Life and career.

1959–1980: Early life and career beginnings.

Sheena Shirley Orr was born on 27 April 1959, at Bellshill Maternity Hospital, the youngest of six children of Annie and steel mill labourer Alex Orr. She has two brothers, Robert and Alex, and three sisters, Marilyn, Anessa, and Morag. Her earliest known public performance as a singer was in 1964 at the age of five, when she sang "Early One Morning" for her uncle and aunt and various relatives at the couple's 25th wedding anniversary celebration.  Easton's father died in 1969 and her mother had to support the family. According to Easton's website, despite her mother's heavy workload she was always available for her children: "Sheena always speaks very highly of her mum and the wonderful job she did in bringing up her and her siblings, including teaching them all to read at home before they were even enrolled in school."  Easton did not consider a singing career until she saw the movie "The Way We Were", with Barbra Streisand. Streisand's singing over the opening credits "overtook" the young girl and convinced her that what she wanted most was to be a singer and to have the same effect on others.  Her top grades in school earned her a scholarship to attend the Royal Scottish Academy of Music and Drama in Glasgow, where she trained from 1975 to 1979 as a speech and drama teacher by day, while singing with a band called "Something Else" by night at local clubs. She chose to study teaching rather than performing, because it was a course of study that would let her perfect her craft as a singer.  In 1979, she married Sandi Easton, the first of her four husbands. They divorced after eight months, and Sheena decided to keep the surname Easton. That year, one of her tutors coaxed her into auditioning for Esther Rantzen, producer of the BBC programme "The Big Time". Rantzen was planning a documentary film to chronicle a relative unknown's rise to pop-music stardom. Easton was selected as the subject for the programme, where she met and sang with Dusty Springfield and Lulu, whose manager Marion Massey told her that she was unlikely to make the big time.  Within a year of the programme airing, Sheena Easton proved Massey wrong as EMI executives awarded her a contract, and Christopher Neil was assigned as her recording producer. Deke Arlon became her first manager, and Easton spent much of 1980 being followed by camera crews, who filmed her throughout the process of making her first EMI single, "Modern Girl".  The encounter with Massey (then Marion London), at which Lulu was present, was filmed and included in a revised and extended version of episode 12 of The Big Time, broadcast in 1981; this special concluded with news of Easton's breaking into the American market.

1981–1982: "9 to 5", James Bond, "Take My Time".

Easton's first single, the disco-tinged soft-synth-pop tune, "Modern Girl", was released in the UK before "The Big Time" aired, reached number 56 and was certified a Silver single. At the end of the show, Easton was still unsure of her future as a singer. The question was resolved soon after the show aired, when her second single, "9 to 5", reached number 3 on the UK Singles Chart and was certified a Gold single in 1980. "Modern Girl" re-entered the chart subsequently and climbed into the top 10, and Easton found herself with two songs in the UK top 10 simultaneously. During 1980, Easton was voted "Best British Female Singer" by the "Daily Mirror" Pop & Rock Awards, "Best Newcomer" by Capital Radio, and "Best Female Singer" by the "TV Times" Readers Awards.  "9 to 5" was Easton's first single release in the United States, although it was renamed "Morning Train (Nine To Five)" for its release in the US and Canada to avoid confusion with Dolly Parton's hit movie title song "9 to 5". "Morning Train (Nine to Five)" became Easton's first and only number 1 hit in the US and topped both the "Billboard" Hot 100 and Adult Contemporary charts in Billboard magazine. "Modern Girl" was released as the follow-up and peaked at number 18, and before 1981 was over she had a Top 10 hit in both the US and UK with the Academy Award-nominated James Bond movie theme "For Your Eyes Only". The song was nominated for an Academy Award and Golden Globe award in 1982 in the category "Best Music (Original Song)". Easton's US success culminated in her winning the Grammy Award for "Best New Artist" of 1981.  Easton's first three US albums, "Sheena Easton" (1981) (retitled edition of "Take My Time"), "You Could Have Been With Me" (1981), and "Madness, Money and Music" (1982), were all in the same soft rock/pop vein. The title track from "You Could Have Been With Me" made it in to the US Top 15, however, by the end of 1982, she saw her sales slumping. Easton was one of the first artists to record "Wind Beneath My Wings" (included on "Madness, Money and Music"), which later was a hit for Bette Midler.  Then, in 1982, Easton undertook her first US tour. Her performance in Los Angeles was videotaped and broadcast on HBO and later released on VHS as "Sheena Easton Live at the Palace, Hollywood".

1983–1987: "Best Kept Secret", "Todo Me Recuerda a Ti", "A Private Heaven" and "No Sound but a Heart".

In January 1983, Easton duetted with Kenny Rogers and had a Top 10 hit in the US with "We've Got Tonight", a cover of the Bob Seger song. The recording also earned her a number 1 single on the Country chart, and it reached the UK Top 30. Around the time of her hit record with Rogers, Easton headlined "Act One", a one-hour variety special broadcast on NBC that featured Rogers and a cameo appearance by Johnny Carson.  October 1983 saw the release of the album" Best Kept Secret" and its first single, the synthesized dance-pop tune "Telefone (Long Distance Love Affair)", became her fourth Top 10 hit. The single was Grammy-nominated for "Best Female Pop Vocal Performance" of 1983. The follow-up single, "Almost Over You", reached the US Top 30 and was a number 4 AC chart hit. "Almost Over You" was very popular in Asia and was covered by the Chinese singer Sandy Lam. It also became a hit on the Country charts for Lila McCann in 1998.  In 1984, Easton recorded a Spanish-language single, "Me Gustas Tal Como Eres" ("I Like You Just the Way You Are"), a duet with Mexican star Luis Miguel. The single earned her a second Grammy, this time for Best Mexican-American Performance. The track was taken from the album "Todo Me Recuerda a Ti" (1984), and reissued by Capitol/EMI-Latin in 1989, which featured Spanish-language covers of seven previous Easton recordings and three new tracks. In the same year, she also made a transformation into a sexy dance-pop siren, changing her performance style in the process. She was rewarded with the biggest-selling US album of her career, RIAA certified gold & platinum "A Private Heaven" (1984), and her sixth Top 10 US single, "Strut". In the UK, however, the move was not a commercial success, as Easton would find herself shut out of the UK top 75 for the next three years.  Her career on the rise in the US, Easton was again Grammy nominated, this time for "Best Female Pop Vocal Performance" in 1984. She was also one of the first artists to have a music video banned because of its lyrics rather than its imagery; some broadcasters refused to air the sexually risqué "Sugar Walls", which had been written for her by Prince (using the pseudonym "Alexander Nevermind"). "Sugar Walls" was named by Tipper Gore of the Parents Music Resource Center as one of the "Filthy Fifteen", a list of songs deemed indecent because of their lyrics, alongside Prince's own "Darling Nikki". The song eventually hit number 3 on the R&B singles chart, number 9 on the Billboard Hot 100, and number 1 on the Billboard Dance Chart in 1985.  Easton's follow-up to "A Private Heaven", entitled "Do You" (1985), was produced by Nile Rodgers and achieved gold status, although it failed to generate any breakout singles of the chart calibre of "Strut" or "Sugar Walls". In late 1985, Easton contributed "It's Christmas (All Over the World)" to the holiday release "Santa Claus The Movie". In 1987, the release of a follow-up album, "No Sound But a Heart" (1987), was hampered in the United States after an initial single release, "Eternity" (another Prince composition), failed to reach the pop, R&B or adult contemporary charts. The album's release moved from February to June; then in August the release was further held up as Easton's attorneys asked that the album be delayed after EMI Records was absorbed into EMI/Manhattan. (This did not prevent the album from being released in Canada, Europe and other territories.)  Songs from the album were covered by other artists: Crystal Gayle and Gary Morris featured "Wanna Give My Love" and "What if We Fall in Love" on a 1987 duet album named for the latter song; Celine Dion recorded "The Last to Know" on 1990s "Unison" while Mexican singer Yuri featured the tune on her album "Espejos De Alma" (1995); Patti LaBelle covered "Still in Love" on 1989's "Be Yourself;" Pia Zadora recorded "Floating Hearts" on 1989's "Pia Z". "No Sound But a Heart" eventually did get released in the United States in 1999, with four bonus tracks, including Easton's contributions to the soundtrack of the 1986 film "About Last Night...", "Natural Love" and the Top 50 single "So Far, So Good".

1987–1990: "U Got the Look" and "The Lover in Me".

In 1987, Easton appeared in Prince's concert film "Sign o' the Times", during which she sang duet vocals for Prince's hit, "U Got the Look", which became a No. 2 hit in the US. This led to Grammy nominations for "Best R&B Vocal, Duo or Group" and "Best R&B Song" of 1987. The track also returned Easton to the UK hit parade for the first time in nearly four years. During her time collaborating with Prince, Easton was encouraged to write her own material. The most successful effort from their co-writes was "The Arms of Orion", another duet with Prince and a single from 1989's Batman soundtrack. The song reached number 36 on the US Billboard Chart and number 27 in her native UK. She also co-wrote the song "Love '89" with Prince for Patti LaBelle's album "Be Yourself" and "La, La, La, He, He, Hee", which Prince recorded for the b-side of the single "Sign o the Times". Tabloid press linked the two romantically, which she has always denied.  In November 1987, Easton made her first dramatic acting appearance on the television program "Miami Vice". She played a singer named Caitlin Davies, whom Sonny Crockett was assigned to protect until her court appearance to render crucial testimony against certain corrupt music industry mavens. Sonny and Caitlin ended up married by the end of the episode, the first of five episodes for Easton.  By the spring of 1988, a volume of the "Miami Vice" soundtrack was released and featured "Follow My Rainbow", which Easton had finished singing on her last appearance just moments before her character was eliminated.  The song also appeared on her next album "The Lover in Me" (1988), RIAA gold disc debut released the following autumn on her new label MCA Records, that put Easton back on the US and UK charts after the release of "No Sound But a Heart" was cancelled in the US. This album features Urban R&B and Dance-pop, and a sexier image. The title song from "The Lover in Me" reached number 2 on the Billboard Hot 100 and UK number 15 and became her biggest pop hit since "Morning Train". It also became a number 5 hit on the US Hot R&B/Hip-Hop Singles and Tracks chart. It was followed on the US R&B chart by "Days Like This" (number 35), which missed the Billboard Hot 100. The third single, the Prince-penned "101" made it to number 2 on the Billboard Dance chart. A final single was released "No Deposit, No Return" and failed to chart. The album received positive reviews and featured collaborations with LA and Babyface, Prince, Angela Winbush, and Jellybean Benitez.  In 1990, Easton revisited her home country of Scotland to perform at a festival (The Big Day) in Glasgow. After announcing that it was "good to be back home" in an American accent, she had bottles (some containing urine) thrown at her and, visibly shaken, she was forced to cut her set short. She vowed never to perform in Scotland again.

