Max Reiter was an Italian-born American conductor who founded the San Antonio Symphony Orchestra in 1939 and developed it to the rank of a major symphony orchestra. He led the San Antonio Symphony until his death in 1950. 1925 — Assistant Conductor, Berlin State Opera Munich Philharmonic Milan Conservatory Orchestra 1938 — Augusteo Orchestra in Rome Reiter was born in Trieste, Italy, on October 20, 1905 to Isaac Reiter, a German-born businessman father, Cella, a native Italian mother. When he was ten years old, his family moved to Munich, where he continued his middle-school education and went on to attend a university, he studied conducting with Bruno Walter and, at the insistence of his father, earned a doctorate in law. Reiter fled his home in Italy during the rise in fascism and antisemitism, he arrived in New York in January 1939, where the Steinway family advised him to go to Texas, a place they felt held employment potential. The Steinways felt that Texas was least affected by the Great Depression, given strong piano sales, showed great enthusiasm for music.

The Steinway family informed Reiter Texans had purchased more Steinway pianos per capita than in any other state. With a list of eighteen Texas cities to visit, Reiter's first stop was in Waco, at Baylor University, where he persuaded the university president to let him work one week with the orchestra, which he did with success. A couple of people from San Antonio who heard the concert persuaded him to try conducting in San Antonio. On June 12, 1939, Reiter gave a demonstration concert at the Sunken Garden Amphitheater. From on, Reiter flourished as the founding musical director of the San Antonio Symphony Orchestra, while directing the quality symphony orchestra that he founded in Waco. In December 1950, Reiter was told to give his heart a rest. Heeding the advice, he recommended Victor Alessandro as a guest conductor. Alessandro, a Texas-born conductor, was at the time the conductor of the Oklahoma City Philharmonic. Reiter's condition was more serious. Pleased with Reiter's endorsement, the San Antonio Symphony Society offered Alessandro a three-year contract in January 1951

"A Quick One, While He's Away" is a 1966 song in six movements written by Pete Townshend and recorded by the Who for their second album A Quick One. The song appears on the album BBC Sessions. In the performance on their Live at Leeds album Townshend calls the nine-minute "epic" track a "mini-opera" and introduces it as "Tommy's parents"; the song tells the story of an unnamed girl whose lover has been gone "for nearly a year". Her friends inform her that they "have a remedy"; when the lover returns, the girl confesses her infidelity, she is forgiven. The song has six distinct movements; the brief harmonised a cappella intro is titled "Her Man's Gone". The "Crying Town" section is sung by Roger Daltrey in an atypical low register. Daltrey sings "We Have a Remedy" in his more usual voice. John Entwistle plays "Ivor the Engine Driver" in that section. Comes "Soon Be Home", another harmonised section. "You Are Forgiven" is sung by Pete Townshend — his only lead vocal on the album. The Who wanted cellos at the final "mini"-movement, "You Are Forgiven", but producer and manager Kit Lambert could not afford it so they ended up saying "Cello, cello".

This song is the Who's first publicised venture into the rock opera genre, a precursor to their more ambitious project Tommy. In addition to the studio recording on the A Quick One album, a live recording appears on Live at Leeds; when the song was performed live, instead of "girl", Townshend and Daltrey would make a point to sing "Girl Guide". A performance filmed for The Rolling Stones Rock and Roll Circus in 1968 can be seen on that film and on the 1979 documentary The Kids Are Alright, it appears on both films' soundtrack albums. Another version recorded live at the Monterey Pop Festival can be found on the Monterey Pop Festival four-disk set and on another Who film, Thirty Years of Maximum R&B Live. A mixed studio and live version can be found on The Who's four disk set Thirty Years of Maximum R&B. Another version of this song is available on the DVD, At Kilburn 1977 + Live at the Coliseum, with Townshend's long explanation of the song and constant humorous comments by Keith Moon. However, because of problems with the cameras, part of the performance is lost, was replaced by stylised footage.

