Хансен, Георг Александр

5 июля 1904(1904-07-05)

Зоннефельд

8 сентября 1944(1944-09-08) (40 лет)

Берлин

Вторая мировая война

Георг Александр Хансен (нем. Georg Alexander Hansen; 1904—1944) — сотрудник германской военной разведки; полковник (c 1943).

Георг Хансен родился в городе Зоннефельд. После школы он недолго обучался праву, затем стал офицером. В 1935 году он проходил общую подготовку в Военной академии, где попал под влияние Людвига Бека.

После стал офицером Генерального штаба, с началом Второй мировой войны проходил службу в 12-м отделе Генштаба сухопутных войск (сухопутные армии Запада). В марте 1943 г. возглавил 1-й отдел военной разведки Абвера. После ликвидации Абвера 12 февраля 1944 г. назначен начальником Военного управления РСХА. Участник заговора против Гитлера, в июле 1944 г. был арестован, а Военное управление ликвидировано.

10 августа 1944 г. приговорен народной судебной палатой к смертной казни. Повешен 8 сентября 1944 г. в берлинской тюрьме Плётцензее.

Бек • Больц • Бонхёффер • Вирмер • Вицлебен • Гелльдорф • Гёпнер • Гёрделер • Донаньи • Йорк фон Вартенбург • Канарис • Кох • Лангбен • Лебер • Лёйшнер • Линдеман • Мерц фон Квирнхайм • Маронья-Редвиц • Мольтке • Небе • Ольбрихт • Остер • Попиц • Тротт цу Зольц • Фельгибель • Фромм • Хазе • Хансен Хассель • Хафтен • Хофакер • Штауффенберг • Штиф • Штюльпнагель • В. Шуленбург • Ф. Шуленбург

Вагнер • Клюге • Роммель • Тресков

Бисмарк • Гизевиус • Мюллер • Томас • Фалькенхаузен • Шлабрендорф • Шпайдель

Luis Vega Escandón

Luis Vega y Escandón (Luanco, 11 de noviembre de 1928 − ibídem, 31 de octubre de 2014) fue un abogado y político democristiano español, diputado en el Congreso de los Diputados por la circunscripción de Asturias durante tres legislaturas.

Licenciado en Derecho por la Universidad de Oviedo, abrió despacho como abogado en su domicilio en los años 1950. Miembro de Acción Católica durante la dictadura franquista, en la década de 1960 se vinculó políticamente con Izquierda Democrática —formación democristiana liderada por el exministro franquista Joaquín Ruiz Jiménez—. Como abogado, fue defensor de diversos procesados por causas políticas durante la dictadura ante el Tribunal de Orden Público.

Muerto Franco, Vega Escandón abandonó la formación de Joaquín Ruiz Jiménez para crear otra, bajo el liderazgo de Fernando Álvarez de Miranda, que terminó por agruparse con diversos grupos en el Partido Popular Demócrata Cristiano, que fue uno de los partidos que dieron lugar a Unión de Centro Democrático (UCD). Con esta formación, liderada por Adolfo Suárez, obtuvo el escaño al Congreso de los Diputados encabezando la lista por la circunscripción de Asturias en las elecciones generales de 1977, las primeras democráticas tras el final de la dictadura y que dieron la victoria a UCD. Renovó el escaño en las elecciones de 1979.

Al año siguiente, en noviembre de 1980, cuestionó el liderazgo de Adolfo Suárez por la debilidad del gabinete en minoría que no había conseguido aprobar los presupuestos en el Congreso. Vega Escandón, como otros democristianos de UCD en lo que se denominó la Operación Quirinal, se mostró contrario a los pactos puntuales que se negociaban desde el ejecutivo con el Partido Socialista de Andalucía (PSA) y el Partido Nacionalista Vasco (PNV), y abogó por un gobierno de coalición o un gran pacto con el Partido Socialista Obrero Español (PSOE) para afrontar la crisis política, económica y la lucha contra el terrorismo, en especial de Euskadi Ta Askatasuna (ETA). En concreto señaló:

Así es, que estamos ante otro Gobierno débil, que Adolfo Suárez cometió el error de calificar como el mejor de UCD. El número de parados aumenta y no se pone freno al terrorismo. A mí la gente me para por la calle y me pregunta: „¿Pero ustedes qué hacen?“ Yo no creo que se den las condiciones de un golpe de Estado a la turca, pero así no podemos continuar. ¿Adolfo Suárez? Creo que cumplió una etapa política con mucho acierto, pero se encuentra en un momento en el que no parece capaz de hacer frente a la situación con suficiente autoridad. Un Gobierno democrático tiene más autoridad que ningún otro para hacer frente al terrorismo.

Estas declaraciones provocaron fuertes críticas desde la dirección y la militancia en el seno de la UCD en Asturias. Antes de la práctica desaparición de la UCD tras el fracaso electoral de 1982, Vega Escandón se integró en el Partido Demócrata Popular (PDP) liderado por Oscar Alzaga y fue elegido de nuevo diputado ese año, dentro de Coalición Democrática, formada por el PDP y la Alianza Popular (AP) de Manuel Fraga.

