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Taman Mini Indonesia Indah

Taman Mini Indonesia Indah (formerly Taman Mini "Indonesia Indah" with apostrophes—abbreviated as TMII) is a culture-based recreational area located in East Jakarta, Indonesia. Since July 2021, it is operated by PT Taman Wisata Candi Borobudur, Prambanan, dan Ratu Boko, a subsidiary of the state-owned tourism holding company Injourney. It was operated by Yayasan Harapan Kita, a foundation established by Siti Hartinah, the first lady during most of the New Order and wife of Suharto, and run by Suharto's descendants since his death until 2021. It has an area of about 363 acre. The project cost some US$ 26 million.

The park is a synopsis of Indonesian culture, with virtually all aspects of daily life in Indonesia's 26 (in 1975) provinces encapsulated in separate pavilions with the collections of rumah adat as the example of Indonesian vernacular architecture, clothing, dances and traditions are all depicted impeccably. The park mainly exhibites the physical culture of the nation. Apart from that, there is a lake with a miniature of the archipelago in the middle of it, cable cars, museums, Keong Emas IMAX cinema (Indonesia's only IMAX cinema until the 2010s), a theater called the Theatre of My Homeland (Theater Tanah Airku) and other recreational facilities which make TMII one of the most popular tourist destinations in the city.

In 2007, Taman Mini Indonesia Indah launched a new logo with branding slogan Pesona Indonesia (Indonesian Charm). It received a facelift in 2023 with new flat color variations and the slogan was changed into Jelajah Cerita Indonesia (Explore the Story of Indonesia).

On 31 December 2014, the World Peace Committee recognized TMII as an International Civilization Park and World Peace Theme Park.

History
The idea of presenting Indonesia on a small scale was conceived by first lady, Siti Hartinah, better known as Tien Suharto. It came about at a convention on 8 Cendana Street on 13 March 1970. Through this recreational site, she hoped to cultivate national pride in more Indonesian people. A project called "Indonesian Miniature Project" was started by Harapan Kita Foundation in 1972. The concept of this culture-based recreational area was inspired by Indonesia's unparalleled natural riches and local folk diversity. Taman Mini Indonesia Indah was eventually inaugurated on 20 April 1975.

In January 2022, the revitalization of TMII was started to support the side event of the 2022 G20 Bali summit in Jakarta, with its new concept named "Indonesia Opera", designed by Urban+. The revitalization focuses on area readjusments and facility improvements. When the revitalization was executed, TMII was still opened to the public, until it was eventually closed on 17 May 2022.

Because the new concept has an environmental friendly design, more green spaces were added, so TMII would consist of 70% green spaces and 30% buildings – based on its original masterplan in 1972. Apart from that, visitors are no longer allowed to explore the complex using personal cars or motorcycles, because the park is designated as a low-emission zone. As the alternative, visitors can explore the complex using the available zero-emission vehicles, such as electric microbuses and aeromovels, or renting a bicycle or electric scooters.

TMII was reopened to the public on 31 December 2022 after being chosen as one of the venues for the new year celebration 2023. On 1 September 2023, the revitalization of TMII was inaugurated by President Joko Widodo. The revitalization cost IDR 1,7 trillion, with additional budget from InJourney up to IDR 200 billion.

Characteristics
TMII was originally located on a public area of 145 ha, as farms and fields. Later, the team was able to convert these fields into a suitable location for the construction. The topography of TMII is rather hilly, consistent with what the builders required. The team claimed the advantage of utilizing this uneven terrain was the ability to create interesting and diverse landscapes and enclosures, as well as reflecting the various characteristics of the Indonesian environment.

TMII currently has 33 pavillions of the provinces of Indonesia, 7 places of worship, 24 parks/open spaces, 17 museums, and 18 amusement rides and other facilities.

Venues of Indonesian provinces

Since each Indonesian province maintains its own unique and distinct cultures, shelters, attire and dialects, TMII built a model of each of the houses from the provinces. TMII attempted not only to reconstruct the homes, but also to create a realistic model of the environment and shelters of the various people of Indonesia. The venues, which are situated around the main lake in a similar fashion to the different islands of the Indonesian archipelago, are thematically divided into six areas in respect to the main islands of Indonesia; Java, Sumatra, Kalimantan (Borneo), Sulawesi, the Lesser Sunda Islands, Maluku and Papua. Each pavilions featured in typical vernacular Indonesian architecture of each provinces. Examples of Indonesian traditional vernacular houses are: Joglo and Omah Kudus Javanese houses of Central Java and Yogyakarta pavilion; Minang Rumah Gadang of West Sumatra pavilion; Malay houses of Jambi and Riau provinces; Torajan Tongkonan and Bugis house of South Sulawesi pavilion; and Balinese house compound with intricately carved candi bentar split gate and kori agung gate.

It also displays various traditional costumes, wedding costumes, dance costumes, ethnographic artifacts such as weapons and daily tools, and models of traditional architecture to describe the way of life of its people. Each province's pavilion is also equipped with a small stage, amphitheatre or auditorium for traditional dance performances, traditional music performances or traditional ceremonies that are usually held in Sundays. Some of these pavilions are also equipped with cafeterias featuring traditional Indonesian cuisines and also souvenir shops offering various handicrafts, T-shirts and souvenirs.

Since 1975 until the 2000s, the original design of TMII consisted of a model of the traditional houses (rumah adat) from the 27 provinces of Indonesia, including East Timor. But after the secession of East Timor from Indonesia in 2002, the East Timor pavilion changed its status to become the Museum of East Timor. Since Indonesia consists of 33 provinces (in 2004), the new province pavilions of Bangka Belitung, Banten, West Sulawesi, North Maluku, Gorontalo, Riau Islands, and West Papua have been built in northeast part of the park, although the size and area of these pavilions is much smaller than the previous ones.

After the recognition of the Chinese Indonesian culture as an integral part of Indonesian culture in 2000, the Chinese Indonesian pavilion and a confucian temple was built within the park.

Religious buildings
The religious buildings of several official faiths is meant to showcase the inter-faiths tolerance and religious harmony of Indonesia. The religious buildings are:
 * Pangeran Diponegoro Mosque
 * Santa Catharina Catholic church
 * Haleluya Protestant church
 * Penataran Agung Kertabhumi Balinese Hindu temple
 * Arya Dwipa Arama Buddhist temple
 * Kong Miao Confucian temple
 * Sasana Adirasa Pangeran Samber Nyawa – It is used for religious activities of all religions and also as a place for inter-faith exchange of ideas.

Gardens and parks
There are about ten gardens spread within TMII complex, but most are located primarily on the north and northeast side of the main lake:
 * Orchid Garden
 * Medicinal herbs Garden
 * Cactus Garden
 * Jasmine Garden
 * Keong Emas (Golden Snail) Flower Garden
 * Picnic Park
 * Taman Budaya Tionghoa Indonesia, a Chinese Indonesian cultural park

Taman Burung (Bird Park)

Taman Burung is divided into five exhibits: Kubah barat (West dome) which include birds from the Greater Sunda Islands (Except Sulawesi) and the Lesser Sunda Islands, kubah timur (East dome) which include birds from Sulawesi, the Maluku Islands, and New Guinea, a free ranging river exhibit, raptor aviaries, and other aviaries and exhibits scattered around the park. The park also owns several birds from outside Indonesia, such as birds from China, Africa, Australia, and South America.

Museum Serangga
Museum Serangga is an invertebrates museum that has collections from around Southeast Asia. The Museum also has live insect exhibits and a small mammal park. It also has a breeding facility for butterflies.

Dunia Air Tawar
Dunia Air Tawar is the second largest freshwater and brackish themed aquarium in Asia. The aquarium has over 6000 animals from 126 species, including reptiles, amphibian, crustaceans, and fish.

In April 1994, Dunia Air Tawar, known as Taman Aquarium Air Tawar at that time, acquired a pair of wild caught largetooth sawfish from Lake Sentani, which died in 2005, making it the only public aquarium to keep sawfish in Indonesia.

A large featherback kept by Dunia Air Tawar was said to be the extinct Chitala lopis. The individual is a wild caught from West Java.

Taman Legenda
A dinosaur and Indonesian folklore themed park.

Technological Centre
Pusat peragaan Iptek or Science and Technology Display Centre is operated by the Ministry of Education, Culture, Research, and Technology. At the end of 2011 has 15 sites with about 300 science tools and visited by 341,000 visitors yearly. The sites are Robotic, Electric and Magnet, Mechanics, Mathematics, etc.

