16 or 17 year old just out of high school, is a lot. There was also very much a class-system in place, whereby a "pecking order" was established based on what department you worked in. This was easily noted by the color of shirt you wore - employees all wore collared polo-style shirts with the Riverside Logo, and the color indicated your department. Red was Food Services (the largest of all the departments), light blue was Rides, dark green was Grounds, yellow was Games, and pink was Retail. Managers usually wore white shirts. The pecking order, from high to low, ran thus: Pink, Yellow, Blue, Red, and Green. —Preceding unsigned comment added by Redascent (talk • contribs) 19:51, 26 November 2008 (UTC)

I worked at SFNE for five years starting as a part time summer job, working my way up to being a year round employee. I can tell you first hand that their treatment of employees is terrible. Often times employees will work long hours without reasonable availability to take a bathroom break, or water to drink. I first hand have seen/been a part of making up times on timecards, not giving breaks to employees and trying to convince/bribe them to sign off on slips. At least twice a group of international workers were left at the bus station in boston to sleep on the floor overnight because management forgot about them. If any labor relations board ever looked into the practices, I am sure SFNE would face severe consequences. I can recall being sworn at, screamed at, humiliated on a daily basis by an abusive boss who had a reputation for cruelty. I have seen 14 year old kids working machines and hours that would get the place shut down if it was ever seen from the outside. Aldults can take the abuse from the employer, but for children or people from another land to have to work in such an environment is disgusting. They bring in international workers, but take back nearly all their pay for rent in the ghetto housing they are put up in in Springfield. I would be willing to go on record with someone to get this properly sourced and reported...any time you want. — Preceding unsigned comment added by 204.60.84.2 (talk) 16:51, 2 February 2013 (UTC)

 * Since we have no proof of your identity or veracity, I'm afraid this comes across as more of a forum post, which is not what this page is for. If it is as bad as you say it is, sounds like you need to be talking to local media instead of to volunteers at an online encyclopedia project. -- McDoob  AU93  16:55, 2 February 2013 (UTC)

The Rides Section
Should the rides section be removed? It was horribly written and have unconfirmed information in the section as well. — Preceding unsigned comment added by 68.56.134.173 (talk) 21:49, 6 November 2005 (UTC)

 * I rewrote it. — Preceding unsigned comment added by 68.0.194.213 (talk) 07:07, 29 November 2005 (UTC)

I recently made a major overhaul to the section, it is not the most well written section so please add to it if you could Spidlock 20:47, 14 February 2007 (UTC)

I was on the wooden rollercoaster Big Dip as late as about 1968 to 1970 I rode it with my father. I know that I was on it at least a couple of years before Epcot center was opened. We used to go to a lot of places like that. —The preceding unsigned comment was added by 64.17.116.58 (talk) 03:27, August 20, 2007 (UTC)

Nevermind, I'm an idiot. It was obviously teh Thunderbolt I rode. Just figured that out. —The preceding unsigned comment was added by 64.17.116.58 (talk) 13:27, August 20, 2007 (UTC)

six flags new england is an AWESOME park pandemonium is very very nice! — Preceding unsigned comment added by 72.192.3.188 (talk) 04:10, 17 November 2007 (UTC)

There was a fourth roller coaster, the Wildcat, that existed up into the 80's. This roller coaster was a steel coaster with small, 4-passenger cars, that was near the southwest corner of the park; I believe it was demolished to add additional parking. The statement about the Cyclone being the third coaster is incorrect; at the time the Cyclone was added, there were already 3 coasters operating in the park: The Thunderbolt, the Black Widow, and the Wildcat. —Preceding unsigned comment added by Redascent (talk • contribs) 19:54, 26 November 2008 (UTC)

What, no listing for the Monorail? LReyome254 (talk) 21:52, 20 July 2014 (UTC)

Opinions
The shows and entertainment section contains opinions that seem to violate Neutral Point Of View. — Preceding unsigned comment added by 66.109.50.135 (talk) 17:15, 19 May 2006 (UTC)