En su labor como diputado, durante las legislaturas en las que formó parte del grupo centrista (1977-1982) fue vicepresidente primero de la comisión Constitucional, clave en la redacción del texto constitucional de 1978 y miembro de la Diputación Permanente (1977-1982), entre otros cargos. Con Coalición Democrática (II Legislatura), fue miembro de la comisión de Justicia y la de control de Radio Televisión Española.

También fue por un año (1986-1987) eurodiputado nombrado por el Congreso tras la integración de España en la Comunidad Económica Europea. Con la desaparición del PDP se integró en el Partido Popular, participando en sus órganos regionales de dirección hasta que abandonó la actividad política en 1996.

Falleció el 31 de octubre de 2014 en Luanco a los 85 años.

Return to Fantasy

Allmusic 3/5 étoiles

Albums de Uriah Heep

Singles

Return to Fantasy est le huitième album studio du groupe de rock anglais Uriah Heep.

Début 1975, Gary Thain quitte Uriah Heep, il sera remplacé par John Wetton (ex Family et King Crimson) qui venait de se séparer de Roxy Music. John Wetton est un ami de David Byron et de Lee Kerslake et lorsqu’ils lui propose de rejoindre le groupe, il accepte. Il avait déjà vu Uriah Heep sur scène à Los Angeles et avait trouvé le show excellent, exactement ce qu’il avait envie de faire, du bon vieux rock’n’roll.

Lorsque John Wetton intègre le groupe, les compositions pour le nouvel album sont déjà prêtes et rejoint immédiatement les studios pour l’enregistrement de l’album. Le groupe retrouve aussi en partie, les studios Lasdowne où il a enregistré ses cinq premiers albums, le reste se fera dans les Studios Morgan. L’album est produit par le patron du label Bronze Records, Gerry Bron. D’après David Byron qui considérait son prédécesseur, Wonderworld, comme un album lent et facile, „Return to Fantasy“ est un retour aux sources, „un album plus rythmé et musical, un album qui donne envie de taper dans ses mains“.

Cet album sera suivi par une tournée mondiale qui durera pas loin d’une année et pendant laquelle le groupe jouera devant plus d’un million de spectateurs.

Cet album atteindra la septième place des charts britanniques, ce qui en fera l’album le mieux classé du groupe au Royaume-Uni. Il intègrera aussi le top 100 du Billboard 200 (85e place) aux États-Unis.

Stonegrave Minster

Stonegrave Minster is a church in Stonegrave, North Yorkshire, England.

It has remarkable heraldry.

It was an Old Minster and established before 757 AD when Pope Paul I wrote to Eadberht, King of Northumberland, about the appointment of an abbot. It was staffed by priests following the traditions of Iona and Lindisfarne, and was probably founded by an earlier King of Northumberland.

The abbess or abbot ruled Coxwold, Stonegrave and a third house, Donamuthe, near where the Old Don met the Trent and Humber at Adlingfleet. This was destroyed by the Danes in 794 AD and has totally disappeared.

The original church was a high and narrow rectangular structure. Today’s west wall may be a remaining feature of this; its early date is shown by the proportions of the tall, narrow doorway, still centrally placed, which has a very roughly constructed arch above two irregular jambs. Such a high, narrow door played an important part in the services of the early church. Above this doorway, high in the west wall, is another doorway, now blocked which once gave access from the tower to a chamber above the nave, possibly a dormitory or chapel. Later, the side walls of the original church were pierced by arches of the Norman north and south arcades. Original masonry seems to have survived above and between the arches themselves. The whole of the east end of the church was destroyed in the Norman rebuilding.

The church contains fragments from four standing crosses, together with an almost complete cross that now stands beside a rectangular block, once part of its base. All these were found during the church’s restoration in 1863. The earliest fragment, with the „figure of 8 design“, was carved in the ninth century, the others in the tenth. They all differ clearly from the cross fragments in neighbouring churches: they are abstract and free from animal forms; the interlace is open and arranged in double plait lines on all but the earliest. Those who commissioned them had a strong religious purpose and individual, though conservative, tastes.

The great cross itself has no parallel in Ryedale. The shape of the head and the style of the carving both suggest that it was designed and carved by men trained in the traditions of Galloway and Iona and made soon after 920 AD. Three carvings interrupt the interlace on the face of the shaft. The lowest is a figure of a priest missionary of the Celtic Church, feet carved sideways as in Northumbrian manuscripts of the time, head round with the Celtic tonsure. From his neck hangs the bag in which he carried the chalice, paten and Gospels on his journeys. He is ready for his pastoral work. Above him is a plain cross, head and arms splayed like those of the head of the great cross. At the top of the shaft is a seated figure, praying with book held aloft in the fashion of the Celtic Church. The surfaces of these carvings are plain, possibly intended to be painted. One scholar has described the whole design briefly – a work of uncompromising Christianity.