Museums
There are fifteen museums at TMII:
 * Indonesia Museum
 * Purna Bhakti Pertiwi Museum
 * Soldiers Museum
 * Stamps Museum
 * Heritage Museum
 * Transportation Museum
 * Museum Electricity & New Energy Museum
 * Information Museum
 * Asmat Museum
 * Komodo Indonesian Fauna Museum and Reptile Park
 * Insects Museum
 * Batik Museum
 * Research & Technology Information Centre
 * Oil & Gas Museum
 * East Timor Museum (former East Timor province pavilion)
 * Bayt Al-Quran and Istiqlal Islamic Museum

Theatres

 * Keong Emas (Golden Snail) IMAX Theater
 * Tanah Airku Theater

Monuments, halls, buildings and other exhibits

 * Kala Makara main gates
 * Flower clock
 * Gajah Mada Plaza – With the statue of Gajah Mada, it is built on the former site of the now-demolished Telecommunications Museum
 * Tugu Api Pancasila, the main monument, an obelisk celebrating Pancasila
 * Baluwerti, a twin gate with relief of Indonesian history on its wall
 * Sasono Utomo, exhibition hall
 * Pendopo Agung Sasono Utomo (Grand Hall), the main building of the hall in Javanese Joglo style
 * Sasono Langen Budoyo, indoor stage and theater
 * Sasono Manganti
 * Sasana Kriya, multi purpose function hall
 * Contemporary Art Gallery (CAG) – It displays modern contemporary art to complement the existence of traditional arts. A merchandise store is also located inside the building. It was previously used as the original management office of the park.
 * Park Management Office
 * Information center
 * Cokot Sculpture, a display of wooden sculptures by Cokot, a famous Balinese artist
 * The Miniature of Borobudur
 * APEC Memorial Monument and Garden
 * Non-Aligned Nations Friendship Monument and Garden
 * The miniature of the Indonesian archipelago on the central lake – Each island miniature are decorated with multicolor LED ambient light on its edge. The lake has dancing fountains and water screen that projects 9 selected Indonesian folklore at night. This dancing fountain attraction is called "Tirta Cerita" (tirta means water in Sanskrit, so it literally translated as "water of stories") and it also features an attraction of 300 drones that displays various forms, including an eagle, the Keong Emas theatre—the landmark of TMII, and the logo of TMII. Visitors can watch the Tirta Cerita attraction from an amphitheatre at the front of the Special Region of Yogyakarta pavillion. The attraction is held every night (except the drone display, which only performed on weekends), starting at 18:30.
 * Jawadwipa amphitheatre – Located at the southwest of the archipelago lake, adjacent with the West Java pavillion.
 * Plaza Malaka
 * Cultural Stage – Located at the east side of the Archipelago Lake, used for cultural performances with the background of the lake.
 * Community Center
 * Jati Taminah, a remnant of a large teak tree
 * Kayu Gede (large wood), the display of large tree trunk

Rides and transports
Since the 2022 revitalization, visitors are no longer allowed to explore TMII using personal motorcycles or cars. All personal vehicles have to be parked at the available parking lots at the west side of the park. Visitors are diverted to use electric-powered shuttle microbus service called angkutan keliling or angling for free. The shuttle service has two corridors and visitors have to wait the shuttle microbus on bus shelters throughout the park. Apart from that, visitors can also rent bicycles, golf carts, and electric scooters instead.
 * Skylift Indonesia cable car, with three stations:
 * Station A, located near Keong Mas IMAX Theatre, Sasana Kriya, and Kong Miao Confucian Temple
 * Station B, located near Istana Anak-Anak Indonesia, Papua pavillion, East Timor Museum, and Science Center
 * Station C, located near the parking building, Indonesia Museum, and Panggung Candi Bentar
 * Electric-powered shuttle microbuses, with two corridors:
 * North corridor, which stops at: Gerbang TIC - Anjungan Aceh - Anjungan Terpadu - Taman Burung - Community Center - Museum Penerangan - Anjungan Jambi
 * South corridor, which stops at: Gerbang TIC - Anjungan Jawa Timur - Anjungan Sulawesi Tenggara - Taman Burung - PP IPTEK - Museum Migas - Museum Transportasi - Fresh Water Aquarium - Taman Legenda Keong Mas
 * Garuda Kencana people mover
 * Bicycle, golf carts, and electric scooter rent ride

Recreation facilities

 * Istana Anak-Anak Indonesia (Indonesian Children Castle) – It has a playground for children, replicas of Indonesian traditional music instruments, exhibition room for wayang performances and children's drawings.
 * Saudjana viewing tower – An observation tower built during the 2022 revitalization that allows visitor to see the vast view of the archipelago lake and the 360° view of whole over TMII. Located at the west side of the archipelago lake.
 * Skyworld Indonesia – It is an astronomy and space exploration museum located north of the West Sumatra pavillion. It also has a small planetarium and a 5D theatre. Skyworld have numbers of replicas of space rocket from various countries.
 * Taman Among Putro kiddy rides park
 * Desa Seni dan Kerajinan handicraft center
 * Rare books market
 * Telaga Mina fishing pond
 * Warna Alam outbound camp

Lodgings

 * Desa Wisata hostel
 * Graha Wisata Remaja youth hostel

Restaurants

 * Caping Gunung restaurant
 * California Fried Chicken restaurants
 * Pecel Madiun restaurant
 * Various cafeterias, F&B booths, and warungs available throughout the park featuring Indonesian cuisines such as soto, gado-gado, nasi goreng and satay.

Demolished parts or buildings

 * Snowbay Waterpark – The water park was considered irrelevant with the cultural spirit of TMII and brought benefits to the water park only. A new parking building now stands on the Snowbay Waterpark site.
 * Telecommunications Museum – The museum had already abandoned when the ownership of TMII was handovered to TWC in 2021. The building was demolished during the revitalization, and turned into a new public plaza. The statue of Gajah Mada, which was the icon the museum, is retained, so the plaza is named the 'Gajah Mada Plaza'.
 * Sports Museum (now became a new parking lot)
 * 4D Theatre (now stands the Saudjana viewing tower)
 * Garuda Theatre – It was used as the venue for Kabaddi competitions at the 2018 Asian Games. The theatre was demolished for the construction of the Cultural Stage.
 * Taman Ria Atmaja Park, stage and music performances (replaced by the Cultural Stage)
 * Mini train around the park (permanently closed) – The rails were still visible until it was fully dismantled during the 2022 revitalization

Public transportation access
TMII area is indirectly connected with Taman Mini LRT Station serving the Cibubur Line of the Jabodebek LRT via a free shuttle service; the LRT Station is located about 1.5 km from the main entrance gate. It is also indirectly served by Transjakarta BRT services on corridor 9 (Pinang Ranti–Pluit) and 9C (Pinang Ranti–Bundaran Senayan) at Makasar BRT station, which is located 1.8 km from the main entrance gate. Despite that, Transjakarta operate feeder routes that directly serves TMII, which includes corridor 7D (TMII–Tegal Parang) feeder route, JAK-36 (Cilangkap–Cililitan) and JAK-108 (Kramat Jati–Bambu Apus) Mikrotrans routes; using microbus or angkot fleets.

Plans
In 2011, the operator planned to disburse $35 million for building a new Discovery World theme park. A 2-hectare area was to be built and it was predicted to be operated before the end of 2012. It would serve 100 venues/rides and was predicted to attract 1.2 million visitors from Indonesia and Southeast Asia.

title: Taman Mini Indonesia Indah


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User talk:UltimateBuffyfan

Deleting comments
Please do not delete other people's comments in Talk pages, as you've done twice at Talk:Slayer (Buffy the Vampire Slayer). It is considered bad Wikiquette. Angry postings are, of course, also bad Wikiquette, but they do more harm to the poster because they serve as documentation for their own Wikiquette shortcomings. The best response to disagreeable postings is to reply in a calm, logical manner. Thank you for your attention. ~ Jeff Q (talk) 06:31, 14 October 2005 (UTC)

Featured article candidate review: Buffy article
Hi

Just letting WikiProject Buffyverse members know that the article 'Buffy the Vampire Slayer' has recently been nominated as a candidate to become a featured article. Should it become a featured article, it will be possible for the article to appear on the Wikipedia main page on March 10th 2007, the 10th anniversary of Buffy (the premiere, "Welcome to the Hellmouth" aired March 10th 1997).

Any feedback you can offer to improve the article and/or to either object or support the nomination would be wonderful:

Featured article candidates/Buffy the Vampire Slayer

-- Paxomen 17:31, 21 September 2006 (UTC)

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

title: User talk:UltimateBuffyfan


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1 Boötis

1 Boötis (1 Boo) is a binary star system in the northern constellation of Boötes, located 318 light years away from the Sun. It is visible to the naked eye as a dim, white-hued star with a combined apparent visual magnitude of 5.71. The pair had an angular separation of $4.66 arcsecond$ as of 2008. It is moving closer to the Earth with a heliocentric radial velocity of −26 km/s.