20 Acres?
Is this park really only 20 acres? That seems a bit small for a major amusement park. — Preceding unsigned comment added by Coasterman1234 (talk • contribs) 01:32, 9 September 2006 (UTC)

FlashPass
This section isn't well written in my opinion- I don't understand it. I would rewrite it myself...but I don't understand it! — Preceding unsigned comment added by 80.195.26.20 (talk) 17:39, 22 June 2007 (UTC)

Overall Page
There are several typograpchical errors on this page. Needs major work. Also much content is outdated as well. —Preceding unsigned comment added by Getoffmycloudrs (talk • contribs) 13:36, 21 October 2007 (UTC)

No History Section?
I'm shocked that there is no mention of the park's previous history as Riverside/Agawam Park, not even a separate article about it.

70.88.213.74 (talk) 19:47, 16 August 2008 (UTC)

 * Yeah, some vandal deleted it. I brought it back and updated a bit.  Star fox  Roy  23:39, 11 October 2008 (UTC)

Need to find a ref
I brought the history back up, some vandal deleted it and nobody seemed to notice. I updated the news on The Dark Knight, but it lacks a reference, and I was hoping someone could help me find one.  Star fox  Roy  23:38, 11 October 2008 (UTC)

Reference Project
I will now be adding numerous citations to this article to make it more reliable. But I can't do it alone! If you find a source, please feel free to to use the reference tag to add references. I am a local to this theme park and feel it's too notable not to have proper reference citations.  Star fox  Roy  20:22, 8 November 2008 (UTC)

 * I see reference numbers but the numbers are not at the key points in the article LReyome254 (talk) 21:48, 20 July 2014 (UTC)

Joker's Wild Card
Added information that Joker's Wild Card will be coming back to the park for the 2009 season. Added refrence.(SFNE 2009 park map) Superscout22 (talk) 18:55, 14 February 2009 (UTC)

History
I've been to Riverside Park many times starting in about 1973. They had a "pay one price" system in effect at that time - no individual tickets were sold - long before the 1980's as stated. As a matter of fact, that's what attracted most people to the park at that time. It was $3.50. Just went yesterday (October 9, 2011) and it was $46.99 to get in. Actually, I also had to go through a metal detector and submit to a hand-search of my backpack. This disgusts me.71.234.180.182 (talk) 02:14, 11 October 2011 (UTC)

 * Your opinion has been noted. However, this is not the place to discuss your feelings about how things are done. -- McDoob  AU  93  02:22, 11 October 2011 (UTC)

Flags
Appropriately enough six flags fly in front of the park. Does anyone know what the six flags are? I know that the name 'six flags' refers to the flags flown over Texas, but that's obviously not appropriate in New England. I'd assume that the flags are for Massachusetts, Vermont, New Hampshire, Maine, Connecticut and Rhode Island, but I'm not sure. Does anyone know for certain and can they add it to the article? 71.232.25.76 (talk) 02:50, 14 May 2013 (UTC)

 * The name "Six Flags" doesn't make sense for most of the parks in the chain. It is simply a catchy title so it was used in multiple parks.  When they were naming Six Flags New England they may have noticed the connection between the amount of states in New England and the title, but we have no way of knowing. 72.192.2.198 (talk) 01:20, 19 June 2013 (UTC)

 * The Six Flags corporation originated in Texas. The name refers to the six nations that have had sovereignty over some or all of what is present-day Texas. It is already mentioned in the Six Flags article where it belongs (you can see it here). --GoneIn60 (talk) 19:01, 27 June 2013 (UTC)

Past Rides Chart
A long time ago this page had a 'past rides' chart. Does anyone know why it was removed? Does anyone think that we should we add it back in? 72.192.2.198 (talk) 21:16, 26 June 2013 (UTC)

Operating Season/Edit Request 6/16/15
How long does Six Flags New England operate? Is it May to October? Could someone please find the operation date for the amusement park? --75.68.122.13 (talk) 19:56, 16 June 2015 (UTC)Jacob Chesley the Alternate Historian