The rectangular block beside the great cross and three other fragments once formed its base. Two of the pieces have panels within which are the incised outlines, in the one of an animal with a bird on its back, in the other of an animal. Neither has been satisfactorily explained.

In the 19th century, the great cross was placed on a base that has no relation to it and both were put on the only stone with Norse carving, probably a gravestone. Within a border of interlace, there is the figure of an archer shooting an arrow at a stag. This may be a hunting scene, an incident from Viking heroic legend or a Christian symbol.

During the Twelfth Century, Stonegrave Minster was altered to meet the requirements of the new services and of the prestige of the de Stonegraves family. The crosses were broken up and used as building blocks. Foundations show that the chancel was lengthened and ended in an apse. A long vista was opened up, down the central aisle to the now distant altar, the new focus of worship. Arches were pierced through the north wall and a new aisle made for the chapel of St Leonard, the patron saint of prisoners of war (one of the de Stonegraves was a POW in the Near east). These north arches are puzzling. They were all built through an earlier wall, but the arch nearest to the pulpit is of different stone from the others which are bi-coloured after the fashion best known from Durham cathedral. The brown stone of these arches is from a quarry near Whitby, the lighter coloured is local but the stone of the first arch is from a more distant quarry. The capitals differ, too. That of the first pier is plain; that of the second is prepared for carving but not carved, and that of the third has lines preparatory to carving and some carved roundels. Where the moulding of the two central arches meet are two fantastic heads.

From 1300 to almost 1700 the north aisle was the burial place of the Thorntons, but only two of their tombs remain. The one nearest to the tower, probably that of William Thornton (d. 1330), carved in York, is unusual in having the effigy of a civilian with legs crossed. The other, of Robert Thornton and his wife (d. 1418) is of local stone and workmanship. It is now in a recess in the north wall, the canopy formed from an earlier Easter sepulchre. The tomb chest has figures supporting shields showing the simple coat-of-arms of the family at that time – three thorn sprays. These effigies are all that remain of many memorials, silent figures watching over the building that the Thornton’s had helped to maintain.

There are four main groups of heraldic interest:

The Cistercians of nearby Rievaulx disliked ornament. The half capital of the north arcade nearest to the tower and the capitals of the whole of the south arcade which are slightly later (1165–1170) have no carving. The south arcade itself, again built through an early wall of which part remains, is built of stone consistent with an origin near Rievaulx and was probably made by masons from there. The arches are simpler in style yet more demanding in construction for they have two full spans that give the south side of the nave a spacious air and open wide the chapel of St Peter. The string course between these two arches resembles the courses at Rievaulx. The doorway at the eastern end of the arcade may be the remains of an entrance, used before the arches were built, to the side chapel.

The 1863 restoration destroyed most of the medieval interior of the church. Some of the gravestones with floreated crsses, possibly de Stonegrave tombstones, lie in the churchyard where they were placed during the restoration. A flat gravestone of Purbeck marble, which once had letters and the head and shoulders of a man inlaid in brass (c. 1300) had been placed near the south door – not its original position. The marble was imported by way of Scarborough or Whitby and the indnts of the letters show that they were made in York or Lincoln. There is a tombstone with engraved shears beneath the great cross.

Many medieval carvings and furnishings was swept away by the Puritans in the Sixteenth and early Seventeenth Centuries, including the lead and timber of the roof of the north aisle, taken to make the roof of the rectory. New furnishings were installed when there was a revival of ceremonial during the reign of Charles I. The best of this work that has survived is the light and dignified rood screen of 1637, separating but not hiding the altar from the worshippers. To this was added Alice Thornton’s gift of colourful altar cloths, pulpit cloths and hangings in purple and scarlet with fine embroiderings, none of which has survived.

Other woodwork of the time that has survived suggests that there was a tall pulpit with a reading desk below but only the pulpit remains today, though the carved panels in the chancel and the screening of the vestry may have been part of the larger structure as well as part of the panelling that once covered the lower part of the sides of the chancel. The king’s and queen’s heads on one of these panels are not just ornaments but declarations of loyalty. A further relic of the troubles of the Civil Wars hangs on the south wall of the chancel (not its original position). It is a painted memorial to William Thornton (d. 1668), all his widow could afford after the disasters and fines of the time. The ornate coat-of-arms with its ceremonial crests contrasts with the simple statement of identity of the three thorns on the tomb chest. Fittingly, the painted memorial was restored by a descendant of the family now resident in New York

The eighteenth century Church was a preaching and hymn-singing church. The altar (Holy Communion four times a year) was inconspicuous. There was a whitewashed gallery for the musicians at the back against the west wall and a lofty pulpit dominated the nave, high above the box pews. All that remains now are the pious memorials now placed on the west wall of the nave and the north wall of the chancel, by Taylor of York, good examples of the style and tettering of the time.