The magnitude 5.78 primary component is an A-type main-sequence star with a stellar classification of A1 V. This star has 2.5 times the mass of the Sun and is radiating 56 times the Sun's luminosity from its photosphere at an effective temperature of 9,863 K. It is 323 million years old and is spinning with a projected rotational velocity of 60 km/s.

The system is a source for X-ray emission, which is most likely coming from the companion star. This magnitude 9.60 component is a possible pre-main sequence star with a mass similar to the Sun. It is radiating 76% of the Sun's luminosity at an effective temperature of 6,370 K.

title: 1 Boötis


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The Tempters

The Tempters were part of Japan's Group Sounds pop music era in the 1960s.

Featuring lead vocalist Kenichi Hagiwara, who was also known by the nickname of Shoken, they rivaled The Tigers for the top spot in the Japan rock scene hierarchy. The band also featured drummer Hiroshi Oguchi, who later formed the glam rock band Vodka Collins.

Band members- Keizo "Kenichi" Hagiwara (vocals, harmonica), Yoshiharu Matsuzaki (lead guitar, vocals), Toshio Tanaka (rhythm guitar, organ), Takaku Noburo (bass), Hiroshi Oguchi (drums).

"Emerald - No Densetsu" ("Legend of the Emerald"), was released by the band in July 1968 and was number one for two weeks in Japan, and in the Top 10 for 13 weeks, selling over one million copies.

Both Oguchi and Hagiwara are now successful actors.

title: The Tempters


text:
2 Boötis

2 Boötis is a single star in the northern constellation of Boötes, located 337 light years away from the Sun. It is visible to the naked eye as a faint, yellow-hued star with an apparent visual magnitude of 5.63. This object is moving further from the Earth with a heliocentric radial velocity of +4 km/s.

At the age of 1.33 billion years old, this is an evolved giant star with a stellar classification of K0 III, having exhausted the hydrogen at its core and expanded off the main sequence. It has 1.9 times the mass of the Sun with ten times the Sun's radius. The star is radiating 60 times the luminosity of the Sun from its enlarged photosphere at an effective temperature of 4,867 K.

title: 2 Boötis


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The Bomb! (These Sounds Fall into My Mind)

"The Bomb! (These Sounds Fall into My Mind)" is a house music track by Kenny Dope's musical production team the Bucketheads, released in February 1995 by Positiva and Henry Street Music. It was later dubbed into the project's sole album, All in the Mind (1995). The single was a commercial hit in the United Kingdom, reaching number five on the UK Singles Chart, while in the United States, it peaked at numbers 49 and 41 on the Billboard Hot 100 and Cash Box Top 100. Its music video was directed by British directors Guy Ritchie and Alex De Rakoff. In 2020, Slant Magazine ranked "The Bomb! (These Sounds Fall into My Mind)" number 48 in their "The 100 Best Dance Songs of All Time" and in 2022, Rolling Stone ranked it number 77 in their "200 Greatest Dance Songs of All Time".

Background and release
Produced by Masters at Work member Kenny "Dope" Gonzalez, the track features samples from Chicago's "Street Player" from their 1979 album Chicago 13.

The lyrics have a single line "these sounds fall into my mind", which repeats throughout the entire song. This line is also the subtitle of the song, which is actually considered a mondegreen; the actual lyric taken from the sample is "Street sounds swirling through my mind..."

Also sampled is "The Preacher Man" (1993) by Green Velvet. The accompanying video was featured on the Beavis and Butt-head episode "Prank Call," on January 28, 1996.

The track once served as the entrance music for former World bantamweight and featherweight boxing champion Prince Naseem Hamed, and is featured on the soundtrack for the 2010 film The Switch.

Chart performance
"The Bomb! (These Sounds Fall into My Mind)" was very successful on the charts on several continents, reaching number-one on the Billboard Hot Dance Club Play chart in the United States.

In Europe, the song was a top 10 hit in Belgium (3), France (4), Iceland (2), Ireland (10), Scotland (9), Sweden (5), Switzerland (7), and the UK. In the latter, the single peaked at number five in its second week at the UK Singles Chart, on March 5, 1995. But on the UK Dance Chart, the song was an even bigger hit, reaching number two. In 1999, it returned to the UK Dance Chart, this time peaking at number 34. Additionally, "The Bomb! (These Sounds Fall into My Mind)" entered the top 20 in Austria (16), Finland (14), Germany (19), Italy (13), the Netherlands (11) and Spain (12), as well as on the Eurochart Hot 100, where the song hit number 12 in July 1995. Outside Europe, it also made it to number eight on the RPM Dance/Urban chart in Canada, number 11 in Australia, number 21 in New Zealand, number 41 on the US Cash Box Top 100 and number 49 on the US Billboard Hot 100.

The song was awarded with a silver record in France, with sales of 125,000 singles.

Critical reception
AllMusic editor John Bush declared in a retrospective review that the song has a "great-sounding fusion of disco-funk and house that works well". Larry Flick from Billboard called it "retro-happy" and "an unassuming li'l jaunt back in time that is packed with more than a savvy twist or two." Chuck Campbell from Knoxville News Sentinel wrote, "The hi-NRG Eurodance number is romping good fun and a prime promotional tool for the album All in the Mind." In his weekly UK chart commentary, James Masterton described it as a "annoyingly catchy 70s-styled dance record that comes complete with tongue-in-cheek video featuring neon lights, platform heels and mile-wide afro haircuts. One of the more unconventional dance records at the moment and possibly by definition one of the best." Simon Price from Melody Maker praised it as "102 seconds of native New York night fever, indisputably the best "dance" single made in the last calendar year." Dave Piccioni from Music Week's RM Dance Update commented, "Another all-time dance classic is reworked, rehashed and brutally stripped. Why do they do it? Well, probably because they come out sounding pretty damn good. Kenny Dope has taken a razor blade to Chicago's "Streetplayer", added some rough and ready beats, some latino congas, and presented a disco gem to a new generation of dancers. The result is slamming, the effect on the floor is similar. A simple sample track that is truly gorgeous."

After the 1995 re-release, RM editor Brad Beatnik said, "It's the sort of tune that will go down very well on most floors thanks to its carnival atmosphere and very funky disco beats." He added, "A stormer." The magazine's James Hamilton viewed it as "so consistent a seller since late September ['94] that it must surely be the biggest import in ages", describing it as "a marathon bassily burbling percussive 0.125.9bpm underground rhythm groove". John Kilgo from The Network Forty declared it as "a perfect "roll down your windows and crank up the sound" tune". Iestyn George from NME praised it as a "joyous marriage of tribal trance and disco skillfully manipulated by Kenny Dope". Charles Aaron from Spin stated that "more than a Box novelty, "The Bomb!" is essential '90s funk, a house party on the last car of the D to the A train winding its way from Brooklyn up to Manhattan's disco meat-packing district with conductor Kenny "Dope" Gonzalez mixing electro, hip-hop, house, and Chicago (the group)." In her review of the album, the magazine's Leigh Anne Fitzpatrick concluded that "the single alone will leave you chanting the catchy line "These sounds fall into my mind"."

Music video
The accompanying music video for "The Bomb!" was directed by British directors Guy Ritchie and Alex De Rakoff on a budget of roughly £1,000, being one of their first music video recordings shot on a Super 8 film camera, inspired by some of the Beastie Boys' music video recording styles. It was filmed in London, as can be discerned from the side of the road being driven on with the car's steering wheel on the right side of the car and double-decker buses, and first aired in March 1995.

The video starts off with a black man with an afro waking up because of an alarm clock alongside two blonde haired white women, one with wavy hair and the other with straight hair, the latter of which gets her hair done into pigtails. After they all get themselves ready to go out to have fun, they walk out of the home and the blonde with pigtails is seen driving through London in a Volkswagen Superbug, which the man with an afro later drives while nodding to the blonde with pigtails, who quickly turns away. The gang are seen walking together through a market area and later go into a record shop where the man with an afro finds a record within the store's inventory of this exact song. They all later leave the record store, walk more through the market area, then the man with an afro departures from the two blondes via a kiss on their cheeks, later entering a nightclub called Carwash.

The video for "The Bomb! (These Sounds Fall into My Mind)" was later made available on Altra Moda Music's official YouTube channel in 2013. It had generated more than 8.7 million views as of December 2022.

Impact and legacy
Mixmag ranked the song number 60 in its "100 Greatest Dance Singles of All Time" list in 1996, adding,

"'A quarter of an hour's worth of mirrorball mayhem, Kenny 'Dope' Gonzales' The Bomb is the ultimate disco cutup track. Shatteringly simple, the genius of The Bomb lies in the way it builds up your anticipation with a protracted burst of hard jacking drums and atonal honking before the perfect disco sample soars away into the distance. A massive hit when Positiva licensed it in early 1995, The Bomb kick-started the trend for raiding old disco 12s. Dozens of producers followed its lead, but none of them ever equalled the definitive original article.'"