✅ – This year it's April through November, but typically it's April through October. I simplified it in the infobox by stating spring through fall. --GoneIn60 (talk) 20:28, 16 June 2015 (UTC)

 * Thanks for the info, GoneIN60! :) I'm surprised that Six Flags New England is operating until November this year! November is a pretty cool month in New England. It sometimes snows that time of year. Maybe it is early November after Halloween. --75.68.122.13 (talk) 17:55, 17 June 2015 (UTC)Jacob Chesley the Alternate Historian

 * Yes, you can find the exact dates at the park's website. It's actually just November 1 this year, so not really much beyond October. --GoneIn60 (talk) 19:27, 17 June 2015 (UTC)

Fireball New For 2016/Edit Request 2/18/2016
Should Fireball be added to the article under the attractions section? I know it's a new ride for the 2016 season and it is a Larson Super Loop. However, I don't know if it is a roller coaster or a flat ride. --75.68.122.13 (talk) 15:05, 18 February 2016 (UTC)Jacob Chesley the Alternate Historian

 * Flat ride. The park can call it whatever they want, but as a primary source intent on promoting their product, they'll use the more "attractive" roller coaster term instead of calling it what it is. -- McDoob  AU93  15:28, 18 February 2016 (UTC)

 * Thank you for the information, McDoobAU93! Could you please add the info regarding Fireball to the attractions section? That was my other main reason for making this comment. I also heard that several other Six Flags parks are also getting the Fireball coaster/ride, whenever it is called Fireball or a different name. --75.68.122.13 (talk) 13:00, 19 February 2016 (UTC)Jacob Chesley the Alternate Historian

 * I believe four got them for 2015, so it makes sense that they'd add a few more. They are fun, but they are not coasters by any definition. The only people that refer to them as coasters are the manufacturer itself (they describe it as a "compact coaster") and Six Flags, and both are PRIMARY sources with a conflict of interest in promoting it a certain way. -- McDoob  AU93  15:23, 19 February 2016 (UTC)

 * I asked for the info about Fireball to be added to the attractions section on the article and it hasn't been done yet even though I asked for it twice before! This was my main reason for this comment. Someone please answer the main part of my request ASAP! --75.68.122.13 (talk) 18:00, 21 February 2016 (UTC)Jacob Chesley the Alternate Historian

 * Added to flat rides section— JlACEer ( talk ) 16:34, 22 February 2016 (UTC)

 * Thank you, JlACEer! Oddly enough, the Six Flags website says that Fireball is going to be Six Flags New England's twelfth roller coaster. Even though it's just a loop. Thanks for adding it to the article, anyways. --75.68.122.13 (talk) 20:50, 22 February 2016 (UTC)Jacob Chesley the Alternate Historian

 * Yes, as McDoobAU93 pointed out above, it's self-serve marketing. We would need a significant amount of third-party sources (commonly known as secondary sources on Wikipedia) that support the claim before we would change it in the article. Primary sources, like the park's website, wouldn't count. Here are two secondary sources that disagree with the "coaster" billing: RCDB.com and Behind the Thrills. The former doesn't list Fireball, and the latter clearly calls it a flat ride. --GoneIn60 (talk) 21:03, 22 February 2016 (UTC)

Flat ride designation for Fireball
Pinging other involved editor:

How exactly does it qualify as a flat ride in the same category as carousels? If you want a source that lists it as a roller coaster there is this one from Massachusetts Local News. I just want to make sure I understand why this is categorized like it is. Thanks. --Majora (talk) 19:06, 22 May 2016 (UTC)

 * Thank you for asking before editing. See the talk in the section right above this. The term flat ride is all-encompassing for anything that stands on a flat piece of ground. That includes mild rides like carousels, but also large thrilling rides like giant swinging pendulums. The local Massachusetts news calling this a roller coaster is just repeating what the marketing department is churning out. According to the sources mentioned above, the primary two being Roller Coaster Database and the American Coaster Enthusiasts online census, these rides are not roller coasters.— JlACEer  ( talk ) 19:24, 22 May 2016 (UTC)