The Live at Leeds version of the song was used in the soundtrack of the movie Rushmore. According to the commentary for the film, the Circus recording is owned as part of the package of Rolling Stones songs, it was prohibitively expensive to include on the soundtrack album. A short tease of the final section, "You Are Forgiven", was used to end a concert at the Wembley Arena on 16 November 2000; that was the first time any part of the song was played live by The Who since 1970, until it was resumed in its entirety for the 2014 The Who Hits 50! tour. Pete Townshend played the song in its entirety on several dates of his 1993 PSYCHODERELICT solo tour; the song was rehearsed for inclusion in The Who's 2006/2007 North American Tour, but was not part of any set list. The name of "Ivor the Engine Driver" was influenced by the UK TV series Ivor the Engine; as Pete Townshend showed producer Kit Lambert the songs he had demoed, one was a mock oratorio called “Gratis Amatis”. Going from that, Lambert asked about a "pop opera" played more possibly inspired in the single "Happy Jack", so that it could fill the remaining space in the upcoming and lead into a quick release.

Taking "quickly" as the primary order, Townshend came to the title A Quick One for the album and "A Quick One While He's Away" for a song he started to write inspired by his childhood experiences. Townshend reveals in his 2012 autobiography, Who I Am, that "A Quick One While He's Away" refers to his molestation as a child, but not explicitly. "Ivor The Engine Driver" is said by Townshend to be a metaphor for the possible abuser. The "Her Man's Been Gone" section refers to Townshend's separation from his parents and spending time with his grandmother, Denny; the crying in the "Crying Town" portion is his own, for his parents to pick him up and to leave Denny, said by Townshend to have been the person who brought in unknown men into her home. The "little girl" referred to in his song is a make-believe "imaginary constant friend" and "twin girl who suffered every privation I suffered." The "You Are Forgiven" presents someone coming to Townshend's rescue: his mother. The lyric about sitting on Ivor the Engine Driver's lap "and with him had a nap" hints at what may have happened.

The song ends with the verbal chant of "you are forgiven", which Townshend states that when The Who performed the song, he would always get into a frenzy. He states that those who were being forgiven was everyone referred to in the song's lyrics, including himself, he told Mojo: The Who were not at their peak but with "the mini opera", we were just about starting to tap into something that became a complete obsession for me. Which was that when we played a hard-driving rock'n' roll and brought in this evangelical, spiritual thing – at the end of our piece, I'm shouting, "You are forgiven, you are forgiven, you are forgiven" – that there would be a kind of spiritual rush in the audience, there to be tapped into. Rock'n' roll had always been below the belt stuff, and, something else; the Who performed the song after its release, but it

Cranendonck is a municipality in the southern Netherlands. Though located in North Brabant near Eindhoven, the spoken dialect is Budels, rather than Kempenlands. Dutch topographic map of the municipality of Cranendonck, June 2015 Antonius Mathijsen a Dutch army surgeon who first used plaster of Paris Toine van Mierlo a retired Dutch footballer with 230 club caps Hans Teeuwen a Dutch comedian, musician and occasional filmmaker Sylvia Hoeks a Dutch actress and former model Craig Osaikhwuwuomwan a tall Dutch professional basketball player Yvon Belien is a Dutch volleyball player, helped the Netherlands reach their first Olympic semifinals at the 2016 Summer Olympics Media related to Cranendonck at Wikimedia Commons Official website

The Basilica church of St. Ursula is located in Cologne, North Rhine-Westphalia, Germany, it is built upon the ancient ruins of a Roman cemetery, where the 11,000 virgins associated with the legend of Saint Ursula are said to have been buried. The church has an impressive reliquary created from the bones of the former occupants of the cemetery, it is one of the twelve Romanesque churches of Cologne and was designated a Minor Basilica on 25 June 1920. While the nave and crossing tower are Romanesque, the choir has been rebuilt in the Gothic style; the Golden Chamber, or Goldene Kammer, of the church contains the alleged remains of St. Ursula and her 11,000 virgins who are said to have been killed by the Huns around the time of the Battle of the Catalaunian Plains; the original legend said only 11 virgins accompanied St. Ursula. Readings misread the abbreviation "M" for martyrs as latin numeral "M" for 1000, which over time lead to 11,000; the walls of the Golden Chamber are covered in bones arranged in designs and/or letters along with relic skulls.