Two other memorials of this period are interesting. By the south door is a careful, legally clear statement of the members of a family and their evidence of inheritance claims when possible heirs were scattered. The other is a stone behind the font with a simple record of a bequest to help repair the fabric of the church.

Coordinates:

Relatieve fout

De relatieve fout van een meting is het relatieve verschil tussen een gemeten waarde (een benadering van de werkelijkheid) en de exacte waarde (de juist waarde).

Meer formeel geldt dat bij een exacte waarde v en een benadering






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de relatieve fout η gelijk is aan

Een relatieve fout kan zowel positief als negatief zijn. Bij de bepaling van de grootte van een relatieve fout wordt rekening gehouden met de grootte van de werkelijke waarde. Een bepaalde fout zal bij een grote werkelijke waarde resulteren in een kleinere relatieve fout dan wanneer de werkelijke waarde klein is.

Tegenover de relatieve fout staat de absolute fout (





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).

Fouten worden onder andere veroorzaakt door afrondfouten (bijvoorbeeld π ≈ 3,14159) en meetfouten (niet-precieze meetapparatuur).

Fouttheorie wordt gebruikt in verschillende onderdelen van de wiskunde, zoals numerieke analyse en statistiek, en in disciplines waar men met meetresultaten en modellen te maken heeft, om een idee te krijgen van de grootte van de fout.

Portrait Records

Portrait Records was a sister label of Epic Records and later of Columbia Records. Cyndi Lauper and Sade signed with Portrait, but their contracts were absorbed by Epic after that incarnation of the label was shuttered.

Portrait began in 1976 as a sister label of Epic; its initial signings were Joan Baez, Burton Cummings, and the McCrarys. Cummings‘ „Stand Tall“ was the lead-off single. Baez’s Blowin‘ Away album and the McCrarys‘ self-titled debut bowed in early 1977. The label design was similar to that of Columbia’s singles; design on it was in grey tones, while the logo was handwritten orange with a red outline. This was also the launch of Epic/Portrait/Associated (EPA) under the CBS moniker.

One of the signings the label had was the band Heart. The band had been signed with Mushroom Records, but left after a dispute in advertising their Dreamboat Annie album. The print ads led some fans to think that the sisters Ann and Nancy Wilson were lesbians. Portrait snatched the group up quickly, releasing the single „Barracuda“ before Little Queen was to hit the shelves. The McCrarys also scored big with „You“.

By 1979, however, Epic was looking to consolidate some of its low-end producing labels and, for a short time, Portrait and Epic had both names on the same label. In 1980, only Heart was picked up from Portrait, which then took a three-year hiatus.

Baez left the label after the release of her 1979 Honest Lullaby album; she later admitted in her 1987 memoir, And a Voice to Sing With, that she regretted signing with the label, describing her having left her previous label (A&M) for Portrait as „the stupidest career move I ever made“.

In 1982, the label was relaunched again tapping into the new wave scene and other music not gaining any airplay. It signed artists such as Altered Images, Aldo Nova, Accept, Arc Angel, Hawaiian Pups, The Elvis Brothers, Eddy Grant, Orion the Hunter, The Producers, Saga, and Peter Baumann (formerly of Tangerine Dream). The label was completely black but the red logo stayed intact. Portrait struck gold again with the signings of Cyndi Lauper and Sade, both in 1983. Americans wouldn’t get Sade until a year later. Aldo Nova did make some headway with the songs „Fantasy“ and „Monkey on Your Back“ from his Subject…Aldo Nova album. Saga also found success with the songs „On the Loose“ and „Wind Him Up“, which would gain the band gold and platinum albums worldwide. In 1985, British singer Toyah released her album Minx on Portrait. In 1986, British guitarist and songwriter Bill Nelson released Getting the Holy Ghost Across (US title: On a Blue Wing) on the label.

By the end of 1986, the only act making money on this label was Lauper.[citation needed] Her album True Colors went platinum, but it wasn’t enough to keep the label afloat. At the end of 1986, Portrait was shuttered again.

In 1988, the label re-emerged once more but as a contemporary jazz outfit, with signings as diverse as Stanley Clarke, Ornette Coleman, Prime Time and Japanese import T-Square. The logo changed dramatically. This time the label had two: the primary one was a painted P with the word „portrait“ in a red block, while the secondary one was an outline drawing of a woman. This one was gone by 1990.

Epic did try to make the label work two more times: in 1992, it was trying to do jazz collections, and in 1999, it was relaunched through Columbia Records as a hard-rock/metal label, signing Ratt, Cinderella, Great White, the Union Underground, and Mars Electric. In 2000, Iron Maiden signed with Portrait in conjunction with Columbia Records in the US. Finally, after trying so hard to keep it afloat, Portrait dissolved in 2002 after the US release of Iron Maiden’s Rock in Rio album.

In late 2012, Sony Masterworks reactivated the label as a classical music imprint with its first artists, The Piano Guys on the newly relaunched imprint, and transferring Jackie Evancho to Portrait from the Columbia imprint.