DJ Magazine ranked it number 95 in their list of "Top 100 Club Tunes" in 1998.

Spex included it in their "The Best Singles of the Century" list in 1999.

Slant Magazine ranked the song 65th in its "100 Greatest Dance Songs" list in 2006.

The Guardian featured the song on their "A History of Modern Music: Dance" in 2011.

MTV Dance placed "The Bomb!" at No. 10 in their list of "The 100 Biggest 90's Dance Anthems of All Time" in November 2011.

Idolator ranked the song number 34 in their ranking of "The 50 Best Pop Singles of 1995" in 2015. John Hamilton commented,

"'Who would have predicted that The Karate Kid, Part II balladeer and former lead singer of Chicago, Peter Cetera, would experience a mid-’90s career renaissance as a house music diva? (Not even Miss Cleo!) But that’s exactly what happened when noted remixer/producer Kenny 'Dope' Gonzales lifted a vintage slice of Chicago’s 'Street Player', dressed it with a funky kick, edited the hell out of the horn section and Cetera’s vocals and turned it all out as 'The Bomb!''"

BuzzFeed listed the song number 44 in their "The 101 Greatest Dance Songs of the '90s" list in 2017.

Mixmag ranked the song as one of "The 20 Best US Rave Anthems of the '90s" in 2019, adding, "'The Bucketheads is a disco-sampling solo project from NYC dance music legend Kenny 'Dope' Gonzalez who is also revered for his work as one half of Masters At Work alongside Louie Vega. Sampling the band Chicago's 1979 track 'Street Player', Kenny Dope created a slick piece of house that forces hands in the air everywhere.'"

Slant Magazine placed the song at number 48 in their list of "The 100 Best Dance Songs of All Time" in 2020. Same year, Tomorrowland included it in their official list of "The Ibiza 500".

Accolades
(*) indicates the list is unordered.

Track listings

 * 7-inch single
 * 1) "The Bomb! (These Sounds Fall into My Mind)" (radio edit) – 3:22
 * 2) "The Bomb! (These Sounds Fall into My Mind)" (Armand Van Helden re-edit) – 8:03

 * 12-inch maxi 1 - UK
 * 1) "The Bomb! (These Sounds Fall into My Mind)" – 13:58
 * 2) "I Wanna Know" – 7:15
 * 3) "The Bomb! (These Sounds Fall into My Mind)" (radio edit) – 3:22

 * 12-inch maxi 2 - UK
 * 1) "The Bomb! (These Sounds Fall into My Mind)" – 14:51
 * 2) "The Bomb! (These Sounds Fall into My Mind)" (Armand Van Helden re-edit) – 8:03
 * 3) "I Wanna Know" – 7:15

 * 12-inch maxi - US
 * 1) "The Bomb! (These Sounds Fall into My Mind)" (original mix)
 * 2) "The Bomb! (These Sounds Fall into My Mind)" (Johnick Radio Edit)
 * 3) "The Bomb! (These Sounds Fall into My Mind)" (bonus beats)

 * CD single
 * 1) "The Bomb! (These Sounds Fall into My Mind)" (radio edit) – 3:22
 * 2) "The Bomb! (These Sounds Fall into My Mind)" – 14:51

 * CD maxi - UK
 * 1) "The Bomb! (These Sounds Fall into My Mind)" (radio edit) – 3:22
 * 2) "The Bomb! (These Sounds Fall into My Mind)" – 14:51
 * 3) "The Bomb! (These Sounds Fall into My Mind)" (Armand Van Helden re-edit) – 8:03

 * CD maxi - US
 * 1) "The Bomb! (These Sounds Fall into My Mind)" (radio edit) – 3:24
 * 2) "The Bomb! (These Sounds Fall into My Mind)" (Kenny Dope remix) – 4:32
 * 3) "The Bomb! (These Sounds Fall into My Mind)" (jinxx remix) – 5:02
 * 4) "The Bomb! (These Sounds Fall into My Mind)" (bonus beats) – 5:06


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3 Boötis

3 Boötis is a close binary star system in the northern constellation of Boötes, located 310 light years away from the Sun based upon parallax. It can be viewed with the naked eye in excellent seeing conditions as a dim star with an apparent visual magnitude of 5.97. The system is moving further from the Earth with a heliocentric radial velocity of 12 km/s.

This is a double-lined spectroscopic binary system with an orbital period of 36 days and an eccentricity of 0.543. The orbital plane is inclined 74.5° and the system does not form an eclipsing binary. The primary component is an evolving star currently in the Hertzsprung gap. Its companion is a main sequence star. Both members have more mass than the Sun and they are around 1.5 billion years old.

title: 3 Boötis


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7 Boötis

7 Boötis is a single star in the northern constellation of Boötes, located 590 light-years away from the Sun. It is barely visible to the naked eye as a dim, yellow-hued star with an apparent visual magnitude of 5.71. 7 Boötis is moving closer to the Earth with a heliocentric radial velocity of −11 km/s.

This is an evolved giant star with a stellar classification of G5 III, currently at the end of the Hertzsprung gap. It has a weak level of magnetic activity but a fairly strong X-ray luminosity of $−11.00$. The rotation rate is moderate, with a projected rotational velocity of 14.5 km/s. It has four times the mass of the Sun and has expanded to 19 times the Sun's radius. The star is radiating 229 times the Sun's luminosity from its enlarged photosphere at an effective temperature of 4,600 K.

title: 7 Boötis


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9 Boötis

9 Boötis is a single, variable star in the northern constellation of Boötes, located around 630 light years away from the Sun. It is visible to the naked eye as a faint, orange-hued star with a baseline apparent visual magnitude of 5.02. This object is moving closer to the Earth with a heliocentric radial velocity of −41 km/s.

This is an aging giant star with a stellar classification of K3 III, which indicates it has exhausted the hydrogen at its core and evolved of the main sequence. As a consequence, its outer atmosphere has swollen to 55 times the radius of the Sun. It is a suspected irregular variable that ranges in photographic magnitude from 6.1 down to 6.6. 9 Boötis is considered mildly lithium-rich with a moderate level of chromospheric activity. It is radiating 716 times the luminosity of the Sun from its enlarged photosphere at an effective temperature of 4,197 K.

title: 9 Boötis


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10 Boötis

10 Boötis is a suspected astrometric binary star system in the northern constellation of Boötes, located around 528 light years away from the Sun. It is visible to the naked eye under suitable viewing conditions as a dim, white-hued star with an apparent visual magnitude of 5.76. Its magnitude is diminished by an extinction of 0.17 due to interstellar dust. This system is moving away from the Earth with a heliocentric radial velocity of +6 km/s.

The visible component is an ordinary A-type main-sequence star with a stellar classification of A0 Vs, where the 's' notation indicates "sharp" absorption lines. It is 337 million years old with a moderate rotation rate, showing a projected rotational velocity of 75 km/s. The star has 2.87 times the mass of the Sun and about 2.7 times the Sun's radius. It is radiating 113 times the Sun's luminosity from its photosphere at an effective temperature of 9,441 K.

title: 10 Boötis


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Globe of Frogs

Globe of Frogs is the sixth album released by Robyn Hitchcock and his third with his backing band The Egyptians, released on A&M Records in 1988. Made in London, it was recorded by the Egyptians (Robyn Hitchcock, Andy Metcalfe, and Morris Windsor) along with Pat Collier, and emerged as the group's debut after signing to major label A&M.

The album features Peter Buck from R.E.M. guesting on guitar as well as Squeeze's Glenn Tilbrook dueting with Hitchcock on "Flesh Number One (Beatle Dennis)". Frequent Hitchcock collaborator Chris Cox also appears.

The album also includes the minor college radio hit "Balloon Man". Originally written for The Bangles, the single reached #1 on Gavin Report's Alternative music chart. Despite this, when asked if he hated any of his own songs in an A.V. Club interview in 2013, Hitchcock said it was a song he'd "be happy to never hear again, although I do like the money I get from the royalties."

"Chinese Bones" has proved perhaps the most durable from the album, becoming one of Hitchcock's more frequently performed concert numbers.

The album was packaged in dark green, with one of Hitchcock's paintings on the front. The sleeve notes consist of his "manifesto" in which Hitchcock advocates "the organic" as opposed to the big business of "insanity" and implores listeners to bury their televisions:

"'All of us exist in a swarming, pulsating world, driven mostly by an unconscious that we ignore and misunderstand. Within the framework of 'civilisation' we remain as savage as possible. Against the dense traffic of modern life, we fortify our animal selves with video violence, imaginary sex, and music...but our inflamed and disoriented psyches smoulder on beneath the wet leaves of habit.'"