1991–1996: "What Comes Naturally, Modern Girl (Live in San Diego), No Strings, and My Cherie".

In 1991, "What Comes Naturally" became the last of Easton's albums to chart in the United States, peaking at number 90. The title song was also her last Top 40 single to date, reaching number 19. It also became her first hit in Australia since the mid-1980s, peaking at number 4. Another two singles "You Can Swing It" and "To Anyone" followed but failed to chart. "What Comes Naturally" remained on the US pop chart for 10 weeks, and 11 weeks on the ARIA Chart in Australia. Easton has songwriting credits on three tracks. Easton is one of the few pop artists to adopt the new jack swing sound with chart success from the early 1990s.  1992 saw Easton become a United States citizen; she presently holds dual citizenship with the United Kingdom and the United States.  In Germany and Japan 1992 an unofficial recording of "Modern Girl" (Live in San Diego) was released by "That's Life" recordings. The music was from her early output with EMI and became a sort of bootleg version of her concert when she performed stateside on her first worldwide tour in 1982.  Easton followed this with the non-charting but critically acclaimed "No Strings" (1993), an album of jazz standards produced by Patrice Rushen. It included her version of "The Nearness of You" which was also featured on the soundtrack of "Indecent Proposal" in which Easton appeared in a cameo role.  "My Cherie" (1995) was her last pop album to date to see domestic release in the United States. The album saw Sheena reunite with producer Christopher Neil for the first time over a decade.

1996–1999: "Freedom", "Home" and Colors of Christmas Tour.

Easton contributed vocals to the soundtrack of All Dogs Go To Heaven 2 and voiced the character Sasha La Fleur on "Count Me Out" and "I Will Always Be With You". Easton also contributed the theme song "Are There Angels" to the soundtrack for "Shiloh" in 1997; and provided the song "A Dream Worth Keeping" for the 1992 animated film "".  In 1997, she played 'Melissa McCammon', a recording star, who is visited by time travellers from the future in an episode of the Canadian television series "The Outer Limits" (Season 2/Episode 19) entitled 'Falling Star'. The episode featured her singing two songs from My Cherie.  In the late 1990s, Easton retained an album contract with MCA Japan and released two discs of new material. However, neither album was originally released in the United States. "Freedom", released in 1997 to coincide with the launch of her website and finally released in (Limited Edition) stateside in 2007, was a return to her trademark pop, including a remake of her debut single "Modern Girl".  In 1999 Universal/Victor released the self-produced acoustic set, "Home". Also around this time, Sheena Easton Greatest Hits collection featuring 12 MCA singles recorded from 1988-1995 released and charted in Japan at number 98 (additional greatest hits collections surfaced in the US and UK, but did not chart).  Easton adopted a boy (Jake) and girl (Skylar) between 1995 and 1996. Motherhood led her to curtail her appearances and focus on casino gigs, corporate shows and theatrical work. "Because I adopted my children, I could plan my timing", she told "The Arizona Republic". "I knew exactly when they were coming along, so I knew when I had to change my life so it would be a stable life."  Easton continued acting in America, starring in lead Broadway revivals of "Man of La Mancha" as (Aldonza) opposite Raul Julia in his last stage role (1992), and "Grease" as Rizzo (1996). Between 1994 and 1996, she played several characters in "Gargoyles" the animated series, including Lady Finella, the Banshee, Molly and Robyn Canmore. In 1999, she voice-acted a part-demon character, Annah-of-the-Shadows, in the computer game "". She lives in Las Vegas with her two children and often performs in various casinos' entertainment venues. She voiced the character of Fiona Canmore for a scripted but unfinished episode of the cancelled animated feature, "".  In December 1998, Easton toured with "The Colors of Christmas" with artists Roberta Flack, Melissa Manchester, Peabo Bryson, and Jeffrey Osborne. Windham Hill Records produced "The Colors of Christmas" disc by Robbie Buchanan of holiday music. Easton contributed two tracks, "The Place Where We Belong" (a duet with Jeffrey Osborne), and "The Lord's Prayer".

1999–2013: "Fabulous", Re-issues.

In 1999 New York based One Way Records reserved the rights to release all of Easton's EMI-America catalog. For the first time in the US, "No Sound But a Heart" was released, 12 years after the album was made available elsewhere. All of Easton's EMI back catalogue (with othe exception of her Spanish language album "Todo Me Recuerda a Ti") was re-released and remastered with bonus tracks, incorporating B-sides and remixes.  Universal Japan released "Best Ballads", a disc of ballads from her six previous albums from her MCA catalog with the exception of "For Your Eyes Only" for the Japanese market that failed to chart.  She also signed an album contract with Universal International UK and attempted a comeback with "Fabulous" (2000), an album of classic disco covers. The first single, "Giving Up, Giving In", reached UK number 54, and the album charted at UK number 185. A second single, a cover of Donna Summer's hit "Love is in Control", with double A-side "Don't Leave Me This Way", was withdrawn. This was to be Easton's last album release to date. The album was released throughout Europe, Japan, Australia, and Argentina but not in the US. In Australia, "Fabulous" was released 24 February 2001 and Easton was asked to perform songs from the album to close out 2001 Sydney Gay and Lesbian Mardi Gras ceremonies.  In 2003, Easton contributed vocals to "If You're Happy", a cover for a Japanese disc called "Cover Morning Musume-Hello Project". She also began to host "Vegas Live", a talk show with Clint Holmes (later replaced by Brian McKnight). In 2004, she was inducted into the Casino Legends Hall of Fame at the Tropicana Resort & Casino.

2013–present: "The Spy Who Loved Me", 42nd Street.

In February 2013, Demon/Edsel Records (UK) reissued Easton's "You Could Have Been with Me" and "Madness, Money and Music" along with "A Private Heaven" and "Do You" in two compact disc packages remastered with bonus tracks, with the latter including the extended version of "Jimmy Mack" that has never been included on any of her reissues. In November 2014, a box set of Easton's first five albums in an original album series Compact Disc collection was released by Warner Music Group in the United Kingdom.  In 2015 Easton embarked on symphony concerts with guest vocalists entitled "The Spy who Loved Me" with material from spy movies of the past and present and featuring Bond style music with symphonies around the United States beginning in San Francisco from July 2015 and continuing into 2016. Easton also performed a small tour of dates during the latter part of 2015 in Australia featuring her Greatest Hits.  In November 2016, Easton accepted the role of Dorothy Brock in the revival production of "42nd Street", which premiered on 20 March 2017 in London's West End Drury Lane. Lulu replaced Easton in March 2018.

Personal life.

Easton has been married four times and has two adopted children. Her first marriage was in Scotland to Sandi Easton at the age of 19. The marriage lasted eight months. Sandi Easton died in 1998, aged 48.  Her second marriage in 1984 to Rob Light, a talent agent, ended after 18 months. Easton became a U.S. citizen in 1992, carrying dual citizenship with the United Kingdom, and adopted her first child, Jake Rion Cousins Easton, in 1994. Two years later, she adopted again, this time a baby girl she named Skylar. In the summer of 1997, she met producer Tim Delarm while filming an episode of ESPN Canon Photo Safari in Yellowstone National Park and they married in Las Vegas in July 1997; the marriage lasted one year. On 9 November 2002, she married John Minoli, a Beverly Hills plastic surgeon; they divorced in 2003.  Easton resides in Henderson, Nevada.

Awards and nominations.

Other Awards.

Best British Female Singer -1980 Daily Mirror Pop & Rock Awards  Best Newcomer -1980 Capital Radio  Best Female Singer - 1980 The TV Times Readers Awards  Sheena Easton Casino Legends Hall of Fame-2004

Grammy Awards.

The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. Easton has won two awards from six nominations.

Sheena Shirley Easton, ("née" Orr; born 27 April 1959) is a Scottish singer and songwriter. She is a dual British-American citizen. Easton came into the public eye in an episode of the first British musical reality television programme "The Big Time: Pop Singer", which recorded her attempts to gain a record contract and her eventual signing with EMI Records.

Sheena Easton (* 27. April 1959 in Bellshill, Schottland als "Sheena Shirley Orr") ist eine britische Sängerin und Schauspielerin. Sie ist zweifache Grammy-Preisträgerin. Zu ihren bekanntesten Aufnahmen zählen "Morning Train (9 to 5)", 1981 Platz eins der US-Charts, sowie "For Your Eyes Only" aus dem gleichnamigen James-Bond-Film.


History.