History section
I am considering making huge cuts to the History section. Ideally, this section of the article shouldn't read like a year-by-year documentation of every small detail change. Ride relocations shouldn't even be in the article at all. Way too much of the content is excessive, un-constructive detail. I'd like to hear some input before I decide to get to work on this article.  Michael Ivan  07:16, 13 February 2017 (UTC)

Why is Six Flags Over New England considered the first Six Flags?
It is clear that Six Flags opened in Arlington Texas in the 1960s and has been in constant operation since then. It seems the amusement parks in New England lost favor and then when Six Flags became a famous brand, New England renamed their parks "Six Flags" under that name. Arlington is the original home of Six Flags. Dangerkeith3000 (talk) 05:23, 25 May 2019 (UTC)

Dark Knight Coaster
Should The Dark Knight Coaster be listed under Former Attractions since it never operated? Maybe a new section should be added specifically for this ride. Eye4ThemeParks (talk) 20:22, 23 November 2020 (UTC)

title: Talk:Six Flags New England


text:
Pigeon House Mountain

Pigeon House Mountain (Aboriginal: Didthul ) is a mountain at an elevation of 720 m on the Budawang Range that is situated within the Morton National Park, located on the South Coast region of New South Wales, Australia.

The prominent remnant of a two tier sandstone structure, the nearest town is Milton. Pigeon House Mountain is a popular walking destination, taking an average of three to four hours for a complete ascent and descent from the car park.

Pigeon House Mountain is home to eastern grey kangaroos and superb lyrebirds.

Etymology
The mountain was first seen by Captain James Cook at 7 a.m. on 21 April 1770, during his voyage of discovery along Australia's eastern coast. Cook described - "a remarkable peaked hill which resembled a square dovehouse with a dome on top and for that reason I called it Pigeon House."

The Aboriginal name for the mountain is Didthul, Didhol, or Dithol which means "woman's breast" on account of the distinctive shape of the mountain.

title: Pigeon House Mountain


text:
Great Hotels

Great Hotels is a television show on the Travel Channel. The show, hosted by Samantha Brown, travels around the United States to show some of its most renowned hotels. Brown stays at the hotel and walks the viewer through the layout, the rooms, and extra features the hotel has to offer that make it unique and desirable.

Hotels
Below are some notable hotels that Great Hotels covered.