The exact number of people whose remains are in the Golden Chamber remains ambiguous but the number of skulls in the reliquary is greater than 11 and less than 11,000. These remains were found in 1106 in a mass grave and were assumed to be those of the legend of St. Ursula and the 11,000 virgins. Therefore, the church constructed the Golden Chamber to house the bones; the bones themselves are neatly arranged in "zigzags and swirls and in the shapes of Latin words." Twelve Romanesque churches of Cologne List of basilica churches in Germany Victor von Carben Saint Ursula Cologne Cathedral German architecture Romanesque architecture List of regional characteristics of Romanesque churches Romanesque secular and domestic architecture Heinz Firmenich: St. Ursula und die Maria-Ablaß-Kapelle in Köln. Rheinischer Verein für Denkmalpflege und Landschaftsschutz, Köln 1976, ISBN 3-88094-150-5 Werner Schäfke: Kölns romanische Kirchen. Architektur Kunst Geschichte. Emons, Köln 2004, ISBN 3-89705-321-7 Hiltrud Kier, Ulrich Krings: Die Romanischen Kirchen in Köln, Vista Point Verlag, Köln 1991, ISBN 3-88973-601-7 Gernot Nürnberger: Die Ausgrabungen in St. Ursula zu Köln Dissertation, Friedrich-Wilhelms-Universität, Bonn 2002 Sabine Czymmek, Die Kölner romanischen Kirchen, Schatzkunst, Bd.

2, Köln 2009, S. 225-289, ISBN 978-3-7743-0422-2 Media related to St. Ursula at Wikimedia Commons Basilica of St. Ursula, Cologne at Structurae

Kampf um Norwegen – Feldzug 1940 is a 1940 Nazi propaganda film directed by Martin Rikli and Dr. Werner Buhre under orders of the Oberkommando der Wehrmacht; the documentary film follows the Invasion of Denmark and Norway in the spring of 1940. The film describes the sequence of events leading up to the invasion of Norway the Anschluss of Austria, the division of Czechoslovakia after the Munich agreement and the invasion of Poland in September, 1939; as a prelude, it justifies the invasion of Norway by outlining the alleged plans of Britain to invade the country, attempts by the British to mine the leads along the Atlantic coast. When the Royal Navy invaded Norwegian waters to attack the German tanker Altmark and release prisoners held there by the Germans, it signalled an escalation of the growing crisis; the British prisoners had been captured by the German cruiser Admiral Graf Spee during raids on merchant shipping in the Atlantic ocean and Indian ocean in the previous year. The campaign itself opens with the attempt by the German Navy to force entry up the Oslo Fjord, failed owing to Norwegian heavy guns either side of the fjord where it narrowed in the approach to Oslo itself.

The film was never shown in Germany for unknown reasons, was considered a lost film for many years. The Berlin Bundesarchiv held only a few clips of the film. However, a complete nitrate copy of the film surfaced on an Internet auction in 2005; the Norwegian college professor and media expert Jostein Saakvitne discovered this, purchased the copy. Saakvitne contacted the Norwegian Film Institute, a consignment was entered into; the Film Institute had the film transferred to a video master, sent the nitrate copy to the National Library nitrate film depository in Mo i Rana. As it became clear that the rights belonged to the Bundesarchiv, the film copy was brought back to Germany; the movie can today be bought on DVD in Germany and Norway, is, in any case, available as a free download from the Internet Archive. List of films made in the Third Reich List of rediscovered films Information about the film online at Norsk filminstitutt in Norwegian and English Free download at Internet Archive Free download with English sub-titles on YouTube Kampf um Norwegen – Feldzug 1940 on IMDb