When the first Munich railway was built from Munich to Lochhausen on the western outskirts of Munich in 1839, a station with two wooden huts was built in the municipality of Pasing. The line was completed to Augsburg on 7 October 1840. In 1847, back stone station building designed by Friedrich Bürklein was built on the southern side of the railway tracks in Pasing. Bürklein also designed the Munich Central Station ("Hauptbahnhof"), the Maximilianeum and the brickwork of the Maximilianstraße. The station building, a two-story building with two wings and a waiting room is the oldest surviving railway station in Bavaria. The line to Starnberg was opened on 21 May 1854.  When the construction of another line from Munich west to Buchloe began a short time later in 1873, the station had to be expanded to six tracks with 25 houses for railway workers due to the strong growth of the town. This was accompanied by the construction of a new, larger station building. The current station building was designed by George Frederick Seidel and is heritage-listed; it was built about one hundred metres west of the old "Bürklein station" and opened to the public on 1 May 1873. A goods shed was built to the north of the tracks.  Pasing quickly became a popular destination for excursions and the station became a major transport hub due to its convenient transport links to the neighbouring city of Munich and its location at a junction with four lines—in 1903 was the last line was added to Herrsching. 64,842 tickets were sold at Pasing station in 1874 and the figure was more than a million in 1900. In 1905, trains ran at 7.5-minute intervals on the 12 minute run between Pasing and Munich Hauptbahnhof—a train density, which comes close to the current S-Bahn service. The development of Pasing as a "college town" in western Munich promoted traffic. The freight station was established east of the passenger station about 1900. The lines passing through Pasing were electrified between 1916 and 1927.  The station was renamed "München-Pasing" on 1 October 1938 after the Nazi regime had forced the annexation of Pasing by Munich. The "Reichsbahnbaudirektion" (Reichsbahn Construction Authority) had far-reaching plans to transform the railway facilities in Munich, including the conversion of Munich Hauptbahnhof into a through station and it relocation to the vicinity of Friedenheimer Bridge and the construction of a boulevard between Stachus and Pasing. Because of the outbreak of war, only the construction of a train depot to the west of Pasing station, which was redesignated as the "Westbahnhof" (west station), and a smaller construction depot were in fact built. The idea that was developed at this time of building an S-Bahn system in Munich was not implemented until nearly 30 years after the war.  Between 1951 and 1958, as part of a comprehensive expansion of capacity, the entire track area was shifted by about 60 metres to the north and lowered by about two metres. The old platforms were removed or replaced. The station underpass under the western part of the station was rebuilt as a mail and baggage tunnel with lifts to the platforms. The station building was now separated from the railway tracks. Furthermore, from 1954 to 1957, the former six signal boxes at Pasing station were replaced by a relay interlocking built by Siemens & Halske. This work cost 34 million marks. Finally in 1959, the approach to the line towards Augsburg was rebuilt with a flying junction so entries and exits from the station to the Augsburg line could run independently from traffic running to the depot to the west of the station.  On 28 May 1972, a few months before the opening of the Summer Olympics in Munich, the Munich S-Bahn went into regular operation. This was accompanied in the Pasing station area with further modifications of the junctions of the four suburban lines as an important junction for the new S-Bahn network. The tracks running to Westkreuz (now lines S 6 and S 8) now ran under the lines towards Aubing (S 4) and Lochhausen (S 3).  In addition to the numerous S-Bahn services, long-distance services stopped in Pasing. While originally Intercity (IC) trains only stopped at Pasing station in the peak hours, Pasing was upgraded in the timetable of the summer of 1991 as an IC network station. Since 1992 Pasing has been connected directly to Munich Airport by line S 8 at 20-minute intervals.

Current situation.

Pasing station is currently used by 85,000 daily passengers and is the fourth busiest station in Bavaria. Most of the regional and long-distance trains, including several ICE and IC services operated by Deutsche Bahn towards Augsburg, Buchloe and Tutzing and "Alex" services to Lindau and Oberstdorf, stop in Pasing and are timed to stop at about 0 and 30 minutes past each hour in order to create connections.

Railways.

South of the railway tracks is the station building of 1873, which is still used today and contains administrative offices of Deutsche Bahn, a travel centre, a "ServicePoint" and a fast food restaurant. To its north it is adjoined by a flat, hall-like building, the so-called "Würmtaldächer"; its ceiling is supported by cast-iron bars of the original platform hall and houses the ticket office, the newsagent and other catering establishments. From here an inclined ramp leads to a tunnel under the tracks from which the platforms can be reached. Since the commissioning of the electronic signal box on 16 August 2011, the tracks are numbered from south to north, starting at track 2, until then, the numbers of all tracks were one less. The central platforms of tracks 3 to 10 and the side platform of track 2 are accessible by stairs from the main tunnel; there are also lifts on tracks 5/6, 7/8 and 9/10. After passing under tracks without platforms, the tunnel connects on the north side of the station with a small staircase to August-Exter-Straße, where there is a taxi rank and bus stops and the Pasinger Fabrik cultural centre is adjacent. South of the station building is the station forecourt ("Bahnhofsvorplatz") with a taxi rank, bus stops and short-term parking. Currently, tram line 19 is being extended from Pasing Marienplatz to Pasing station. There are bicycle stands to the west between the entrance building and sidings. An operations tunnel runs under the tracks from the parking area. Disabled people can use this tunnel, which is only accessible from the south, to reach the platforms by lifts. East of the entrance building is the first Pasing station building, called the Bürklein station. Another tunnel runs under the tracks from here, which is usable by pedestrians and cyclists. This was equipped with stairs to tracks 3–10 in 2009 as part of the restructuring of the regional and mainline platforms.  In the immediate vicinity of the station two streets pass (Offenbachstraße to the east, Lortzingstraße/Alte Allee/Pippinger Straße to the west) under the tracks, connecting the "Pasing Villenkolonien" (“villa colonies”, wealthy suburbs) and the other districts lying north of the railway with central Pasing, south Pasing and the Landsbergerstraße/Bodenseestraße (B 2), which runs parallel with railway to central Munich in an east-west direction. Between the station and the western underpass, the rail tracks cross the Pasing–Nymphenburg canal and the Würm river, which has a pedestrian and bicycle path (Hermann-HesseWeg) running along its landscaped shore.  The platform tracks in regular operation are as follows: track 2 at the south of the station is used for trains on S-Bahn line S 20 to and from Deisenhofen. Track 3 and 4 are used by regional trains to and from Tutzing and Buchloe. Track 5 and 6 are reserved for S-Bahn services running into the city and tracks 7 and 8 for S-Bahn services running out of the city. Platform 9 and 10 is used by regional and long-distance trains on the line to Augsburg. By the use of appropriate crossovers in the stations tracks, individual platforms can be used very flexibly in case of malfunctions.  The lengths of the platforms are as follows:  The platform edges of all the platforms previously had a height of 85 cm and therefore were not built to a normal German standard. Modification to the standard S-Bahn height of 96 cm for tracks 5-8 and to the standard long-distance/regional height of 76 cm for tracks 2–4 and 9 and 10 has begun.  All platforms are fitted with LCD screens, indicating the next services. On the southern and northern end of the underpass and on the stairways to the platforms there are also screens that can display the destination and departure times for up to seven trains and information about service disruptions.

Rail connections.

The lines from Munich Central Station separate at Pasing and run to the west and south-west. All lines are fully electrified and duplicated and the lines to Starnberg and Lochhausen have four tracks. The following timetable routes pass through the station or start here:

Long distance services.

München-Pasing station is served by the following services:  Most trains run non-stop from Pasing to Munich Hauptbahnhof, only a few services run through the Landsberger Straße junction and the " South Ring" directly to München Ost station, without stopping at Munich Hauptbahnhof.

Regional services.

In Pasing numerous Regional-Express and Regionalbahn services regularly offer connections to Mittenwald, Innsbruck, Garmisch-Partenkirchen, Weilheim, Memmingen, Kempten, Oberstdorf, Lindau and Augsburg. Also some trains, especially in the peak hours, stop at the end points of the S-Bahn lines and at selected other busy commuter stations (Fürstenfeldbruck/S4 and Starnberg/S6) and give rapid connections to the city of Munich.

S-Bahn.

Munich S-Bahn lines, S3 Holzkirchen-Mammendorf, S4 (Ebersberg-Geltendorf), S6 Munich East-Tutzing, S8 Munich Airport-Herrsching and S20 (Pasing-Deisenhofen) call at the station.  Four of these five S-Bahn lines are bundled on the so-called S-Bahn trunk line through the centre of Munich, giving the S-Bahn a very high frequency of trains between Munich East and Pasing. During peak hour lines S 3 and S 8 operate every 10 minutes and lines S 4 and S 6 operate every 20 minutes, producing 18 services an hour to the city centre, and there are also some regional services that can also be used with the tickets of the Münchner Verkehrs- und Tarifverbund (Munich Transport and Tariff Association) to the Hauptbahnhof.  Pasing is also the terminus of services on S-Bahn line S 20, which runs non-stop through Laim on the so-called "Sendlinger Spange" (Sendling link) to connect to the south on the route of line S 7 and from Solln over the Großhesselohe Bridge over the Isar to Deisenhofen. It is one of only three S-Bahn lines that does not serve the central section: (Laim–) Donnersbergerbrücke–Hauptbahnhof–Marienplatz–East Munich.  During peak hour, there are also additional S-Bahn trains running from outer areas that run without stopping from Pasing to the Hauptbahnhof, where they end, or continue from Pasing as a service of line S 20.

Tram and bus.

Apart from its numerous rail connections, Pasing station is a major inner-city transport hub, due to Pasing's historical development as an originally separate town. Tram line 19 terminates in front of the station, having been extended from Pasinger Marienplatz in December 2013. The station is also served during the day by a total of six inner-city bus routes, including two very frequent Metrobus routes, which stop at the south or the north sides of the station (south: lines 56, 57, 157, 160, 161, 162; north: 160).  At night, central Munich is accessible hourly by night tram N19 from Pasing. On weekends this runs every half-hour and is complemented by two night bus routes to Neuaubing (N47) and Aubing Gröbenzell, Puchheim and Germering (N80/N81).  Moreover, Pasing is the end of the regional bus route 732 to Odelzhausen.  Pasing station is used daily by a total about 21,000 bus passengers (arriving, departing or transferring). In addition about 4,900 passengers come by tram to Pasing Marienplatz.

Future extension plans.

An extension of the Munich U-Bahn from Laimer Platz to Pasing station has been considered, but is unlikely to be carried out for some years.