 * Arizona Biltmore Hotel Resort & Spa, Phoenix, Arizona
 * Auberge du Soleil, Napa County, California
 * Bacara Resort and Spa, Santa Barbara, California
 * Bellagio, Las Vegas, Nevada
 * The Boulders, Carefree, Arizona
 * The Breakers, Palm Beach, Florida
 * The Broadmoor, Colorado Springs, Colorado
 * Casa Morada, Islamorada, Florida Keys, Florida
 * The Chateau Marmont, Los Angeles, California
 * The Chatham Bars Inn, Chatham, Massachusetts
 * Disney's Animal Kingdom Lodge at Walt Disney World Resort
 * Disney's Beach Club Resort at Walt Disney World Resort
 * Disney's Fort Wilderness Campground at Walt Disney World Resort
 * Disney's Grand Californian Hotel & Spa at Disneyland Resort, Anaheim, California
 * Disney's Grand Floridian Resort & Spa at Walt Disney World Resort
 * Disney's Wilderness Lodge at Walt Disney World Resort
 * Disney's Yacht Club Resort at Walt Disney World Resort
 * Daufuskie Island Resort, Hilton Head, South Carolina
 * The Don CeSar Beach Resort, St. Pete Beach, Florida
 * The Driskill, Austin, Texas
 * The Fairmont San Francisco, San Francisco, California
 * Four Seasons Hualalai, Hawaii
 * Four Seasons Chicago, Chicago, Illinois
 * Grove Isle Club and Resort, Coconut Grove, Miami, Florida
 * The Hay-Adams, Downtown Washington D.C.
 * The Homestead, Hot Springs, Virginia
 * Hotel Biba, West Palm Beach, Florida
 * Hotel Diva, San Francisco, California
 * Hotel George, Downtown Washington D.C.
 * Hotel Monaco, Chicago, Illinois
 * Hotel Palomar, San Francisco, California
 * Hyatt Regency Grand Cypress, Orlando, Florida
 * Hyatt Regency Hill Country Resort, Texas
 * Hotel Serrano, San Francisco, California
 * Hotel Teatro, Denver, Colorado
 * The Inn at Little Washington, Washington, Virginia
 * The Inn at Montchanin Village, Montchanin, Delaware
 * The Kahala Resort and Hotel, Oahu, Hawaii
 * Omni La Mansion del Rio, San Antonio, Texas
 * La Playa Beach & Golf Resort, Naples, Florida
 * Le Pavillon Hotel, New Orleans, Louisiana
 * The Hotel, South Beach, Florida
 * The Hotel Hershey, Hershey, Pennsylvania
 * The Library Hotel, New York City, New York
 * The Lodge at Koele, Hawaii
 * The Lodge at Vail, Vail, Colorado
 * The Luxor, Las Vegas, Nevada
 * Mandalay Bay, Las Vegas, Nevada
 * The Manele Bay Hotel, Hawaii
 * Mark Hopkins Inter-Continental, San Francisco, California
 * Marshall House, Savannah, Georgia
 * Meadowood, Napa Valley, California
 * Molokai Lodge, Maunaloa, Moloka'i, Hawaii
 * Nine Zero Hotel, Boston, Massachusetts
 * The Palmer House Hilton, Chicago, Illinois
 * The Palms Casino and Resort, Las Vegas, Nevada
 * Park Hyatt Beaver Creek, Colorado
 * Park Hyatt Bellevue, Pennsylvania
 * The Peninsula, Beverly Hills, California
 * Portofino Bay Hotel, Orlando, Florida
 * Princeville Hotel, Kauai, Hawaii
 * The Renaissance Hollywood Hotel, Hollywood, California
 * The Rittenhouse Hilton, Philadelphia, Pennsylvania
 * Ritz-Carlton, Amelia Island, Florida
 * Ritz-Carlton Half Moon Bay, Half Moon Bay, California
 * Ritz-Carlton Naples, Naples, Florida
 * Ritz-Carlton New Orleans New Orleans, Louisiana
 * The Sagamore, Bolton Landing, New York
 * San Jose Hotel, Texas
 * Shutters on the Beach, Santa Monica, California
 * The St. Regis, New York City, New York
 * Monarch Beach Resort, Dana Point, California
 * The Standard, Los Angeles, California
 * Sunset Key Guest Cottages, Key West, Florida
 * Turtle Bay Resort, Oahu, Hawaii
 * The Venetian, Las Vegas, Nevada
 * The Waldorf-Astoria, New York City, New York
 * The Wauwinet, Nantucket, Massachusetts
 * The Westin Savannah Harbor Golf Resort & Spa, Savannah, Georgia
 * The Westin St. Francis, San Francisco, California
 * Wheatleigh, Lenox, Massachusetts
 * W. Honolulu, Honolulu, Hawaii
 * W. San Diego, San Diego, California
 * Willard Intercontinental, Washington D.C.

title: Great Hotels


text:
Dipodomyinae

Dipodomyinae is a subfamily of heteromyid rodents, the kangaroo rats and mice. Dipodomyines, as implied by both their common and scientific names, are bipedal; they also jump exceptionally well. Kangaroo rats and mice are native to desert and semidesert ecosystems of western North America from southern Canada to central Mexico. They are generally herbivorous foragers, and dig and live in burrows.

Taxonomy
Dipodomyinae is the sister group of a Perognathinae-Heteromyinae clade; the two are estimated to have split about 22-24 million years (Ma) ago. The most recent common ancestor of extant dipodomyines is thought to have lived 15-16 Ma ago, when the two genera split. The most recent common ancestors of extant members of Dipodomys and Microdipodops are thought to have lived 10-11 and 7-8 Ma ago, respectively.