Soledad, California

Soledad is a city in Monterey County, California, United States. Soledad is located 25 miles (40 km) southeast of Salinas, at an elevation of 190 feet (58 m). The population was 25,738 at the 2010 census.

The town is located near the Spanish mission, Mission Nuestra Señora de la Soledad (the mission of Our Lady of Solitude), founded October 9, 1791 by Fermín Francisco de Lasuén, the 13th of 21 missions in California. The town’s name comes from the mission.

Soledad is seated at the heart of one of the most economically productive and technologically advanced agricultural regions in the world; hence, the Salinas Valley name, „Salad Bowl of the World“. Agricultural companies working out of this region include: Dole Fresh Vegetables, Tanimura & Antle Fresh Foods, Taylor Farms, D’Arrigo Bros. Inc and Mann Packing Inc.

Soledad is located in one of the primary wine grape growing regions of California with over twenty vineyards and wineries within a thirty-mile radius, several of which have tasting rooms and offer a wide selection of wines for sale. Some of the vineyards and wineries located nearby are Chalone, Scheid, Paraiso Vineyards, Pisoni Vineyards, Hahn Estate, San Saba, J.Lohr, Kendall-Jackson, Ventana, Hess Select, Estancia, The Michaud Vineyard, and Graff Family Vineyards.

The original community of Soledad was founded as a Spanish mission October 9, 1791 by Fermín Lasuén, and founded under the rule of the Viceroyalty of New Spain (Virreinato de Nueva España) 1535 to 1821. „Soledad“ is a religious reference to the Virgin in the Catholic religion.

The Soledad post office opened in 1869. The current community of Soledad in 1874 had a few buildings and shops. The two main streets were named Front and Main. In 1886, land was subdivided into lots and sold by its owners, the Munras family. In the late 1880s the Southern Pacific Railroad laid rails and began serving the area.

In 1898 Fort Romie was founded a few miles north of the mission and west of the city. San Vicente School was built in 1913 forming the Soledad School District. The City, a general law city, incorporated in March 1921 with a City Council/City Manager form of government. The city’s name comes from the mission Mission Nuestra Señora de la Soledad.

Soledad is used as a backdrop in John Steinbeck’s 1937 novel Of Mice and Men, an emotional story about two close friends of opposite personalities who must farm others‘ land to make meager living, and who dream desperately of buying a patch of land to have a farm of their own. One of the most important themes of the novel is tragical loneliness, which is likely one of the reason why Soledad was chosen as the setting, as soledad is Spanish for ’solitude‘.

Soledad has been rocked by the great 1906 San Francisco earthquake and the Loma Prieta earthquake in 1989.

The Soledad Prison was three miles (5 km) north of the city until annexed in 1992. It was built in 1946 and currently has an operating budget of $245 million.

The infamous „Nortenos“ gang was founded in 1968 along with Nuestra Familia crime syndicate in the Soledad Prison. Most of the members became FBI informants to bring the nuestra familia crime syndicate apart. Due to this the „Norteno“ association has been dealt a severe blow to their structure, resulting in the weakening of their units.

In May 1996 the Salinas Valley State Prison was opened at a cost of $236 million, with an annual operating budget of $60 million. Currently as of 2007 the annual operating budget has risen to $177 million yearly.

On April 28, 2009, a tour bus transporting 34 French tourists flipped over at an overpass on Soledad’s north entrance. At least five passengers were killed, one of whom fell over the bridge onto the railroad tracks beneath it.

Soledad’s slogan was „It’s happening in Soledad“ was used until 2013 when „Gateway to the Pinnacles“ was introduced.

In July 2015, Ghost Adventures filmed an episode for three days at the infamously haunted Los Coches adobe. The city is hoping it will create national attention and could be made into a tourist destination. The episode aired September 26, 2015.

Soledad is located at .

According to the United States Census Bureau, the city has a total area of 4.6 square miles (12 km2), 96.68% of it land and 3.32% of it water.

Soledad is about six miles (10 km) southwest of Pinnacles National Park, nestled among the nearby Gabilan Mountains.

This region experiences warm (but not hot) and dry summers, with no average monthly temperatures above 71.6 °F. According to the Köppen Climate Classification system, Soledad has a warm-summer Mediterranean climate, abbreviated „Csb“ on climate maps.

As of the census of 2000, there were 11,263 people, 2,472 households, and 2,242 families residing in the city. The population density was 2,680.0 inhabitants per square mile (1,035.4/km²). There were 2,534 housing units at an average density of 603.0/mi² (232.9/km²). The racial makeup of the city was 31.90% White, 1.15% African American, 1.73% Native American, 2.35% Asian, 0.08% Pacific Islander, 58.56% from other races, and 4.23% from two or more races. Hispanic or Latino of any race were 86.82% of the population.

There were 2,472 households out of which 60.2% had children under the age of 18 living with them, 69.9% were married couples living together, 13.8% had a female householder with no husband present, and 9.3% were non-families. 7.2% of all households were made up of individuals and 3.7% had someone living alone who was 65 years of age or older. The average household size was 4.54 and the average family size was 4.58.