Track listing

 * 1) "Tropical Flesh Mandala"
 * 2) "Vibrating"
 * 3) "Balloon Man"
 * 4) "Luminous Rose"
 * 5) "Sleeping with Your Devil Mask"
 * 6) "Unsettled"
 * 7) "Chinese Bones"
 * 8) "A Globe of Frogs"
 * 9) "The Shapes Between Us Turn into Animals"
 * 10) "Flesh Number One (Beatle Dennis)"

Personnel
with guests:
 * Robyn Hitchcock: vocals, guitars, piano, harmonica
 * Andy Metcalf: bass guitar, accordion, keyboards, backing vocals
 * Morris Windsor: drums, backing vocals
 * Chris Cox: Mandolin
 * Peter Buck: guitar
 * Glenn Tilbrook: harmony vocals

title: Globe of Frogs


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11 Boötis

11 Boötis is a giant star in the northern constellation of Boötes, located about 332 light years away from the Sun. It is near the lower limit of visibility to the naked eye, appearing as a dim, white-hued star with an apparent visual magnitude of 6.23. This body is moving closer to the Earth with a heliocentric radial velocity of −24 km/s.

Properties
It has a stellar classification of A7 III, matching an evolved A-type giant star. The star is 328 million years old with a projected rotational velocity of 123 km/s. It has 1.67 times the mass of the Sun and is radiating 64 times the Sun's luminosity from its photosphere at an effective temperature of 7,997 K.

title: 11 Boötis


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13 Boötis

13 Boötis is a solitary variable star in the northern constellation of Boötes, and is positioned near the western constellation border with Ursa Major. It has the variable star designation CF Boötis, often abbreviated CF Boo, while 13 Boötis is the star's Flamsteed designation. This star has a reddish hue and is faintly visible to the naked eye with an apparent visual magnitude that fluctuates around 5.26. It is located at a distance of approximately 700 light years from the Sun based on parallax, but is drifting closer with a radial velocity of −14 km/s.

This is an aging red giant star on the asymptotic giant branch with a stellar classification of M1.5III, which is interpreted by stellar evolutionary models to mean it has exhausted the supply of hydrogen at its core then cooled and expanded off the main sequence. It is classified as a slow irregular variable of the Lb type, and its brightness has been observed to vary from +5.29 down to +5.38. The star has ~74 times the girth of the Sun and is radiating 1,114 times the Sun's luminosity from its swollen photosphere at an effective temperature of 3,889 K.

There is a magnitude 11.05 visual companion located at an angular separation of $1.637$ from the brighter star, along a position angle of 270°. This was first reported by William Herschel in 1783.

Possible planetary system
In 1991, Duquennoy & Mayor reported the possible presence of a low-mass object (of likely substellar nature) orbiting the red giant 13 Bootis. They set a minimum mass of 30 times that of Jupiter (likely a brown dwarf) and estimated an orbital period of 1.35 years. So far there has been no confirmation about the presence a substellar object.

title: 13 Boötis


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14 Boötis

14 Boötis is a possible binary star system located 110 light years away from the Sun in the northern constellation of Boötes. It is visible to the naked eye as a dim, yellow-white hued star with a combined apparent visual magnitude of 5.53. This system is moving closer to the Earth with a heliocentric radial velocity of −40 km/s. It has a relatively high proper motion, traversing the celestial sphere at the rate of 0.260 arc seconds per annum.

The component of this system remain unresolved as of 2002; Eggleton and Tokovinin (2008) listed an angular separation of $−39.6$. The visible component is an F-type main-sequence star with a stellar classification of F8 V There are enhanced barium lines in the star's spectrum, but these are likely caused by  regions of photospheric activity rather than being a barium star. It is 2.6 billion years old and is spinning with a projected rotational velocity of 5.6 km/s, giving it a rotation period of 26 days.

14 Boötis has 1.46 times the mass of the Sun and 2.1 times the Sun's radius. It is radiating 5.9 times the luminosity of the Sun from its photosphere at an effective temperature of 6,169 K. The metallicity is near solar, based on the abundance of iron in the stellar atmosphere.

title: 14 Boötis


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15 Boötis

15 Boötis is a binary star system in the northern constellation of Boötes, located approximately 260 light years away from the Sun. It is visible to the naked eye as a dim, orange-hued star with an apparent visual magnitude of 5.45. The system has a relatively high proper motion, traversing the celestial sphere at the rate of 0.166 arc seconds per annum. It is moving away from the Earth with a heliocentric radial velocity of +16.8 km/s.

The magnitude 5.51 primary, designated component A, is an aging K-type giant star with a stellar classification of K1 III. It is a red clump giant, which indicates it is on the horizontal branch and is generating energy through helium fusion at its core. It is around two billion years old with 1.5 times the mass of the Sun and has expanded to 10 times the Sun's radius. The star is radiating 61 times the luminosity of the Sun from its swollen photosphere at an effective temperature of 4,845 K.

Its companion, component B, is a magnitude +8.53 star was located at an angular separation of $1.007$ along a position angle of 111° from the primary, as of 2015. This is the same separation it had when the system was discovered in 1936.

title: 15 Boötis


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Acacia xiphophylla

Acacia xiphophylla, commonly known as snakewood or snake-wood, is a tree in the family Fabaceae that is endemic to Western Australia. The indigenous group the Martuthunira, Ngarluma and Yindjibarndi peoples know it as marrawa, the Kariyarra know it as puluru and the Jiwarli know it as pukarti.

Description
Snakewood grows as a bushy, spreading tree or shrub, usually with two or three main gnarled trunks. It can grow to a height of 1.5 to 7 m and a width of up to 8 m. The main branches usually appear to be contorted and widely spreading and have glabrous to sparingly finely pubescent branchlets. Like most Acacia species, it has phyllodes rather than true leaves. These are bluish grey in colour and have an elliptic or ligulate shape that tapers to the apex. The straight to slightly curved phyllodes are 5 to 12.5 cm in length and 3.5 to 16 mm wide and have numerous obscure parallel nerves. It flowers shortly after rains. Flowers have been collected between January and May and August and September. The rudimentary inflorescences occur singly or in pairs in the axils. The cylindrical flower-spikes are 2.5 to 5.5 cm in length and have a diameter of 5 to 7 mm with loosely pack light golden coloured flowers. The seed pods that form after flowering are linear and raised over the seeds. The crustaceous-woody pods are straight or slightly curved with a length of 8 to 20 cm and a width of 7 to 18 mm wide. The dull brown elliptic seeds within are 6 to 10 mm in length.

The wood of other trees with wavy grain or wavy coloration has also been called snakewood.

A. xiphophylla is a slow-growing and long-lived species that regenerates exclusively from seeds and will not form root suckers.

Taxonomy
The species was first formally described by Georg August Pritzel in 1904 as part of the work by Ptritzel and Ludwig Diels ''Fragmenta Phytographiae Australiae occidentalis. Beitrage zur Kenntnis der Pflanzen Westaustraliens, ihrer Verbreitung und ihrer Lebensverhaltnisse as published in Botanische Jahrbücher für Systematik, Pflanzengeschichte und Pflanzengeographie''. It was reclassified as Racosperma xiphophyllum in 2003 by Leslie Pedley then transferred back to genus Acacia in 2006. The specific epithet is taken from the Greek words xiphos meaning sword and phyllon meaning leaf in reference to the shape of the phyllodes. The plant is similar in appearance to Acacia intorta and Acacia eremaea and is thought to be closely related on Acacia hamersleyensis.

Distribution
It occurs on saline semi-arid land in the Gascoyne River and Ashburton catchments east and north of Carnarvon in the Gascoyne and Pilbara regions of Western Australia on plains, rocky clay flats and stony creek beds as a part of Acacia shrubland and low woodland communities where they can sometimes dominate.

title: Acacia xiphophylla


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20 Boötis

20 Boötis is a single star in the northern constellation of Boötes, located 183 light years away from the Sun. It is visible to the naked eye as a faint, orange-hued star with an apparent visual magnitude of 4.84. The star has a relatively high proper motion, traversing the celestial sphere at the rate of 0.154 arc seconds per annum. It is moving closer to the Earth with a heliocentric radial velocity of −8 km/s.

This is an aging K-type giant star with a stellar classification of K3 III. It is a red clump giant, which indicates it is on the horizontal branch and is generating energy through helium fusion at its core. The star is around five billion years old with 1.1 times the mass of the Sun and has expanded to 12 times the Sun's radius. It is radiating 52 times the luminosity of the Sun from its swollen photosphere at an effective temperature of 4,472 K.

title: 20 Boötis


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26 Boötis

26 Boötis is a single star in the northern constellation of Boötes, located 188 light years away from the Sun. It is visible to the naked eye as a dim, yellow-white hued star with an apparent visual magnitude of 5.91. This object is moving closer to the Earth with a heliocentric radial velocity of −16.5 km/s.