 * Subfamily Dipodomyinae
 * Genus Dipodomys — kangaroo rats
 * Agile kangaroo rat, Dipodomys agilis
 * California kangaroo rat, Dipodomys californicus
 * Gulf Coast kangaroo rat, Dipodomys compactus
 * Desert kangaroo rat, Dipodomys deserti
 * Texas kangaroo rat, Dipodomys elator
 * Big-eared kangaroo rat, Dipodomys elephantinus
 * San Quintin kangaroo rat, Dipodomys gravipes
 * Heermann's kangaroo rat, Dipodomys heermanni
 * Giant kangaroo rat, Dipodomys ingens
 * Merriam's kangaroo rat, Dipodomys merriami
 * Chisel-toothed kangaroo rat, Dipodomys microps
 * Nelson's kangaroo rat, Dipodomys nelsoni
 * Fresno kangaroo rat, Dipodomys nitratoides
 * Ord's kangaroo rat, Dipodomys ordii
 * Panamint kangaroo rat, Dipodomys panamintinus
 * Phillips's kangaroo rat, Dipodomys phillipsii
 * Dulzura kangaroo rat, Dipodomys simulans
 * Banner-tailed kangaroo rat, Dipodomys spectabilis
 * Stephens's kangaroo rat, Dipodomys stephensi
 * Narrow-faced kangaroo rat, Dipodomys venustus
 * Genus Microdipodops — kangaroo mice
 * Pale kangaroo mouse, Microdipodops pallidus
 * Dark kangaroo mouse, Microdipodops megacephalus

title: Dipodomyinae


text: User talk:69.205.170.251

title: User talk:69.205.170.251


text:
Al Nichols

Alfred Henry Nichols (born as Alfred Henry Williams; February 14, 1852 – June 18, 1936) was an English Major League Baseball player for three seasons. Born in Worcester, England, he played for three different teams, and mainly played as a third baseman. After his third season, in 1877 as a member of the Louisville Grays, he was suspended from baseball for the remainder of his life for his part in throwing games for money. He is also the first person born in England to play Major League Baseball.

Career
Nichols got his start at third base for the 1875 Brooklyn Atlantics of the National Association. He batted only .153 in 32 games played that season. The following year, after the collapse of the Association, he played for the New York Mutuals of the new National League and didn't fare much better, hitting .179 in 57 games.

Banishment
It was for the Louisville Grays in 1877 that he would gain infamy. It was determined that he was involved in throwing games for money along with teammates George Hall, Jim Devlin, and Bill Craver. As a personal friend of Hall, he was brought in to play third base at Hall's insistence to replace Bill Hauge when he had to take time off due to injury. At this point, Louisville was in first place, but soon after Nichols' arrival, the team began to lose games at an alarming rate. Club President Charles E. Chase started to become suspicious when Nichols was still playing even though he continued to make key errors when Hauge was well enough to return to his starting position. His suspicion was confirmed when he received a couple telegrams instructing him to watch his players. Chase confronted the players, and Hall and Devlin confessed. The matter was referred to National League president William Hulbert, and Nichols was formally banned from Major League Baseball on December 4, 1877.

Personal life
Nichols came to the United States from England in 1861.

After his banishment from baseball, he spent most of his life in the Brooklyn, New York area, got married and raised a family. He worked at various jobs, including as a shipping clerk and inspector, and was very remorseful about his role in the scandal, making many unsuccessful attempts to earn reinstatement. He died in Richmond Hill, New York, at the age of 84. He was cremated and interred at Green-Wood Cemetery in Brooklyn.

title: Al Nichols


text:
Sercquiais

Sercquiais, also known as lé Sèrtchais, Sarkese or Sark-French, is the Norman dialect of the Channel Island of Sark (Bailiwick of Guernsey).