München-Pasing is a railway station with nine platforms situated in the west of Munich. It is the third-largest station in Munich, after München Hauptbahnhof and München Ost.

Der Bahnhof München-Pasing (S-Bahn-Halt: "Pasing") ist ein im Westen Münchens im Stadtteil Pasing gelegener Fernverkehrsbahnhof der Deutschen Bahn mit neun Bahnsteiggleisen und fünf bahnsteiglosen Durchgangsgleisen, die den Bahnhof von Ost-Südost nach West-Nordwest durchqueren. Westlich des Bahnhofs befindet sich ein Betriebsbahnhof zur Zugbereitstellung für den Münchner Hauptbahnhof, östlich ein Güterbahnhof. Der Bahnhof hat ein Einzugsgebiet von etwa 400.000 Einwohnern und wird täglich von über 85.000 Ein-, Aus- und Umsteigern frequentiert zu denen noch ca. 40.000 Benutzer der Unterführung kommen, die diese als Stadtteilverbindung nutzen.


Biography.

Charles Marie de La Condamine was born in Paris as a son of well-to-do parents, Charles de La Condamine and Louise Marguerite Chourses. He studied at the Collège Louis-le-Grand where he was trained in humanities as well as in mathematics. After finishing his studies, he enlisted in the army and fought in the war against Spain (1719). After returning from the war, he became acquainted with scientific circles in Paris. On 12 December 1730 he became a member of the Académie des Sciences and was appointed Assistant Chemist at the Academy.  In 1729 La Condamine and his friend Voltaire exploited a loophole in the French government’s lottery, which brought them large profits.  In May 1731 La Condamine sailed with the Levant Company to Constantinople (now Istanbul), where he stayed five months. After returning to Paris, La Condamine submitted in November 1732 a paper to the Academy entitled "Mathematical and Physical Observations made during a Visit of the Levant in 1731 and 1732".  Three years later he joined the French Geodesic Mission to present-day Ecuador which had the aim of testing a hypothesis of Isaac Newton. Newton had posited that the Earth is not a perfect sphere, but bulges around the equator and is flattened at the poles. Newton's opinion had raised a huge controversy among French scientists. Pierre Louis Maupertuis, Alexis Claude Clairaut, and Pierre Charles Le Monnier traveled to Lapland, where they were to measure the length of several degrees of latitude orthogonal to the arctic circle, while Louis Godin, Pierre Bouguer, and La Condamine were sent to South America to perform similar measurements around the equator.

South America.

On 16 May 1735, La Condamine sailed from La Rochelle accompanied by Godin, Bouguer and a botanist, Joseph de Jussieu. After stopovers in Martinique, Saint-Domingue, and Cartagena (Colombia), they came to Panama where they crossed the continent. Finally (on 10 March 1736) the expedition arrived at the Pacific port of Manta. La Condamine's associations with his colleagues were unhappy. The expedition was beset by many difficulties, and finally La Condamine split from the rest and made his way to Quito, Ecuador separately following the Esmeraldas River, becoming the first European to encounter rubber in the process. He joined the group again on 4 June 1736 in the city of Quito. La Condamine is credited with introducing samples of rubber to the "Académie Royale des Sciences" of France in 1736. In 1751, he presented a paper by François Fresneau to the Académie (eventually published in 1755) which described many of the properties of rubber. This has been referred to as the first scientific paper on rubber.  The meridian (longitudinal) arc which La Condamine and his colleagues chose to measure the length of passed through a high valley perpendicular to the equator, stretching from Quito (now the capital of Ecuador) in the north to Cuenca in the south. The scientists spent a month performing triangulation measurements in the Yaruqui plains — from 3 October to 3 November 1736 — and then returned to Quito. After they had come back to Quito, they found that subsidies expected from Paris had not arrived. La Condamine, who had taken precautions and had made a deposit on a bank in Lima, traveled in early 1737 to Lima to collect money. He prolonged this journey somewhat to study the cinchona tree with its medicinally active bark (containing the anti-malarial drug quinine), the tree being hardly known in Europe.  After returning to Quito on 20 June 1737, he found that Godin refused to disclose his results, whereupon La Condamine joined forces with Bouguer. The two men continued with their length measurements in the mountainous and inaccessible region close to Quito. When in December 1741 Bouguer detected an error in a calculation of La Condamine's, the two explorers got into a quarrel and stopped speaking to each other. However, working separately, the two completed their project in May 1743.

Return to Europe.

Insufficient funds prevented La Condamine from returning to France directly. Thus La Condamine chose to return by way of the Amazon River, a route which is longer and more dangerous. His was the first scientific exploration of the Amazon. He reached the Atlantic Ocean on 19 September 1743, having made observations of astronomic and topographic interest on the way. He also made some botanical studies, notably of cinchona and rubber trees.  In February 1744 he arrived in Cayenne, the capital of French Guiana. He did not dare to travel back to France on a French merchant ship because France was at war (the Austrian Succession War of 1740–1748), and he had to wait for five months for a Dutch ship, but made good use of his waiting time by observing and recording physical, biological and ethnological phenomena. Finally leaving Cayenne in August 1744, he arrived in Amsterdam on 30 November 1744, where he stayed for a while, and arrived in Paris in February 1745. He brought with him many notes, natural history specimens, and art objects that he donated to the naturalist Buffon (1707–1788). La Condamine published the results of his measurements and travels with a map of the Amazon in "Mém. de l'Académie des Sciences", 1745 (English translation 1745–1747). This included the first descriptions by a European of the Casiquiare canal and the curare arrow poison prepared by the Amerindians. He also noted the correct use of quinine to fight malaria. The journal of his ten-year-long voyage to South America was published in Paris in 1751. The scientific results of the expedition were unambiguous: the Earth is indeed a spheroid flattened at the poles as was believed by Newton.  La Condamine and Bouguer failed to write a joint publication, and Bouguer's death in 1758 put an end to their relationship. The other expedition member, Godin, died in 1760. The only surviving member, La Condamine, obtained most of the credit for the expedition which drew a great deal of attention in France, as he was a gifted writer and popularizer.  On a visit to Rome La Condamine made careful measurements of the ancient buildings with a view to a precise determination of the length of the Roman foot. He also wrote in favour of inoculation, and on various other subjects, mainly connected with his work in South America.  La Condamine had contracted smallpox in his youth. This led him to take part in the debate on vaccination against the disease and to propagate inoculation against smallpox. Assisted by the clarity and elegance of his writing, he presented several papers at the Academy of Sciences in which he defended his ideas with passion. He became a corresponding member of the academies of London, Berlin, Saint Petersburg and Bologna, and was elected to the l'Académie française on 29 November 1760. In August 1756, he married, with papal dispensation, his young niece Charlotte Bouzier of Estouilly. La Condamine had many friends, the closest one being Maupertuis, to whom he bequeathed his papers. La Condamine died in Paris on 4 February 1774, following a hernia operation.

Charles Marie de La Condamine (28 January 1701 – 4 February 1774) was a French explorer, geographer, and mathematician. He spent ten years in present-day Ecuador measuring the length of a degree latitude at the equator and preparing the first map of the Amazon region based on astronomical observations. Furthermore he was a contributor to the "Encyclopédie"."

Charles-Marie de La Condamine (* 28. Januar 1701 in Paris; † 4. Februar 1774 ebenda) war ein französischer Reisender, Mathematiker, Enzyklopädist und Astronom. Er erlangte insbesondere Bekanntheit durch seine Südamerikareise 1735–1745 und als engagierter Befürworter der Pockenimpfung in der zweiten Hälfte des 18. Jahrhunderts.


History.

Italy.

In 1514, author and critic Gian Giorgio Trissino introduced the concept of the unities in his blank-verse tragedy, "Sofonisba". Trissino claimed he was following Aristotle. However, Trissino had no access to Aristotle's most significant work on the tragic form, "Poetics". Trissino expanded with his own ideas on what he was able to glean from Aristotle's book, "Rhetoric". In "Rhetoric" Aristotle considers the dramatic elements of action and time, while focusing on audience reception. Poor translations at the time resulted in some misreadings by Trissino.  Trissino's play "Sofonisba" followed classical Greek style by adhering to the unities, by omitting the usual act division, and even introducing a chorus. The many Italian playwrights that came after Trission in the 16th Century, also wrote in accordance to the unities. However, in the opinion of the editors of "The Cambridge Guide to Theatre", the imitation of classical forms and modes had a deadening effect on Italian drama, the drama became rhetorical and inert, and none of the tragedies has survived except as historic examples. In the opinion of the editors, one of best is Pietro Aretino's "Orazia" (1546), which they nevertheless find to be stiff, distant and lacking in feeling.

France.

One hundred and twenty years after "Sofonisba" introduced the theory to Italy, it then introduced the concept once again, this time in France with a translation by Jean Mairet. Voltaire said that the "Sophonisba" of Mairet had "a merit which was then entirely new in France, — that of being in accordance with the rules of the theatre. The three unities of action, time, and place are there strictly observed, and the author was regarded as the father of the French stage." The new rules caught on very quickly in France. Corneille became an ardent supporter of them, and in his plays from "Le Cid" (1636) to "Suréna" (1674) he attempted to keep with in the limits of time and place. In 1655 he published his "Trois Discours", which includes his arguments for the unities. Corneille's principles drew the support of Racine and Voltaire, and for French playwrights they became hard rules, and a heresy to disobey them. Voltaire said:  However in France opposition soon to began to grow in the form of a Romantic movement, that wanted freedom from the strictures of the classical unities. It turned into a fierce literary conflict. The opposition included Victor Hugo, Alexandre Dumas, and others. When Victor Hugo published his play, "Cromwell", he attacked the unities in the preface. The conflict came to a climax with the production of Victor Hugo's play "Hernani" at the Theatre Francais, on the 21st of February 1830. It was reported that the two sides, the "Classicists" and "Romanticists", both full of passion, met as on a field of battle. There was a lot of clamor in the theatre at each performance, even some fist fights. The newer Romantic movement carried the day, and French playwrights no longer had to confine their plays to one location, and have all of the action packed into one day.