This is an F-type subgiant star with a stellar classification of F2 IV, which suggests it has exhausted the supply of hydrogen at its core and is in the process of evolving into a giant. It is an estimated 1.6 billion years old with 1.46 times the mass of the Sun and 2.43 times the Sun's radius. The star is radiating 11.6 times the Sun's luminosity from its photosphere at an effective temperature of 6,826 K. The rotation rate is moderately high, with a projected rotational velocity of 56 km/s. 26 Boötis is a known source of radio emission.

title: 26 Boötis


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31 Boötis

31 Boötis is a single star in the northern constellation of Boötes, located 470 light years from the Sun. It is visible to the naked eye as a faint, yellow-hued star with an apparent visual magnitude of 4.86. The object is moving closer to the Earth with a heliocentric radial velocity of −16.5 km/s. It was known to be part of a constellation between Virgo and Boötes named Mons Maenalus, it was also the brightest star in the constellation.

This is an evolved giant star with a stellar classification of G7 IIIa. It is a suspected variable star of unknown type, and is an X-ray source. The star is 370 million years old with 3.27 times the mass of the Sun. Having exhausted the hydrogen at its core, the star has expanded to 23 times the Sun's radius. It is radiating 275 times the luminosity of the Sun from its swollen photosphere at an effective temperature of 4,874 K.

title: 31 Boötis


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Fumiko Enchi

Fumiko Enchi (円地 文子) was the pen-name of Fumiko Ueda, one of the most prominent Japanese women writers in the Shōwa period of Japan. As a writer, Enchi is best known for her explorations into the ideas of sexuality, gender, human identity, and spirituality.

Early life
Fumiko Ueda was born in Asakusa, Tokyo, the second daughter of Tokyo Imperial University linguist and professor and his wife Tsuruko. Her father served as president of Kokugakuin University, was a member of the House of Peers, and was later credited with establishing the foundations of modern Japanese linguistics. Her family also included her paternal grandmother Ine, elder brother Hisashi, elder sister Chiyo, as well as maids, houseboys, a wet nurse, and a rickshaw driver and his wife.

Of poor health as a child, she was unable to attend classes in school on a regular basis, so her father decided to keep her at home. She was taught English, French and Chinese literature through private tutors. She was also strongly influenced by her paternal grandmother, who introduced her to the Japanese classics such as The Tale of Genji, as well as to Edo period gesaku novels and to the kabuki and bunraku theater. A precocious child, at age 13, her reading list included the works of Oscar Wilde, Edgar Allan Poe, Kyōka Izumi, Kafū Nagai, Ryūnosuke Akutagawa, and especially Jun'ichirō Tanizaki, whose sado-masochistic aestheticism particularly fascinated her. As a child she also gained access to many rare texts when Basil Hall Chamberlain, a mentor in linguistics to her father, donated his entire library of over eleven thousand books to the family before leaving the country in 1910.

From 1918 to 1922, she attended the girl's middle school of Japan Women's University, but was forced to abandon her studies due to health. However, her interest in the theatre was encouraged by her father, and as a young woman, she attended the lectures of Kaoru Osanai, the founder of modern Japanese drama. Her plays took inspiration from Kaoru Osanai, and many of her later plays focused on revolutionary movements and intellectual conflicts.

Literary career
Her literary career began in 1926, with a one-act stage play Birthplace (ふるさと) published in the literary journal Kabuki, which was well received by critics, who noted her sympathies with the proletarian literature movement. This was followed by A Restless Night in Late Spring ( 晩春騒夜 Banshun sōya), which was published in the September 1928 issue of the magazine Women's Arts (女人芸術) and performed at the Tsukiji Little Theatre in December 1928. In this play, two female artists, Kayoko and Mitsuko, are caught up in a conflict on their different perspectives towards art and politics. This was Enchi's first play to be produced on stage.

In 1930, she married Yoshimatsu Enchi, a journalist with the Tokyo Nichi Nichi Shimbun, with whom she had a daughter. She then began to write fiction but unlike her smooth debut as a playwright, she found it very hard to get her stories published. Although from 1939, the Tokyo Nichi Nichi Shimbun began publishing a serialization of her translation of The Tale of Genji into modern Japanese, her early novels, such as The Words Like the Wind (Kaze no gotoki kotoba, 1939), The Treasures of Heaven and Sea (Ten no sachi, umi no sachi, 1940) and Spring and Autumn (Shunju, 1943) were not a commercial success. She also continued to struggle with her health, having a mastectomy in 1938 after being diagnosed with uterine cancer, and suffering from post-surgical complications.

In 1945, Enchi's home and all her possessions burned during one of the air raids on Tokyo towards the end of the Pacific War. She had a hysterectomy in 1946, and stopped writing till around 1951.

Postwar success
In 1953, Enchi's novel Days of Hunger (ひもじい月日) was received favorably by critics. Her novel is a violent, harrowing tale of family misfortune and physical and emotional deprivation, based partly on wartime personal experiences, and in 1954 won the Women's Literature Prize.

Enchi's next novel was also highly praised: The Waiting Years (女坂) won the Noma Literary Prize. The novel is set in the Meiji period and analyzes the plight of women who have no alternative but to accept the demeaning role assigned to them in the patriarchal social order. The protagonist is the wife of a government official, who is humiliated when her husband not only takes concubines, but has them live under the same roof as both maids and as secondary wives.

From the 1950s and 1960s, Enchi became quite successful, and wrote numerous novels and short stories exploring female psychology and sexuality. In Masks (Onna men, 1958), her protagonist is based on Lady Rokujō from The Tale of Genji, depicted as a shamanistic character. After losing her son in a climbing accident on Mount Fuji, she manipulates her widowed daughter-in-law to have a son by any means to replace the one she lost. One of the quotes from the book says, "A woman's love is quick to turn into a passion for revenge--an obsession that becomes an endless river of blood, flowing on from generation to generation".

The theme of shamanism and spiritual possession appears repeatedly in Enchi's works in the 1960s. Enchi contrasted the traditions of female subjugation in Buddhism with the role of the female shaman in the indigenous Japanese Shinto religion, and used this as a means to depict the female shaman as a vehicle for either retribution against men, or empowerment for women. In A Tale of False Fortunes (Nama miko monogatari, 1965, also translated as A Tale of False Oracles, literal translation "The Tale of An Enchantress"), a retelling of the Eiga Monogatari (A Tale of Flowering Fortunes), she sets the story in the Heian period, with the protagonist as Empress Teishi (historical figure Fujiwara no Teishi, also known as Sadako), a consort of Emperor Ichijo. The novel won the 1966 Women's Literature Prize. Alongside The Waiting Years and Masks, A Tale of False Fortunes is considered to be her third work to be directly influenced by The Tale of Genji.

Three of her stories were selected for the Tanizaki Prize in 1969: Shu wo ubau mono (朱を奪うもの), Kizu aru tsubasa (傷ある翼) and Niji to shura (虹と修羅).

Another theme in Enchi's writing is eroticism in aging women, which she saw as a biological inequality between men and women. In Saimu (lit. "Coloured Mist", 1976), an aging woman becomes obsessed with a fantasy in which she can revitalize herself through sexual liaisons with young men. Enchi's works combined elements of realism and erotic fantasy, a style that was new at the time.

Later life and death
Enchi was elected to the Japan Art Academy in 1970. She was made a Person of Cultural Merit in 1979, and was awarded the Order of Culture by the Japanese government in 1985 shortly before her death on November 12, 1986, of a heart attack, suffered while she was at a family event in 1986 at her home in the Yanaka neighborhood of Tokyo. Her grave is at the nearby Yanaka Cemetery. Few of Enchi's works have been translated out of Japanese.

Novels

 * Kaze no gotoki kotoba (lit. "The Words like the Wind", 1939)
 * Ten no sachi, umi no sachi (lit. "The Treasures of Heaven and Sea", 1940)
 * Shunjū (lit. "Spring and Autumn", 1943)
 * The Waiting Years (Onna Zaka, 1949–1957), English translation by John Bester. Kodansha. ISBN 477002889X
 * Masks (Onna Men, 1958), English translation by Juliet Winters Carpenter.
 * A Tale of False Fortunes (Nama miko monogatari, 1965), English translation by Roger Kent Thomas. University of Hawaii Press. ISBN 0824821874
 * Saimu (lit. "Coloured Mist", 1976)

One-act plays

 * Furusato (lit. "Birthplace", 1926)
 * Restless Night in Late Spring (Banshu sōya, 1928)

Translation

 * Enchi Genji, a translation of The Tale of Genji into modern Japanese.

title: Fumiko Enchi


text:
Hiroshi Oguchi

Hiroshi Oguchi (大口 広司) was born in Kawaguchi, Japan, on November 28, 1950. He died on January 25, 2009, in Tokyo, Japan, of cancer.