Sercquiais is a descendant of the 16th century Jèrriais used by the original colonists; 40 families mostly from Saint Ouen, Jersey who settled the then uninhabited island, although influenced in the interim by Guernésiais (the dialect of Guernsey). It is also closely related to the now-extinct Auregnais (Alderney) dialect, as well as to Continental Norman. It is still spoken by older inhabitants of the island and most of the local placenames are in Sercquiais.

In former times, there may have been two subdialects of Sercquiais, but today the dialect is relatively homogeneous. The phonology of the language retains features lost in Jèrriais since the 16th century.

Written Sercquiais
Relatively little Sercquiais has been transcribed, and as there is no widely accepted form, it has received a certain amount of stigma as a result. A notable ruler of Sark, Sibyl Hathaway, who was a speaker herself, proclaimed that it could "never be written down", and this perception has continued in the years since.

The earliest published text in Sercquiais so far identified is the Parable of the Sower (Parabol du smeaux) from the Gospel of Matthew. Prince Louis Lucien Bonaparte, linguist, visited the Channel Islands in September 1862 in order to transcribe samples of the insular language varieties, which he subsequently published in 1863:
 * (3) [...] L'chen qui sème s'n allit s'mai;
 * (4) Et tàndis qu' i s'maitt une partie d' la s'menche quitt le long du ch'mìnn et l's oesiaux du ciel vìndrint et i la màndgirent.
 * (5) Une aûtre quitt dans d's endréts roquieurs, où alle n'avait pas fort de terre; et ou l'vist ossivite, parçe que la terre où al' 'tait n'était pas ben avant.
 * (6) Mais l'solé se l'vitt et ou fut brulaie; et coumme ou n'avait pas d'rachinnes, ou s'quitt.
 * (7) Une aûtre quitt dans d's épinnes, et l's épinnes vìndrent à craitre, et l'etoupidrent.
 * (8) Une aûtre enfin quitt dans d'bouanne terre, et ou portit du fritt; quiq' grâins rèndirent chent pour un, d'aûtres sessànte, et d'aûtres trente.
 * (9) L'chen qu'a d's oureilles pour ouit qu' il ouêt. (S. Makyu. Chap. XIII. 3–9)

Which in the NIV is translated as:
 * (3) "[...] A farmer went out to sow his seed.
 * (4) As he was scattering the seed, some fell along the path, and the birds came and ate it up.
 * (5) Some fell on rocky places, where it did not have much soil. It sprang up quickly, because the soil was shallow.
 * (6) But when the sun came up, the plants were scorched, and they withered because they had no root.
 * (7) Other seed fell among thorns, which grew up and choked the plants.
 * (8) Still other seed fell on good soil, where it produced a crop — a hundred, sixty or thirty times what was sown.
 * (9) He who has ears, let him hear."

Present
As of 2022, Sercquiais had three native speakers. The Czech linguist Martin Neudörfl has been trying to preserve the language by teaching it to children. He has also conducted many tests, and created hundreds of hours of recordings, so that audio of pronunciation and rhythm — how the language sounds — is preserved. Since 2019, the language has been taught in schools.

Phonology

 * (Note: Sercquiais not possessing a standard orthography, examples are given according to Liddicoat's Lexicon of Sark Norman French, Munich 2001)

Sercquiais does not have the voiced dental fricative which is such a distinctive characteristic of St. Ouen in Jersey where most of the colonists came from.

Palatalisation of velars and  (see Joret line) is less fully developed in Sercquiais than in Jèrriais. Palatalisation in Jèrriais of to  and  to  has the equivalent in Sercquiais of  and. For example, hiccup is hitchet in Jèrriais and hekyet in Sercquiais; war is respectively dgèrre and gyer.

Palatalisation of in Jèrriais leads to, but in Sercquiais  is generally retained: profession, trade in Sercquiais is meeti, whereas Jèrriais has palatalised to mêtchi.

is retained in Sercquiais where Jèrriais has reduced to, as in to eat: mãdji (Sercquiais) – mangi (Jèrriais).