In the city the population was spread out with 36.7% under the age of 18, 12.9% from 18 to 24, 31.4% from 25 to 44, 13.1% from 45 to 64, and 5.9% who were 65 years of age or older. The median age was 25 years. For every 100 females there were 108.0 males. For every 100 females age 18 and over, there were 106.6 males.

The median income for a household in the city was $42,602, and the median income for a family was $41,188. Males had a median income of $31,566 versus $23,964 for females. The per capita income for the city was $11,442. About 16.3% of families and 18.4% of the population were below the poverty line, including 25.1% of those under age 18 and 9.2% of those age 65 or over.

The 2010 United States Census reported that Soledad had a population of 25,738. The population density was 5,637.5 people per square mile (2,176.7/km²). The racial makeup of Soledad was 12,625 (49.1%) White, 2,945 (11.4%) African American, 367 (1.4%) Native American, 757 (2.9%) Asian, 103 (0.4%) Pacific Islander, 8,189 (31.8%) from other races, and 752 (2.9%) from two or more races. Hispanic or Latino of any race were 18,308 persons (71.1%).

The Census reported that 15,635 people (60.7% of the population) lived in households, 0 (0%) lived in non-institutionalized group quarters, and 10,103 (39.3%) were institutionalized.

There were 3,664 households, out of which 2,471 (67.4%) had children under the age of 18 living in them, 2,387 (65.1%) were opposite-sex married couples living together, 586 (16.0%) had a female householder with no husband present, 291 (7.9%) had a male householder with no wife present. There were 224 (6.1%) unmarried opposite-sex partnerships, and 30 (0.8%) same-sex married couples or partnerships. 301 households (8.2%) were made up of individuals and 123 (3.4%) had someone living alone who was 65 years of age or older. The average household size was 4.27. There were 3,264 families (89.1% of all households); the average family size was 4.41.

The population was spread out with 5,674 people (22.0%) under the age of 18, 2,455 people (9.5%) aged 18 to 24, 10,126 people (39.3%) aged 25 to 44, 6,296 people (24.5%) aged 45 to 64, and 1,187 people (4.6%) who were 65 years of age or older. The median age was 34.9 years. For every 100 females there were 235.5 males. For every 100 females age 18 and over, there were 301.8 males.

There were 3,876 housing units at an average density of 849.0 per square mile (327.8/km²), of which 2,092 (57.1%) were owner-occupied, and 1,572 (42.9%) were occupied by renters. The homeowner vacancy rate was 2.4%; the rental vacancy rate was 4.1%. 8,642 people (33.6% of the population) lived in owner-occupied housing units and 6,993 people (27.2%) lived in rental housing units.

The mean household income within the Soledad city limits was $58,841, and the median household income was $44,343. Roughly 7.8% of households were below the poverty line.

Socioeconomically, 31.8% of Soledad’s households were considered upper middle income to upper income while 45.8% were considered lower middle income to upper middle income. Roughly 22.4% of households were considered lower income.

Although Soledad is known for its agriculture, it was once the home of timber production. Soledad was home to the Sequoia Forest Industries sawmill. It was closed in 1991 and approximately 91 jobs were lost due to the closure of the mill. The warehouse is still in the city as a reminder of past industrial opportunities the small town had to offer.

Land for agriculture is Soledad’s most abundant natural resource. Soledad’s farmland is considered „Prime Farmland“, meaning the soils around and near the city have some of the best physical and chemical characteristics for farming. Due to this fact great efforts in conserving farmland are a very high priority for the city. Prime farmland is the backbone of the Soledad economy. Future planning will consider the effect of urban sprawl amongst the farmlands. Class I, II, and III soils are the most valuable to farming. The climate also allows for year-round crops.

Although Soledad has great soil for salad green crops, it also has a large presence of vineyards and wineries in the valley and foothills. Some famous wineries include Chalone Vineyard, Paraiso Springs Vineyards, Hahn Estate Winery, Zabala Vineyards, Richard Boyer Wines, and Ventana Vineyards. It was once the home of the Paul Masson Winery which is now closed.

Dole Food Company maintains a plant in Soledad. Opened in 1994, it is touted as being the „world’s largest pre-cut salad plant.“

As of 2007, Soledad features a weekly certified Farmers‘ Market on Soledad St.

Soledad is home to the Soledad Energy Partnership, operators of a wood-waste burning electric power plant. This 13.5 megawatt facility was restarted in July 2001 after a six-year shut-down due to termination of a PG&E purchase agreement. The plant was recommissioned during the California electricity crisis.

As of mid-2006, the plant was again closed.

Several violations at the plant have been issued by the California Integrated Water Quality System Project. The plant was issued violations from 2002 to 2006 for various reporting and pollution allegations.

Soledad power plant.

Soledad power plant.