A Tokyo-based conceptual artist, musician and scene maker, Hiroshi Oguchi had for decades been influential in the changing attitudes of Japan's youth. As a drummer, he was in the bands The Tempters, Pyg, and Vodka Collins, recording many albums. He also owned and ran his own fashion company, Practice of Silence. Oguchi was also an actor in a number of films, including Strange Circus (2006), Freesia :Icy Tears (2006),The Sinking Of Japan (2006) and Silk (2007). He was married to the popular actress Kimie Shingyoji; they had one son, Gento Oguchi, who is a musician and artist.

title: Hiroshi Oguchi


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Dumpy's Rusty Nuts

Dumpy's Rusty Nuts were a British rock band founded in 1981 by the lead singer Graham "Dumpy" Dunnell (born July 1949, London, England). Though unsuccessful as recording artists the band have been a successful and popular live act for decades. The band attracted a cult following for their live performances in small rock venues. Their initial audiences were drawn from the new wave of British heavy metal and 'Bikers' and they became particularly well known at the London Marquee Club, where they were a regular and popular attraction. In the early to mid-1980s the band toured extensively around the UK playing at small rock/'Biker' pub and club venues including the Isle of Man TT, and music festivals, cementing their name and following.

The band were not successful recording artists, preferring to concentrate on live work. They released a debut single "Just For Kicks" in June 1982 but in order to get airplay from the BBC, the band had to change their name to "Dumpy's Rusty Bolts". Sales of the single were poor, and the original band name was restored. A second single, "Box Hill Or Bust", was released. Subsequent sporadic releases have only found favour with their small core audience.

They released a double live album, Somewhere in England, in 1984, which was recorded at the Marquee Club. In 1990, they released a cover version of the song "Run Run Run" (originally recorded by Jo Jo Gunne in 1972).

Despite the group's longevity, they became for a time a favourite target for mockery from the British music press, especially Melody Maker, where they were regularly portrayed as claiming to be jumping on the latest improbable bandwagon in the humorous section "Talk Talk Talk" written by David Stubbs.

As of 2010, the band were still performing in small venues, music festivals and bike rallies across Europe. The band has toured with and supported many bands including Hawkwind, Motörhead and Status Quo.

Discography

 * Somewhere in England (1984)
 * Hot Lover (1986)
 * Get Out on the Road! (1987)
 * ''Firkin Well Live (1988)

title: Dumpy's Rusty Nuts


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32 Boötis

32 Boötis is a single star in the northern constellation of Boötes, located 360 light years away from the Sun. It is visible to the naked eye as a faint, yellow-hued star with an apparent visual magnitude of 5.55. This object is moving closer to the Earth with a heliocentric radial velocity of −23 km/s. It has a relatively high proper motion, traversing the celestial sphere at the rate of 0.195 arc seconds per annum.

This is an aging giant star with a stellar classification of G8 III. It is most likely on the horizontal branch and is a candidate red clump giant. The star is an estimated 1.46 billion years old with 2.15 times the mass of the Sun. With the hydrogen at its core exhausted, it has expanded to 12 times the Sun's radius. 32 Boötis is radiating 79 times the luminosity of the Sun from its swollen photosphere at an effective temperature of 4958 K.

title: 32 Boötis


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33 Boötis

33 Boötis is a single star in the northern constellation Boötes, located 188 light years away from the Sun. It is visible to the naked eye as a faint, white-hued star with an apparent visual magnitude of 5.39. The object is moving closer to the Earth with a heliocentric radial velocity of −13 km/s, and is catalogued as a member of the Pleiades supercluster.

This is an ordinary A-type main-sequence star with a stellar classification of A1 V. It is a source of X-ray emission, but early A-type stars are not expected to be an X-ray source so this may indicate it has an undetected companion. 33 Boötis is 142 million years old with a projected rotational velocity of 86 km/s. The star has 2.25 times the mass of the Sun and is radiating 21 times the luminosity of the Sun from its photosphere at an effective temperature of 10,176 K.

title: 33 Boötis


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Le bon roi Dagobert (song)

"Le bon roi Dagobert" (French for "The good king Dagobert") is a French satirical anti-monarchical and anti-clerical song written around 1787. It references two historical figures: the Merovingian king Dagobert I (c. 600–639) and his chief advisor, Saint Eligius (Éloi) (c. 588–660), the bishop of Noyon. The song is directed against Louis XVI and the ties maintained by the Catholic Church with the ancien régime, but it was used more broadly against monarchies in French history.

In current times, it is a popular children's song.

Creation
Written around 1787, the song is believed to be inspired by a much older hunting tune, "La Fanfare du grand cerf". The verses were written over time. The first lyrics date from the revolutionary period and were intended to ridicule the monarchy, particularly Louis XVI, who was seen as nonchalant and indecisive at the time. In one of the passages directly targeting Louis XVI, one can find the following line: "Le bon roi Dagobert, mangeait en glouton du dessert" (in English: The good King Dagobert used to eat dessert like a glutton), a text aimed at the gluttony that Louis XVI was supposed to exhibit.

Dagobert was then seen as a representation of a lazy and incapable king; although this is not the historical reality, it provided good artistic material for criticizing the monarchy while avoiding royal censorship. The Catholic Church was also targeted through Saint Eligius, who in the song represents a bishop figure giving approval to the political power. This point is described as follows: "The song highlights the role played by the French church, which excused, even sanctified, the abuses and incompetencies of the kings. In the march of events toward the French Revolution, the song became both anti-monarchical and anti-ecclesiastical; both the first and second orders are condemned as corrupt, incompetent, and ruled by concerns not shared by the third order. Dagobert thus made his final transformation from client king of the royal patron saint to buffoon and, finally, to obscurity."

The fact that the criticism was both religious and political was reflected in the choice of characters, with Dagobert being selected because he was the founding king of the Basilica of Saint-Denis. The basilica was one of the central symbols of the religious ideology that underpinned the divine right monarchy characteristic of the ancien régime.

However, after Napoleon's defeat in Russia and exile to the island of Elba, the royalists revived the fifteenth stanza. Consequently, the song was banned during the Hundred Days. The lyrics were later applied to Louis XVIII during the Restoration and even to Napoleon III.

Legacy
For its hourly chime, the clock of the town hall in the Parisian suburb of Saint-Denis alternates between two different tunes, "Le bon roi Dagobert" and "Le temps des cerises". In the early 2000s, a study was conducted in about ten French primary schools. Children aged 8 to 11 were asked to draw figures representing concepts, such as kindness. Dagobert was one of the most stereotyped figures drawn overall. He was specifically represented to characterize stupidity. Today, it is considered one of the basic children's songs in France alongside "Au clair de la lune".

The tune was mentioned by Émile Zola in Nana and Au Bonheur des Dames. The poet Charles Péguy added numerous verses to it, just like other poets who shaped the version they preferred. André Rivoire wrote a play inspired by the song where Dagobert gets married. The translation of this cultural reference could have posed a problem, especially in English. For instance, an English translator of Georges Perec, mentioned the issue in the context of their translation notes.

The song stands out as a significant inspiration for some works of Erik Satie. Charles Trenet derived "Le roi Dagobert", his personal version, which was sung by Les Compagnons de la chanson in 1949. On the other hand, singer Colette Renard performed a more ribald version of this song in 1963.

The song appears in the illustrated works of Gustave Doré, notably in his Histoire pittoresque, dramatique et caricaturale de la sainte Russie.

Many films have been adapted from it, including a French-Italian movie by Italian director Dino Risi (1984) titled Good King Dagobert. There is also a silent film by Georges Monca from 1911 and a film by Pierre Chevalier from 1963. The song was part of Geneviève Félix repertoire.

Text
1. Le bon roi Dagobert, A mis sa culotte à l'envers ; Le grand saint Éloi Lui dit : Ô mon roi! Votre Majesté Est mal culottée. C'est vrai, lui dit le roi, Je vais la remettre à l'endroit.

2. Comme il la remettait Un peu il se découvrait ; Le grand saint Éloi Lui dit : Ô mon roi ! Vous avez la peau Plus noire qu'un corbeau. Bah, bah, lui dit le roi, La reine l'a bien plus noire que moi.

3. Le bon roi Dagobert Fut mettre son bel habit vert ; Le grand saint Éloi Lui dit : Ô mon roi ! Votre habit paré Au coude est percé. C'est vrai, lui dit le roi, Le tien est bon, prête-le moi.

4. Du bon roi Dagobert Les bas étaient rongés des vers ; Le grand saint Éloi Lui dit : Ô mon roi ! Vos deux bas cadets Font voir vos mollets. C'est vrai, lui dit le roi, Les tiens sont neufs, donne-les moi.