Final consonants of masculine nouns in the singular are in free variation with null in all positions except in liaison. Final consonants are usually pronounced at ends of phrases. Final consonants are always lost in plural forms of masculine nouns. A cat may therefore be kat or ka in Sercquiais, but cats are kaa. For comparison, Jèrriais cat is usually pronounced, and the plural has the long vowel as in Sercquiais. It can also therefore be seen that length is phonemic and may denote plurality.

Sercquiais has also retained final consonants that have been entirely lost in Jèrriais, such as final in pret (meadow – pré in Jèrriais as in French).

Metathesis of is uncommon in Sercquiais, and in Jèrriais, by comparison with Guernésiais.

The palatalised l, which in Jèrriais has been generally palatalised to in initial position and following a consonant, is maintained in Sercquiais.

Gemination occurs regularly in verb conjugations and gerunds, as in Jèrriais but in distinction to Guernésiais.

However, Sercquiais does not geminate palatal fricatives, unlike Jèrriais:

In the second half of the 19th century the language changed considerably. We can observe this in the 40 idiolects that can be heard today. An important part of the language is the usage of diphthongs, which affects the pronunciation. It is unclear how words are pronounced because there are many possible ways to pronounce them depending on where they are in the phrase. It is important to codify the language since not even the native speakers follow all the rules.

Conjugation of verbs
The St. Ouennais origins of Sercquiais can be seen in the 2nd and 3rd person plural forms of the preterite. Sercquiais uses an ending -dr which is typical of the St. Ouennais dialect of Jèrriais, but generally not used elsewhere in Jersey (nor nowadays by younger speakers in St. Ouen).

title: Sercquiais


text:
Talk:Élie Cartan

Discovery of spinors
Somewhere in the article it should note that Cartan discovered the general mathematical form of spinors in 1913. --D. Estenson II 05:11, July 11, 2005 (UTC)

 * That is mentioned in the spinor article under History. Charles Matthews 07:52, 11 July 2005 (UTC)

I was thinking Cartan's article should also mention it. Maybe I'm wrong. --D. Estenson II 08:13, July 11, 2005 (UTC)

 * I wouldn't mind having this mentioned in some form. The opening sentence does emphasise Lie groups, of which the spinor work was just a facet. There is some question in my mind about how he shares credit with Hermann Weyl for opening up the theory. Charles Matthews 08:20, 11 July 2005 (UTC)

You are probably more of an expert on the subject than I, but in the introduction to Cartan's The Theory of Spinors he says, "In their most general mathematical form, spinors were discovered in 1913 by the author of this work, in his investigations on the linear representations of simple groups" and has a footnote for the Cartan's original publication in french. Weyl did work on the subject, but I don't know when he did it, all references I can find right now came far after 1913. --D. Estenson II 08:45, July 11, 2005 (UTC)

WikiProject class rating
This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 08:27, 27 August 2007 (UTC)

ECE theory
Myron W, Evans is the inventor of ECE theory, a new theory of theoretical physics based on Cartan geometry. He claims: "ECE theory is based directly on Cartan gemetry [sic], which is why it has been overwhelmingly accepted internationally by all the best universities, institutes and similar in the world. They attacked Cartan geometry because I used it in an imaginative way. Nothing as stupid as this has ever happened in science." Is there anything to these claims? 137.205.101.77 (talk) 08:17, 28 February 2017 (UTC)

introduction
The introduction's 1999 citation for Cartan's "greatness" seems somewhat shaky as a list of "great" mathematicians. For example, Grothendieck, Serre, and Hilbert are absent from the list. Might it be better to replace this citation by one to Chern and Chevalley's obituary for Cartan? The latter does not claim to enumerate of great mathematicians; instead, it reflects in personal detail on what made Cartan's work exceptional. It also has the advantage that it was written by well-established mathematicians whose fields intersected with Cartans'.

coporight
the majority of the section "work" is directly copied from the DSB entry and 2.2 is mostly copied from Akivis & Rosenfeld.

i suggest we rewrite these parts.

or delete them right away.

42.244.62.233 (talk) 06:58, 22 September 2018 (UTC)

title: Talk:Élie Cartan