Soledad is located on U.S. Route 101 and is accessible via northbound and southbound exit ramps on Front Street, at the north and south ends of town. It is the western terminus of California State Route 146, which connects the city to nearby Pinnacles National Park.

Soledad is serviced by the Monterey-Salinas Transit line 23 (Salinas – King City). As of September 5, 2009, the bus stops in Soledad are located at the correctional facility, Front & San Vicente and Monterey & East.

There are two school districts in the Soledad area: Soledad Unified School District & Mission Union School District

SUSD

MUSD

San Vicente School

Gabilan School

Television service for the community comes from the Monterey-Salinas-Santa Cruz designated market area (DMA). Radio stations Monterey-Salinas-Santa Cruz area of dominant influence (ADI) or continuous measurement market (CMM). Local newspapers include the Monterey County Herald, Salinas Californian and Soledad Bee.

Soledad is also the setting of the story in John Steinbeck’s novel, Of Mice and Men.

In a 2013 Safe Cities report, Soledad was rated California’s eleventh safest city. Soledad was highly regarded for its sense of community and high amount of volunteerism.

Soledad was also rated the ninety-fourth safest city out of one hundred cities nationwide in a 2014 Neighborhood Scout Report.

The city has two separate correctional facilities in the northernmost part of the city. The first and oldest prison is Soledad CTF (Correctional Training Facility) built in 1946. It was also one of the first 12 prisons of the California Department of Corrections and Rehabilitation. The other one is Salinas Valley State Prison, which opened in 1996.

Stropp

Stropp (von ursprünglich Strupf = „Knoten, Schlinge“, verwandt: Strippe) bezeichnet seemännisch ein kurzes Stück Tauwerk mit Augen oder Haken an meist beiden Enden („Tampen“). Auch Endlosschlingen, bei denen die Enden miteinander verbunden sind, werden als Rundstropp bezeichnet.

Stropps (Mehrzahl auch: Stroppen) dienen unter anderem zum Befestigen von Segeln an Bootsbeschlägen oder an anderen Teilen der Takelage, zum Fixieren oder Verbinden von Gegenständen an oder unter Deck oder als Schlinge um Stückgut, das per Kran verladen werden soll. Je nach Anforderung werden Stropps dabei aus Faser- oder Drahttauwerk gefertigt und die Augenden gespleißt oder, bei Drahttauwerk, industriell gepresst.

Mit Gummistropps werden Segel auf Booten und Yachten nach dem Gebrauch festgezurrt, damit sich der Wind nicht in ihnen fängt und sie ausweht (s. auch: Zeising)

Früher gehörte das sogenannte „Stropp-Spiel“ zu den beliebten Freizeitbeschäftigungen der Matrosen auf See. Dabei nahmen zwei Matrosen je ein Ende des Stropps hinter den Nacken, gewonnen hatte, wer den anderen damit über ein aufgezeichnete Markierungslinie ziehen konnte.

Im Rheinland wird ein kleiner Junge mundartlich als Stropp bezeichnet.

Victor Moore

Victor Frederick Moore (* 24. Februar 1876 in Hammonton, New Jersey; † 23. Juli 1962 in East Islip, New York) war ein US-amerikanischer Schauspieler, Komiker sowie Regisseur und Autor.

Victor Moore begann seine Schauspielkarriere bereits im Jugendalter als Vaudeville-Darsteller, allerdings in den ersten Jahren mit wenig Erfolg. Im Januar 1906 gab er sein Debüt am Broadway in der Musikkomödie Forty-five Minutes from Broadway, wo er anschließend noch in weiteren Komödien spielte. Das Markenzeichen des kleinen, rundlichen Komödienschauspielers war eine Mischung aus Zähigkeit und Schwermut. Im Jahre 1915 absolvierte er sein Filmdebüt im Stummfilm Snobs und spielte noch im selben Jahr die Hauptrolle in der von Cecil B. DeMille inszenierten Komödie Chimmie Fadden. Der vielleicht größte Erfolg seiner frühen Filmkarriere war das Drama The Clown (1916), diesmal unter Regie von Cecil B. DeMilles älterem Bruder William. Im selben Jahr versuchte sich Moore selbst als Regisseur In Society and Out, doch es sollte seine einzige Regiearbeit bleiben. Nachdem er in den Jahren 1917 und 1918 zahlreiche Kurzfilme gedreht hatte, kehrte Moore wieder zum Theater zurück. In den 1920er-Jahren hatte er erneut Auftritte am Broadway: Er spielte in Erfolgsstücken wie Oh, Kay! (1927), Of Three I Sing (1931) und Let ’Em Eat Cake (1933). Durch diese Stücke wurde Moore mit über 50 Jahren zum Theaterstar.