England.

The Classical Unities seem to have had less impact in England. It had adherents in Ben Jonson and John Dryden. Examples of plays that followed the theory include: Thomas Otway's "Venice Preserv'd" (1682), Joseph Addison's "Cato," and Samuel Johnson's "Irene" (1749). Shakespeare's "The Tempest" (1610) takes place almost entirely on an island, during the course of four hours, and with one major action — that of Prospero reclaiming his role as the Duke of Milan. It is suggested that Prospero's way of regularly checking the time of day during the play might be satirizing the concept of the unities. In "An Apology for Poetry" (1595), Philip Sidney advocates for the unities, and complains that English plays are ignoring them. In Shakespeare's "The Winter's Tale" the chorus notes that the story makes a jump of 16 years: John Dryden discusses the unity of time in this passage criticizing Shakespeare's history plays:... they are rather so many Chronicles of Kings, or the business many times of thirty or forty years, crampt into a representation of two hours and a half, which is not to imitate or paint Nature, but rather to draw her in miniature, to take her in little; to look upon her through the wrong end of a Perspective, and receive her Images not onely much less, but infinitely more imperfect then the life: this instead of making a Play delightful, renders it ridiculous. Samuel Johnson in the preface to his edition of Shakespeare in 1773 rejects the previous dogma of the classical unities and argues that drama should be faithful to life: After Johnson's critique interest seemed to turn away from the theory.  John Pitcher, in the Arden Shakespeare Third Series edition of "The Winter's Tale" (2010), argues that Shakespeare was familiar with the unities due to an English translation of "Poetics" that became popular around 1608, and that "The Winter's Tale" intentionally breaks the rules.

Excerpts of Aristotle's "Poetics".

Aristotle's "Poetics" may not have been available to Trissino, when he formulated the unities, and the term "Aristotelian unities" is considered a misnomer, but in spite of this, Aristotle's name became attached to the theory from the beginning. As translations became available, theorists have looked to the "Poetics" in a retrograde manner for support of the concept. In these passages from the "Poetics", Aristotle considers action:  Tragedy, then is a process of imitating an action which has serious implications, is complete, and possesses magnitude.... A poetic imitation, then, ought to be unified in the same way as a single imitation in any other mimetic field, by having a single object: since the plot is an imitation of an action, the latter ought to be both unified and complete, and the component events ought to be so firmly compacted that if any one of them is shifted to another place, or removed, the whole is loosened up and dislocated; for an element whose addition or subtraction makes no perceptible extra difference is not really a part of the whole.  Aristotle considers length or time in a distinction between the epic and tragedy:  Well then, epic poetry followed in the wake of tragedy up to the point of being a (1) good-sized (2) imitation (3) in verse (4) of people who are to be taken seriously; but in its having its verse unmixed with any other and being narrative in character, there they differ. Further, so far as its length is concerned tragedy tries as hard as it can to exist during a single daylight period, or to vary but little, while the epic is not limited in its time and so differs in that respect.

The classical unities, Aristotelian unities, or three unities represent a prescriptive theory of dramatic tragedy that was introduced in Italy in the 16th century and was influential for three centuries. The three unities are:

Die drei Aristotelischen Einheiten sind Prinzipien zur Konstruktion von Dramen, die nach dem griechischen Philosophen Aristoteles benannt sind, weil sie sich auf Äußerungen in seiner "Poetik" stützen. Die Rede von den „drei Einheiten“ gibt es allerdings erst seit der Renaissance. Zum ersten Mal werden sie bei Lodovico Castelvetro ("La poetica di Aristotele vulgarizzata", 1570) erwähnt.


History.

A daily newspaper with this title was issued for the first time in 1920 as a medium of the conservative Christian National Party. It was Initially owned by its founder Ignacy Jan Paderewski and after 1924 by Wojciech Korfanty, two prominent politicians of that time. The editor-in-chief Stanisław Stroński sought to maintain quality of the content by cooperating with a group of authors, including Adolf Nowaczyński, Kornel Makuszyński, and Władysław Witwicki. The last issue of "Rzeczpospolita" in the Second Polish Republic appeared on the last day of 1931.  During the war (1940–1943), an irregular paper associated with one of the Polish resistance groups – Polish People's Independence Action – was issued under the same title.  In 1944 an administration dependent on the Soviet Union started activities behind the lines of the Red Army, within the territory of Poland. Initially the activity was directed only against former Nazi German forces, in order to gain the favour of Polish society.  On 23 July 1944, when the war had not been over yet, the first issue of "Rzeczpospolita" – the newspaper of the Polish Committee of National Liberation – was published in Chełm. The editor-in-chief was Jerzy Borejsza, a communist activist and journalist in the interwar years, who after the outbreak of war collaborated with the Russians before they entered Polish territory. His articles in "Rzeczpospolita" presented the opinions in line with the position of the Kremlin. The newspaper began strenuous endeavours as to form a positive image of the new government. The Home Army commanders and their decision to commence the Warsaw Uprising were criticised, while nationalisation and land reform were supported.  After the war, "Rzeczpospolita" was issued by "Czytelnik" cooperative publishing house, whose president was Borejsza himself. He delegated the editorial duties to Paweł Hoffman, who soon changed the title to "Rzeczpospolita. Dziennik Gospodarczy", later changing it again to "Rzeczpospolita. Dziennik Polityczno-Gospodarczy". In 1949, the editor-in-chief was Henryk Korotyński, and newspaper joined the campaign against the Roman Catholic Church.  In 1949, the state authorities had established another newspaper – "People's Tribune" () as an organ of a newly formed political party, the Polish United Workers' Party (colloquially: party). "Rzeczpospolita" had been issued still by nearly two years, until the beginning of 1951, when it was discontinued because coexistence of the party and government newspapers was considered at that time unfavorable for a consolidated one-party state. Part of the team joined "Głos Pracy", while several journalists, including Korotyński, moved to "Życie Warszawy".  In 1980 the state had faced a crisis, and consequently the party's overall image deteriorated significantly. This prompted the idea to relaunch a separate government newspaper. In the spring of 1981, thus during the rise of Solidarity, Edmund Osmańczyk, member of parliament of the Polish People’s Republic, proposed to revive "Rzeczpospolita" as a "governmental medium presenting the position of the state on a daily basis”. Józef Barecki, former editor of "Trybuna Ludu," a member of the Central Committee of the Communist Party and of the parliament, as well as a government spokesman for a year, was appointed as the editor-in-chief. The first issue of the new "Rzeczpospolita" appeared during the martial law, on 14 January 1982.  The state, as an entity, had become officially independent from the party (even though this independence was still largely fictitious within a communist state). Thus, from 1982 onwards, "Rzeczpospolita" and "Trybuna Ludu" resumed their parallel existence as the official bulletins of the government and the party apparatus respectively. This dualism corresponded to the situation in the Soviet Union, where the government newspaper "Izvestia" functioned alongside the party's "Pravda", and where Izvestia has steered a course strikingly similar to "Rzeczpospolita" in the 1990s.  After the partially free elections of 4 June 1989 and after Tadeusz Mazowiecki became Prime Minister, the management of the newspaper changed as well. "Rzeczpospolita" was no longer a government medium and became an independent newspaper. Its new editor-in-chief was Dariusz Fikus (until 1996).  The new Polish government made "Rzeczpospolita" legitimately independent. In February 1991, Państwowe Przedsiębiorstwo Wydawnicze "Rzeczpospolita", a state publishing company, with Maciej Cegłowski as the new CEO, together with the French Robert Hersant press group, Presse Participations Europennes, established Presspublica company. Its first CEO was the then editor-in-chief of "Rzeczpospolita," Dariusz Fikus. Initially, the Polish shareholder held 51% of company shares, while the French owned 49%. In 1993, "Rzeczpospolita" was named the Newspaper of the Year by the Pheidippides Committee.  In the mid-1990s, the Polish party sold the additional 2% of shares to the French. In 1996, the Norwegian Orkla Media corporation acquired shares held by the Robert Hersant group. During the next 10 years, 51% of shares were held by the subsidiary of Orkla Press Polska, Presspublica Holding Norway, while 49% belonged to Państwowe Przedsiębiorstwo Wydawnicze "Rzeczpospolita" (from 1 March 2000, to Przedsiębiorstwo Wydawnicze “Rzeczpospolita” SA). In October 2006, the shares of Orkla Press Polska were taken over by Mecom Poland Holdings SA forming part of the British Mecom Group.  In October 2011 Gremi Media, owned by the Polish entrepreneur Grzegorz Hajdarowicz, purchased the shares from Mecom Poland and the shares belonging to PW Rzeczpospolita (the State Treasury), becoming a 100% shareholder of Presspublica publishing house. The publishing house changed its name to Gremi Media, after which, in January 2017, it was transformed into a joint stock company operating under the business name of Gremi Media SA.

Contents.

The basic edition of "Rzeczpospolita" is divided into four sections: the main one, dedicated to general news; the economic one ("Ekonomia i rynek"), the legal one ("Prawo co dnia"); and the regional one ("Życie Regionów").  The general news section features, e.g., information on current political events, reports from Poland and abroad, commentaries and essays, expert opinions, as well as news relating to culture, science, lifestyle, or sports. "Prawo co dnia" ("Law Every Day") focuses on the changes in regulations and legislation and on legal analyses, including articles on labour law, analyses and expert opinions, or industry-related communications. "Ekonomia i rynek" ("Economy and Market") provides information about markets, enterprises, finance, current stock quotes, analyses of the economic situation and trends in Poland and abroad, as well as opinions of economists, experts and representatives of the business world.  The nationwide issue of the newspaper includes a series of regional monthly supplements entitled "Życie Regionów" ("Life of the Regions"). They are dedicated to important investments, business and education in the regions, as well as matters related to local politics, sports, and culture. "Życie Regionów" is the organiser of public debates that are crucial for local communities, as well as the media partner of major regional events.  On Saturdays, "Plus Minus," the weekend edition of "Rzeczpospolita", appears, containing articles related to civilisation, literature, lifestyle and metapolitics. It mainly includes essays, commentaries and feature articles, as well as reviews of books and cultural and sporting events. Interviews form a particularly important part of "Plus Minus".