Mit dem Beginn des Tonfilmes setzte Moore ab 1930 seine Filmkarriere ebenfalls fort. Er spielte vor allem in Komödien und Musicalfilmen, besonders häufig in der Rolle des komischen Alten. So hatte er 1936 eine größere Nebenrolle an der Seite von Fred Astaire und Ginger Rogers in deren Tanzfilm Swing Time unter Regie von George Stevens. Zumeist in komödiantischen Rollen eingesetzt, bildete Moores Hauptrolle in Leo McCareys hochgelobtem Filmdrama Kein Platz für Eltern (1937) eine Ausnahme: Hier spielte er einen kauzigen, aber gutherzigen Buchhalter, der wegen seines Alters keine neue Arbeitsstelle mehr finden konnte und nun wegen finanzieller Probleme von seiner Frau in schmerzhafter Trennung leben muss. 1952 spielte Moore als Friedensrichter die zentrale Rolle der mit zahlreichen Stars besetzten Komödie in Wir sind gar nicht verheiratet. Seinen letzten von über 70 Filmauftritten hatte er als Klempner in Das verflixte 7. Jahr von Billy Wilder.

Neben seiner Film- und Theaterarbeit war Moore außerdem regelmäßig mit Jimmy Durante in dessen Radioshow zu hören. Nach seinem letzten Broadway-Auftritt im Jahre 1957 zog sich Moore zunehmend ins Privatleben zurück.

Victor Moore heiratete im Jahre die Schauspielerin Emma Littlefield, mit welcher er über viele Jahre ein Duo im Showbusiness bildete. Moore und Littlefield hatten drei Kinder: Victor Jr. (* 1910), Ora (* 1919) und Robert (* 1921). Nach Emmas Tod im Jahre 1934 heiratete Moore erneut, nämlich 1942 im Alter von 66 Jahren die zu diesem Zeitpunkt erst 22 Jahre alte Shirley Paige. Die Ehe sorgte wegen des Altersunterschiedes für einige Aufregung, dennoch blieben sie bis zu Moores Tod verheiratet. Er verstarb 1962 im Alter von 86 Jahren an einem Herzinfarkt und wurde auf dem Cypress Hills Cemetery in Brooklyn beigesetzt.

Der beliebte Komiker wurde noch zu Lebzeiten mit einem Stern auf dem Hollywood Walk of Fame geehrt. Heute ist eine kleine Straße in Queens mit einem Busbahnhof und mehreren Geschäften nach Moore benannt, die The Victor Moore Arcade.

Besserungsstück

Das Besserungsstück ist ein Genre des Alt-Wiener Volksstückes. Seine Blütezeit erlebte es Anfang des 19. Jahrhunderts mit über 30.000 Aufführungen allein in den Wiener Vorstadttheatern.

Im Zentrum der Handlung steht ein Mensch, der sich aus Dummheit, Unzufriedenheit oder Vermessenheit nicht der gesellschaftlichen oder göttlichen Ordnung fügt. Seine Besserung erfolgt durch Prüfungen und Schicksalsschläge. Häufig greifen übernatürliche Wesen wie Feen und Zauberer in das Geschehen ein, was sowohl für größere Anschaulichkeit als auch für Unterhaltung sorgen soll. Das Besserungsstück hat immer ein glückliches Ende: die Eingliederung in gutbürgerliche Verhältnisse. Die Besserung der Hauptfigur soll sich durch Identifikation auf das Publikum, das meist aus den unteren Gesellschaftsschichten stammt, übertragen.

Das Besserungsstück ist noch stark im religiösen Empfinden des Barocks verankert. Es hat Vorläufer in den spätmittelalterlichen Moralitäten oder dem jesuitischen Schuldrama. Das modernere Theatermelodram, in dem sich ein Protagonist bloß bessert, hat dagegen eine streng rationale Handlung, in der sich die Besserung durch Schuldnachweis anhand von detektivischem Kombinieren und die Einsicht in eine Rechtsordnung einstellt.

Herausragende Vertreter des Besserungsstücks sind Josef Alois Gleich, Carl Meisl und Adolf Bäuerle, Vertreter des Alt-Wiener Volkstheaters. Ferdinand Raimund bringt das Besserungsstück zu einem letzten Höhepunkt (Der Verschwender, 1834), indem er die komödiantischen Momente zugunsten der pathetischen reduziert.

Johann Nestroy stellt in seiner Posse Der böse Geist Lumpacivagabundus oder das liederliche Kleeblatt (1833) die angestrebte Besserung der Menschen als illusorisch und künstlich bloß und stellte damit die Moral des Besserungsstücks als veraltet heraus.

Eine erfolgreiche Erneuerung des Besserungsstücks im 20. Jahrhundert ist Ferenc Molnárs Liliom (1909). Auch im Stummfilm im ersten Viertel des 20. Jahrhunderts sind Besserungsstücke mit biblischem Hintergrund wie Sodom und Gomorrha (1922) von Michael Curtiz populär.

Ödön von Horváth verneint in seinem Volksstück Geschichten aus dem Wiener Wald (1931) die Möglichkeit einer Besserung, indem sie durch Stagnation der Protagonisten verhindert wird. In Bertolt Brechts Die Dreigroschenoper (1928) wird ein unverbesserlicher Held wie im Besserungsstück wundersam gerettet.