Supplements.

Newspaper subscription includes such specialised supplements as "Podatki" (taxes), "Administracja" (administration), "Rzecz o prawie" (law), "Ekspert Księgowego" (accounting), "Praca i ZUS" (labour and social security matters), or "Prawo w Biznesie" (law in business).  "Dobra Firma" ("Good Company") is a daily supplement to the main issue. It is primarily addressed to entrepreneurs from the SME sector. In an easy-to-understand manner, it covers both the legal issues relevant to business owners (taxes, social security, contracts, employment), and business matters (marketing of new products, business ideas, available solutions relating to company vehicles).  "Nieruchomości" ("Real Estate") appears on Mondays and Fridays. On Mondays, topics relating to construction and housing are presented, while on Fridays, matters related to the commercial real estate market are covered.  Every Tuesday, "Rzeczpospolita Cyfrowa" ("Digital Republic") is issued with "Rzeczpospolita", dedicated to new technologies, with particular focus on their application in running a business and in developing new business branches.  "Moje Pieniądze" ("My Money") is a Thursday supplement devoted to personal finance. It offers tips on saving and investing money, buying shares and choosing insurance.  The Friday supplement is "Rzecz o Historii" ("The thing about History"), offering informative articles and historical analysis.

Lists and rankings.

Regular publications of "Rzeczpospolita" include lists and rankings of companies, brands and institutions operating on the Polish market. The best known are: the 500 List, the 2000 List, the Ranking of the Most Valuable Polish Brands, and the Ranking of Law Firms.

The 500 List.

The list of the largest Polish companies by revenue, first published in 1999. Modelled on the "Fortune" list, it is now the only such ranking in Poland. The best developing companies on the list receive the prestigious "Rzeczpospolita" Eagles awards.

The 2000 List.

The list of the best companies according to "Rzeczpospolita", first published in 2002. It takes into account their revenues, employment, and results. The ranking of the largest exporters is published as a supplement. Outstanding enterprises from the list receive the Good Company, Exports Eagle and Exports Brand awards.

The Ranking of the Most Valuable Polish Brands.

The Ranking of the Most Valuable Polish Brands provides a professional valuation of over 300 brands created specifically for the needs of the Polish market. Apart from value, the strength of brands in separate industry categories is also estimated. The ranking has been published since 2003.

The Ranking of Law Firms.

The ranking includes law firms servicing enterprises and operating on the Polish market. Law firms are broken down, among others, in terms of the number of lawyers and legal counsels, the generated revenues and profits, the servicing of the leading market transactions, or the best lawyers in respective areas of law. The ranking has been published since 2003.  Until 2007, "Rzeczpospolita" was published in the classic broadsheet format. The format then changed to compact, a modern and more functional one.

Style.

In 2005, the newspaper received the Grand Front award, and in 2006, during the 27th edition of the competition organised by the Society for News Design, "Rzeczpospolita" was named "The best designed newspaper in the world". "Rzeczpospolita" received the Grand Front award also in 2013, for the best cover (dedicated to the resignation of Pope Benedict XVI).

External links.

rp.pl was one of the first online news services in the Polish media. In 2017 the service will have operated for 20 years, having been launched in March 1997. From November 2014, it has been using RWD technology (full responsiveness). Its current version has been available since 2015.  The website has over 32 million hits and 3 million unique users per month (data as of January 2017).Rp.pl is one of the most frequently visited nationwide newspaper websites. In the "Business-Finance-Law" category, Gremi Group is ranked the 6th among all Polish groups of online services.  The new version of "Rzeczpospolita" website is characterised by a two-piece main menu with a dark background: the top one, containing the major sections (News, Economy, Law, Regions), and the side one with individual categories and subcategories. The site publishes both the articles from the printed edition and the ones written specifically for the digital version.  The content published in rp.pl is covered by a metric paywall; access to parts of it is restricted and requires registration or subscription. Gremi Media introduced paywall as the first press publisher in Poland. Its current service provider is MPP Global, a leader in such solutions in the British Isles (for "Daily Mail, The Times", etc.)

Mobile application.

"Rzeczpospolita" application for mobile devices combines 5 types of content: printed issues in PDF format, printed newspaper edition in digital form (HTML), videos from Rzeczpospolita.tv (VOD), live streaming of Rzeczpospolita.tv programs, and the latest news from rp.pl service ("Najnowsze z RP.pl" newsfeed).  The application is available on Google Play and Apple App Store.

Online TV.

Since 2009, a video service of "Rzeczpospolita" has been available at tv.rp.pl. In 2016, an online Rzeczpospolita TV was launched at the same address, currently broadcasting 24/7. Its core are the three daily live programs, "RZECZoPOLITYCE", "RZECZoBIZNESIE" and "RZECZoPRAWIE", as well as commercial programs and coverage of the events organised by "Rzeczpospolita". The hosts are well-known "Rzeczpospolita" contributors, such as Bogusław Chrabota, Michał Szułdrzyński, Marcin Piasecki, Jacek Nizinkiewicz, Ewa Usowicz, Tomasz Pietryga, or Anna Wojda.  The channel is broadcast via Google Hangouts and can be watched daily through the home page of rp.pl. All programs are also available as VOD on tv.rp.pl.

Circulation and sales.

A single average issue of "Rzeczpospolita" is about 65,000 copies. In 2016, 54,000 copies were sold.

Paper version and digital subscription.

"Rzeczpospolita" is distributed through paper version subscription, paper version sales and digital version. Subscription is divided into Basic subscription and Plus subscription dedicated to a more involved, specialised audience. Subscription of "Rzeczpospolita" offers features such as professional book publications, training, multimedia tools, or access to the archives.  The digital version of "Rzeczpospolita" is available around 9:00 p.m. on the day preceding the day of paper edition.

Opinion leader.

"Rzeczpospolita" has been often rated as the most frequently quoted medium in Poland. In 2014, it was considered the most opinion-making medium of the decade (2004–2013).  Also in 2016, "Rzeczpospolita" won in the ranking of the most influential media in Poland, prepared on a regular basis by the Media Monitoring Institute.

Editorial staff.

The editorial staff currently consists of 150 persons (including the secretariat and editors of online content). The headquarters are located in Warsaw at ul. Prosta 51.

Rzeczpospolita () is a nationwide daily economic and legal newspaper in Poland. It is issued by Gremi Media SA. The paper's title may be loosely translated as "commonwealth" or "republic", a part of the traditional full name of the Polish state – "Rzeczpospolita Polska".

Rzeczpospolita (, „Die Republik“) ist nach der "Gazeta Wyborcza" die zweitgrößte seriöse überregionale Tageszeitung in Polen (unter Berücksichtigung der Boulevardzeitungen die viertgrößte) mit einer gedruckten Auflage von ca. 200.000 Exemplaren und einer geschätzten Leserschaft von 1,3 Mio. Herausgegeben wird sie vom Verlagshaus Presspublica, das sich im Besitz des Unternehmers Grzegorz Hajdarowicz befindet.


History.

A first station, built according to plans designed by Friedrich Bürklein, was inaugurated on 1 May 1871 as part of the newly built railway line to Neuötting via Mühldorf am Inn. The line to Rosenheim opened on 15 October 1871. Initially named "Haidhausen" after the eponymous quarter, it received its present name "München Ost" on 15 October 1876. The station was given additional significance as a railway hub with the opening of the Munich East–Deisenhofen line in 1898; followed by train connections to Ismaning and Schwabing in 1909, the first to be electrified in 1927.  The station was severely damaged by the bombing of Munich on 24/25 April 1944 and had to be entirely rebuilt after World War II. A provisional counter hall was erected in 1952. A motorail ("Autoreisezug") yard opened on 22 June 1959.  In May 1972, shortly before the Summer Olympics, Munich East became part of the Munich S-Bahn network as eastern terminus of the "Stammstrecke" to Munich Pasing in the west. The present-day entrance building was erected in 1985. Three years later, in 1988, the station also received access to the Munich U-Bahn network. Further refurbishments of the station building took place in 1999 and in 2008.

Operational usage.

The station has 17 tracks. Tracks 1-5 are used by the S-Bahn, tracks 6-8 and 11-14 are used by regional and interregional traffic. Tracks 9, 10 and 15 are through tracks. Tracks 16 and 17 are used by Motorail.  Mainly InterCity as well as international EuroCity and Railjet services via Rosenheim to Salzburg and Innsbruck in Austria, to Italy and Southeastern Europe depart from this station. Some ICE services to Vienna and Innsbruck also stop here.  Several Regional-Express and Regionalbahn services depart from Munich East to many destinations in Chiemgau and southeastern Bavaria. Trains are operated by the SüdostBayernBahn network of Deutsche Bahn AG as well as by the private Bayerische Oberlandbahn railway company (Meridian).

S-Bahn.

The Ostbahnhof (the name of the S-Bahn part of the station) was refurbished under the Takt 10 project. As an endpoint of the backbone tunnel of Munich's S-Bahn system all lines pass through the station, except S20, S27. Lines S2, S4 and S8 continue via platform 5 further east.  The lines S3 and S7 change direction at platform 4 and continue further south to Giesing. The lines S1 and S6 terminate at platforms 4 and 5. The trains to the tunnel depart from platforms 1-3.

U-Bahn.

Since 1988 there is a U-Bahn service to Ostbahnhof by the line U5. It continues south to Neuperlach Süd via Innsbrucker Ring and west to Laimer Platz via Max-Weber-Platz, Hauptbahnhof and Theresienwiese. The line services the station every ten minutes (five in rush-hours).

Tramway.

The Ostbahnhof stop of the Munich tramway is immediately in front of the station, and served by route.

Train services.

The station is served by the following services:

München Ost (English: Munich East, also called "München Ostbahnhof" in regional services) is a railway station in Munich, the state capital of Bavaria, Germany. It opened as Haidhausen station in 1871 on the new Munich–Mühldorf and Munich–Rosenheim railway lines. The station is operated by DB Station&Service, a subsidiary of Deutsche Bahn AG, and is classified as a Category 1 station, one of 21 in Germany and two in Munich, the other being München Hauptbahnhof. It is the city's third interregional station besides München Hauptbahnhof in the city centre and München-Pasing in the west.

Der Bahnhof München Ost der Deutschen Bahn im Münchener Stadtteil Haidhausen ist ein bedeutender Umsteigepunkt für den Nah- und Fernverkehr. Der Durchgangsbahnhof mit 12 Bahnsteiggleisen gehört zu den 21 Bahnhöfen der Preisklasse 1 von DB Station&Service und ist damit zusammen mit dem Hauptbahnhof einer der zwei Münchner Bahnhöfe dieser Klasse.


Family.

The genealogies and regnal lists are unanimous in describing Sæberht as the son of Sledd, who may have been regarded as the founder of the East Saxon dynasty. According to Bede, Sæberht's mother was Ricula, a sister of King Æthelberht of Kent. Bede omits the names of Sæberht's three sons, who succeeded him but two, Sexred and Sæward, are named in the genealogy of Add MS 23211.

Conversion and succession.

In 604, the churchman Mellitus was consecrated by Augustine as bishop in the province of the East Saxons, which had a capital at London, making him the first Saxon Bishop of London. Bede tells that Sæberht converted to Christianity in 604 and was baptised by Mellitus, while his sons remained pagan. Sæberht then allowed the bishopric to be established. The episcopal church which was built in London was probably founded by Æthelberht, rather than Sæberht, though a charter which claims to be a grant of lands from Æthelberht to Mellitus is a forgery.

Death and Burial.

Both Æthelberht and Sæberht died in 616, leaving the Gregorian mission without strong patrons. Sæberht's pagan sons drove Mellitus from London. According to Bede's explanation, this happened because Mellitus refused the brothers' request for a taste of the sacramental bread.

Westminster Abbey.

Later medieval legend claimed that Sæberht and his wife Ethelgoda had founded a monastery in London dedicated to St Peter at the site of the present Westminster Abbey, and that they had been buried in the church there. In the reign of Henry III, during rebuilding work in 1245-1272, their supposed remains were transferred into a tomb which the king had especially erected for them in the Chapter House, close to the entrance of the Royal Chapels. The King's remains were reportedly still clothed in royal robes and a ruby thumb ring was seen. In 1308, the bones were said to have been relocated once again to a marble tomb which still stands today in the south ambulatory. There is no genuine evidence to support this tradition however, and modern scholars cast doubt on the claim that Sæberht's bones were ever genuinely entombed here.

Great Burstead.

There is a local tradition that Sæberht lived, and was buried at Great Burstead in Essex.

Prittlewell burial.

In 2003 a high-status Anglo-Saxon tomb was discovered at Prittlewell, just north of Southend in Essex. The artefacts found were of such a quality that archaeologists surmised that Prittlewell was a tomb of one of the Kings of Essex, and the discovery of golden foil crosses indicates that the inhabitant was an early Christian. As the initial evidence pointed to an early seventh-century date, Sæberht was considered the most likely candidate for the burial, although other possibilities such as his Christian grandson Sigeberht the Good, or an unknown individual of high status, were not ruled out. However, carbon dating techniques later indicated a revised date in the late 6th century. In May 2019, it was reported that a team of 40 specialists from the Museum of London Archaeology (MOLA) now believe the tomb could have belonged to Saexa, Sæberht's brother. Carbon dating had indicated that the tomb was built between 575 and 605, at least 11 years before Sæberht's death. Further details of the latest research have been published on the MOLA website.

Sæberht, Saberht or Sæbert (d. 616) was an Anglo-Saxon King of Essex (r. 604 – 616), in succession of his father King Sledd. He is known as the first East Saxon king to have been converted to Christianity.

Sæberht (auch Saba, Saberct, Sæbryht, Sæbyrht oder Sigebyrht; † 616/617) war seit vor 604 bis zu seinem Tod König des angelsächsischen Königreichs Essex.


Early life.

Popova was born in Ivanovskoe, near Moscow, to the wealthy family of Sergei Maximovich Popov, a very successful textile merchant and vigorous patron of the arts, and Lyubov Vasilievna Zubova, who came from a highly cultured family. Lyubov Sergeyevna had two brothers and a sister: Sergei was the eldest, then Lyubov, Pavel and Olga. Pavel became a philosopher and the guardian of his sister's artistic legacy.  Popova grew up with a strong interest in art, especially Italian Renaissance painting. At eleven years old she began formal art lessons at home; she was first enrolled in Yaltinskaia's Women's Gymnasium, then in Arseneva's Gymnasium in Moscow. By the age of 18 she was studying with Stanislav Zhukovsky, and in 1908 entered the private studios of Konstantin Yuon and Ivan Dudin. In 1912 to 1913, she began attending the studios of the Cubist painters Henri Le Fauconnier and Jean Metzinger at Académie de La Palette in Paris.

Career.

Travels.

Popova traveled widely to investigate and learn from diverse styles of painting, but it was the ancient Russian icons, the paintings of Giotto, and the works of the 15th- and 16th-century Italian painters which interested her the most.  In 1909 she traveled to Kiev, then in 1910 to Pskov and Novgorod. The following year she visited other ancient Russian cities, including St. Petersburg, to study icons. In 1912 she worked in a Moscow studio known as "The Tower" with Ivan Aksenov and Vladimir Tatlin, and also visited Sergei Shchukin's collection of modern French paintings.  In 1912–1913 she studied art with Nadezhda Udaltsova in Paris, where she met Alexander Archipenko and Ossip Zadkine in 1913. After returning to Russia that same year, she worked with Tatlin, Udaltsova and the Vesnin brothers.  In 1914 she traveled in France and Italy at the development of Cubism and Futurism.

Style.

Cubo-Futurism.

Popova was one of the first female pioneers in Cubo-Futurism. Through a synthesis of styles she worked towards what she termed "painterly architectonics". After first exploring Impressionism, by 1913, in "Composition with Figures", she was experimenting with the particularly Russian development of Cubo-Futurism: a fusion of two equal influences from France and Italy.  From 1914–1915 her Moscow home became the meeting-place for artists and writers. In 1914–1916 Popova together with other avant-garde artists (Aleksandra Ekster, Nadezhda Udaltsova, Olga Rozanova) contributed to the two "Knave of Diamonds" exhibitions, in Petrograd " Tramway V" and the "0.10", "The Store" in Moscow. An analysis of Popova's cubo-futurist work also suggests an affinity with the work of Fernand Leger, whose geometry of tubular and conical forms in his series of paintings from 1913–1914 is similar to that in Popova's paintings.

Suprematism.

Her painting "The Violin" of 1914 suggests the development from Cubism towards the "painterly architectonics" series of 1916–1918. This series defined her distinct artistic trajectory in abstract form. The canvas surface is an energy field of overlapping and intersecting angular planes in a constant state of potential release of energy. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. Color is used as the iconic focus; the strong primary color at the center drawing the outer shapes together. In 1916 she joined the "Supremus" group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others who at this time worked in Verbovka Village Folk Centre. The creation of a new kind of painting was part of the revolutionary urge of the Russian avant-garde to remake the world. The term'supreme' refers to a 'non-objective' or abstract world beyond that of everyday reality. However, there was a tension between those who, like Malevich, saw art as a spiritual quest, and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the aims of the Revolution working in poster, book design, fabric and theatre design, as well as teaching. At "0.10" she had exhibited a number of figurative painted cardboard reliefs in a cubist derived style. In 1916 she began to paint completely abstract Suprematist compositions, but the title "Painterly Architectonics" (which she gave to many of her paintings) suggests that, even as a Suprematist, Popova was more interested in painting as a projection of material reality than as the personal expression of a metaphysical reality. Popova's superimposed planes and strong color have the objective presence of actual space and materials.  In 1918 Popova married the art historian Boris von Eding, and gave birth to a son. Von Eding died the following year of typhoid fever. Popova was also seriously ill but recovered.

Constructivism.

As early as 1917 in parallel with her Suprematist work, she had made fabric designs and worked on "Agitprop" books and posters, In the "", 1918, she contributed the architectonic series of paintings. She continued painting advanced abstract works until 1921. In the 5x5=25 Exhibition of 1921, Popova and her four fellow Constructivists declared that easel painting was to be abandoned and all creative work was to be for the people and the making of the new society. Popova worked in a broad range of mediums and disciplines, including painting, relief, works on paper, and designs for the theater, textiles, and typography. Popova did not join the Working Group of Constructivists when it was set up in Moscow in March 1921, but joined by the end of 1921. In 1923 she began creating designs for fabric to be manufactured by the First State Textile Printing Works in Moscow.  From 1921 to 1924 Popova became entirely involved in Constructivist projects, sometimes in collaboration with Varvara Stepanova, the architect Alexander Vesnin and Alexander Rodchenko. She produced stage designs: Vsevolod Meyerhold's production of Fernand Crommelynck's "The Magnanimous Cuckold", 1922; her "Spatial Force Constructions" were used as the basis of her art teaching theory at Vkhutemas. She designed typography of books, production art and textiles, and contributed designs for dresses to LEF.  She worked briefly in the Cotton Printing Factory in Moscow with Varvara Stepanova.

Death.

Popova died at the peak of her artistic powers two days after the death of her son, from whom she had contracted scarlet fever in 1924 in Moscow. A large exhibition of her work opened in Moscow from December 21, 1924 to January 1925, at Stroganov Institute, Moscow. The exhibition included Popova's works such as seventy-seven paintings, as well as books, posters, textile designs, and line engravings. "Artist-Constructor" was the term applied to Popova by her contemporaries in the catalogue of the artist's posthumous exhibition.  "Rodchenko/Popova: Defining Constructivism", an exhibition of the work of Popova, Rodchenko, and other Constructivists was shown at Tate Modern, London, in 2009, and subsequently at Museo Reina Sofia, Madrid.

Lyubov Sergeyevna Popova (; April 24, 1889 – May 25, 1924) was a Russian avant-garde artist (Cubist, Suprematist and Constructivist), painter and designer.

Ljubow Sergejewna Popowa (, wiss. Transliteration ""; * in Iwanowskoje, Gouvernement Moskau; † 25. Mai 1924 in Moskau) war eine russische Malerin, die zur Russischen Avantgarde zählte. Sie arbeitete im Stil des Kubofuturismus und des Konstruktivismus.


Early life.

Baxter was born in Michigan City, Indiana to Catherine Dorothy (née Wright; 1894–1979)—whose father was the architect Frank Lloyd Wright—and Kenneth Stuart Baxter (1893–1977), an executive with the Seagram Company. When Baxter was five, she appeared in a school play, and as her family had moved to New York when she was six years old, Baxter continued to act. She was raised in Westchester County, New York and attended Brearley. At age 10, Baxter attended a Broadway play starring Helen Hayes, and she was so impressed that she declared to her family that she wanted to become an actress. By the age of 13, she had appeared on Broadway in "Seen but Not Heard". During this period, Baxter learned her acting craft as a student of actress and teacher Maria Ouspenskaya. In 1939, she was cast as Katharine Hepburn's little sister in the play "The Philadelphia Story", but Hepburn did not like Baxter's acting style, and she was replaced during the show's pre-Broadway run. Rather than giving up, she turned to Hollywood.

Career.

20th Century Fox.

At 16, Baxter screen-tested for the role of Mrs. DeWinter in "Rebecca". Director Alfred Hitchcock deemed Baxter too young for the role, but she soon secured a seven-year contract with 20th Century Fox. In 1940, she was loaned to MGM for her first film "20 Mule Team", in which she was billed fourth after Wallace Beery, Leo Carrillo, and Marjorie Rambeau. She worked with John Barrymore in her next film "The Great Profile" (1940) and appeared as the ingénue in the Jack Benny vehicle "Charley's Aunt" (1941). She received star billing in "Swamp Water" (1941) and "The Pied Piper" (1942), which was nominated for the Academy Award for Best Picture.  Baxter was loaned to RKO to appear in director Orson Welles' "The Magnificent Ambersons" (1942). She was Tyrone Power's leading lady in "Crash Dive" (1943), her first Technicolor film. In 1943, she played a French maid in a North African hotel (with a French accent) in Billy Wilder's "Five Graves to Cairo", a Paramount production. She became a popular star in World War II dramas and received top billing in "The North Star" (1943), "The Sullivans" (1944), "The Eve of St. Mark" (1944), and "Sunday Dinner for a Soldier" (1944), co-starring her future husband John Hodiak. Baxter later recalled, "I was getting almost as much mail as Betty Grable. I was our boys' idealized girl next door."  She was loaned to United Artists for the leading role in the film noir "Guest in the House" (1944), and appeared in "A Royal Scandal" (1945), with Tallulah Bankhead and Charles Coburn; "Smoky" (1946), with Fred MacMurray; "Angel on My Shoulder" (1946), with Paul Muni and Claude Rains.  Baxter co-starred with Tyrone Power and Gene Tierney in 1946's "The Razor's Edge", for which she won both the Academy Award and the Golden Globe Award for Best Supporting Actress. Baxter later recounted that "The Razor's Edge" contained her only great performance, a hospital scene where the character Sophie "loses her husband, child and everything else." She said she relived the death of her brother, who had died at age three.  She was loaned to Paramount for a top-billed role opposite William Holden in "Blaze of Noon" (1947) and to MGM for a supporting role as Clark Gable's wife in "Homecoming" (1948). Back at 20th Century Fox, she played a wide variety of roles: a lawyer in love with Cornel Wilde in "The Walls of Jericho" (1948); Tyrone Power's Irish romantic interest in "The Luck of the Irish" (1948); a tomboy in "Yellow Sky" (1948), with Gregory Peck and Richard Widmark; a 1920s flapper in "You're My Everything" (1949), with Dan Dailey; and another tomboy in "A Ticket to Tomahawk" (1950), again with Dailey. In 1950, Baxter was chosen to co-star in "All About Eve" largely because of a resemblance to Claudette Colbert, who originally was cast but dropped out and was replaced by Bette Davis. The original idea was to have Baxter's character gradually come to mirror Colbert's over the course of the film. Baxter received an Academy Award nomination for Best Actress for the title role of Eve Harrington. She said she modeled the role on a bitchy understudy she had for her debut performance in the Broadway play "Seen but Not Heard" at the age of 13 and who had threatened to "finish her off."  Her next Fox film "Follow the Sun" (1951) co-starred Glenn Ford as champion golfer Ben Hogan; Baxter played Hogan's wife Valerie. She was top-billed in the western "The Outcasts of Poker Flat" (1950), with Dale Robertson, and was part of an ensemble cast in "O. Henry's Full House" (1952), her last project for Fox. The comedy "My Wife's Best Friend", with MacDonald Carey, was her second and last Fox film released in 1952. Baxter left 20th Century Fox in 1953.

Freelance.

In 1953, Baxter contracted a two-picture deal for Warner Brothers. Her first was opposite Montgomery Clift in Alfred Hitchcock's "I Confess"; the second was the Fritz Lang whodunit "The Blue Gardenia", in which she played a woman accused of murder.  In June 1954, Baxter won the part of the Egyptian princess and queen Nefertari in Cecil B. DeMille's award-winning "The Ten Commandments". Her scenes were shot on Paramount's sound stages in 1955, and she attended the film's New York and Los Angeles premieres in November 1956. Despite criticisms of her interpretation of Nefertari, DeMille and "The Hollywood Reporter" both thought her performance was "very good," and "The New York Daily News" described her as "remarkably effective." She later remembered the film in an interview: In 1960, Baxter received a motion pictures star on the Hollywood Walk of Fame at 6741 Hollywood Boulevard.

Later career.

Baxter worked regularly in television in the 1960s. She appeared as one of the mystery guests on "What's My Line?". She also starred as guest villain Zelda The Great in episodes 9 and 10 of the "Batman" series. She appeared as another villain, Olga, Queen of the Cossacks, opposite Vincent Price's Egghead in three episodes of the show's third season. She also played an old flame of Raymond Burr on his crime series "Ironside".  Baxter returned to Broadway during the 1970s in "Applause", the musical version of "All About Eve", but this time as Margo Channing (succeeding Lauren Bacall).  In the 1970s, Baxter was a frequent guest and guest host on "The Mike Douglas Show". She portrayed a murderous film star on an episode of "Columbo", titled "Requiem for a Falling Star". In 1971, she had a role in "Fools' Parade" as an aging prostitute who helps characters played by Jimmy Stewart, Strother Martin, and Kurt Russell escape from the villain, played by George Kennedy, before an act of betrayal seals her fate. In 1983, Baxter starred in the television series "Hotel", replacing Bette Davis after Davis became ill.

Personal life.

Baxter married actor John Hodiak on July 7, 1946, at her parents' home in Burlingame, California. They had one daughter, Katrina, born in 1951. Baxter and Hodiak divorced in 1953. At the time, she said they were "basically incompatible", but in her book she blamed herself for the separation: "I had loved John as much", she wrote. "But we'd eventually congealed in the longest winter in the world. Daily estrangement. Things unsaid. Even a fight would have warmed us. To my shame, I'd picked one at last in order to unfreeze the word 'divorce.'" Hodiak died in 1955.  Baxter was a Republican who was active in the campaigns of Thomas E. Dewey and Dwight D. Eisenhower.  In the mid-1950s, Baxter began a relationship with her publicist Russell Birdwell, who took control of her career and directed her in "The Come On" (1956). The couple formed Baxter-Birdwell Productions to make films on a 10-year plan; Baxter would star in the films and Birdwell would work behind the camera. Princeton University Library has a collection of 175 letters by Baxter to Birdwell.  In 1960, Baxter married her second husband Randolph Galt, an American owner of a neighboring cattle station near Sydney, Australia, where she was filming "Summer of the Seventeenth Doll". After the birth of their second daughter, Maginel, back in California, Galt unexpectedly announced that they were moving to a 4,452 hectare (11,000 acre) ranch south of Grants, New Mexico. They then moved to Hawaii (his home state) before settling back in Brentwood, California. Baxter and Galt were divorced in 1969. In 1976, Baxter recounted her courtship with Galt (whom she called "Ran") and their experiences at Giro in a well-received book called "Intermission". Melissa Galt, Baxter's first daughter with Galt, became an interior designer and then a business coach, speaker, and seminar provider. Maginel became a cloistered Catholic nun, reportedly living in Rome, Italy.  In 1977, Baxter married David Klee, a stockbroker. It was a brief marriage; Klee died unexpectedly from illness. The newlywed couple had purchased a sprawling property in Easton, Connecticut, which they extensively remodeled; however, Klee did not live to see the renovations completed. Although she maintained a residence in West Hollywood, Baxter considered her Connecticut home to be her primary residence.

Death.

Baxter suffered a stroke on December 4, 1985, while hailing a taxi on Madison Avenue in New York City. Baxter remained on life support for eight days in New York's Lenox Hill hospital, until family members agreed that brain function had ceased. She died on December 12, aged 62. Baxter is buried on the estate of Frank Lloyd Wright at Lloyd Jones Cemetery in Spring Green, Wisconsin.

Anne Baxter (May 7, 1923 – December 12, 1985) was an American actress, star of Hollywood films, Broadway productions, and television series. She won an Academy Award and a Golden Globe, and was nominated for an Emmy.

Anne Baxter (* 7. Mai 1923 in Michigan City, Indiana; † 12. Dezember 1985 in New York) war eine US-amerikanische Schauspielerin.