5. Le bon roi Dagobert Faisait peu sa barbe en hiver ; Le grand saint Éloi Lui dit : Ô mon roi ! Il faut du savon Pour votre menton. C'est vrai, lui dit le roi, As-tu deux sous ? Prête-les moi.

6. Du bon roi Dagobert La perruque était de travers ; Le grand saint Éloi Lui dit : Ô mon roi ! Que le perruquier Vous a mal coiffé ! C'est vrai, lui dit le roi, Je prends ta tignasse pour moi.

7. Le bon roi Dagobert Portait manteau court en hiver ; Le grand saint Éloi Lui dit : Ô mon roi ! Votre Majesté Est bien écourtée. C'est vrai, lui dit le roi, Fais-le rallonger de deux doigts.

8. Du bon roi Dagobert Du chapeau coiffait comme un cerf ; Le grand saint Éloi Lui dit : Ô mon roi ! La corne au milieu Vous siérait bien mieux. C'est vrai, lui dit le roi, J'avais pris modèle sur toi.

9. Le roi faisait des vers Mais il les faisait de travers ; Le grand saint Éloi Lui dit : Ô mon roi ! Laissez aux oisons Faire des chansons. Eh bien, lui dit le roi, C'est toi qui les feras pour moi.

10. Le bon roi Dagobert Chassait dans la plaine d'Anvers ; Le grand saint Éloi Lui dit : Ô mon roi ! Votre Majesté Est bien essouflée. C'est vrai, lui dit le roi, Un lapin courait après moi.

11. Le bon roi Dagobert Allait à la chasse au pivert ; Le grand saint Éloi Lui dit : Ô mon roi ! La chasse aux coucous Vaudrait mieux pour vous. Eh bien, lui dit le roi, Je vais tirer, prends garde à toi.

12. Le bon roi Dagobert Avait un grand sabre de fer ; Le grand saint Éloi Lui dit : Ô mon roi ! Votre Majesté Pourrait se blesser. C'est vrai, lui dit le roi, Qu'on me donne un sabre de bois.

13. Les chiens de Dagobert Étaient de gale tout couverts ; Le grand saint Éloi Lui dit : Ô mon roi ! Pour les nettoyer Faudrait les noyer. Eh bien, lui dit le roi, Va-t-en les noyer avec toi.

14. Le bon roi Dagobert Se battait à tort, à travers ; Le grand saint Éloi Lui dit : Ô mon roi ! Votre Majesté Se fera tuer. C'est vrai, lui dit le roi, Mets-toi bien vite devant moi.

15. Le bon roi Dagobert Voulait conquérir l'univers ; Le grand saint Éloi Lui dit : Ô mon roi ! Voyager si loin Donne du tintoin. C'est vrai, lui dit le roi, Il vaudrait mieux rester chez soi.

16. Le roi faisait la guerre Mais il la faisait en hiver ; Le grand saint Éloi Lui dit : Ô mon roi ! Votre Majesté Se fera geler. C'est vrai, lui dit le roi, Je m'en vais retourner chez moi.

17. Le bon roi Dagobert Voulait s'embarquer pour la mer ; Le grand saint Éloi Lui dit : Ô mon roi ! Votre Majesté Se fera noyer. C'est vrai, lui dit le roi, On pourra crier : « Le Roi boit ! ».

18. Le bon roi Dagobert Avait un vieux fauteuil de fer ; Le grand saint Éloi Lui dit : Ô mon roi ! Votre vieux fauteuil M'a donné dans l'œil. Eh bien, lui dit le roi, Fais-le vite emporter chez toi.

19. La reine Dagobert Choyait un galant assez vert ; Le grand saint Éloi Lui dit : Ô mon roi ! Vous êtes cornu, J'en suis convaincu. C'est bon, lui dit le roi, Mon père l'était avant moi.

20. Le bon roi Dagobert Mangeait en glouton du dessert ; Le grand saint Éloi Lui dit : Ô mon roi ! Vous êtes gourmand, Ne mangez pas tant. Bah, bah, lui dit le roi, Je ne le suis pas tant que toi.

21. Le bon roi Dagobert Ayant bu, allait de travers ; Le grand saint Éloi Lui dit : Ô mon roi ! Votre Majesté Va tout de côté. Eh bien, lui dit le roi, Quand tu es gris, marches-tu droit ?

22. A Saint Eloi, dit-on Dagobert offrit un dindon. "Un dindon à moi!" lui dit Saint Eloi, "Votre Majesté a trop de bonté." "Prends donc", lui dit le roi, "C'est pour te souvenir de moi."

23. Le bon roi Dagobert Craignait d'aller en enfer ; Le grand saint Eloi Lui dit : Ô mon roi ! Je crois bien, ma foi Que vous irez tout droit. C'est vrai, lui dit le roi, Ne veux-tu pas prier pour moi ?

24. Quand Dagobert mourut, Le diable aussitôt accourut; Le grand saint Éloi Lui dit : Ô mon roi ! Satan va passer, Faut vous confesser. Hélas, lui dit le roi, Ne pourrais-tu mourir pour moi ? Good King Dagobert, Has put his breeches on backwards; The great Saint Eligius Says to him: O, my king! Your majesty Is poorly breeched. That's true, said the King, I'm going to put them again the right way around.

As he was putting it back on, Little by little, he uncovered himself; The great Saint Eligius Said to him: O my king! You have the skin Darker than a crow's. Bah, bah, said the king, The queen's is even darker than mine.

Good King Dagobert Put on his beautiful green robe; The great Saint Eligius Said to him: O my king! Your adorned robe Is torn at the elbow. That's true, said the king, Yours is good, lend it to me.

Good King Dagobert's Stockings were eaten by worms; The great Saint Eligius Said to him: O my king! Your two younger stockings Reveal your calves. That's true, said the king, Yours are new, give them to me.

Good King Dagobert Rarely shaved his beard in winter; The great Saint Eligius Said to him: O my king! You need some soap For your chin. That's true, said the king, Do you have two coins? Lend them to me.

Good King Dagobert's Wig was crooked; The great Saint Eligius Said to him: O my king! The wig-maker Has poorly styled you! That's true, said the king, I'll take your mane for myself.

Good King Dagobert Wore a short coat in winter; The great Saint Eligius Said to him: O my king! Your Majesty Is quite shortened. That's true, said the king, Have it lengthened by two fingers.

Good King Dagobert Wore his hat like a deer's antlers; The great Saint Eligius Said to him: O my king! The horn in the middle Would suit you much better. That's true, said the king, I had taken you as my model.

The king composed verses, But he composed them crookedly; The great Saint Eligius Said to him: O my king! Leave it to the goslings To make songs. Well, said the king, Then it's you who will make them for me.

Good King Dagobert Hunted in the plains of Antwerp; The great Saint Eligius Said to him: O my king! Your Majesty Is quite out of breath. That's true, said the king, A rabbit was chasing after me.

Good King Dagobert Went hunting for woodpeckers; The great Saint Eligius Said to him: O my king! Hunting cuckoos Would be better for you. Well, said the king, I'll shoot, watch out.

Good King Dagobert Had a large iron sword; The great Saint Eligius Said to him: O my king! Your Majesty Could get hurt. It's true, said the king, Give me a wooden sword.

Dagobert's dogs Were covered in mange; The great Saint Eligius Said to him: O my king! To clean them up They should be drowned. Well, said the king, Go drown them with you.

Good King Dagobert Fought haphazardly; The great Saint Eligius Said to him: O my king! Your Majesty Will get yourself killed. That's true, said the king, Quick, stand in front of me.

Good King Dagobert Wanted to conquer the universe; The great Saint Eligius Said to him: O my king! Traveling so far Causes a commotion. That's true, said the king, It would be better to stay at home.

The king waged war But he waged it in winter; The great Saint Eligius Said to him: O my king! Your Majesty Will freeze. It's true, said the king, I'll go back home.

Good King Dagobert Wanted to set sail for the sea; The great Saint Eligius Said to him: O my king! Your Majesty Will drown. That's true, said the king, They can cry: "The King is drinking!"

Good King Dagobert Had an old iron armchair; The great Saint Eligius Said to him: O my king! Your old armchair Poked me in the eye. Well, said the king, Have it quickly taken away to your place.

Queen Dagobert Favored a rather green lover; The great Saint Eligius Said to him: O my king! You are horned, I am convinced. It's okay, said the king, My father was before me.

Good King Dagobert Ate dessert greedily; The great Saint Eligius Said to him: O my king! You are a glutton, Don't eat so much. Bah, bah, said the king, I am not as much as you.

Good King Dagobert After drinking, staggered; The great Saint Eligius Said to him: O my king! Your Majesty Is going all over the place. Well, said the king, When you're tipsy, do you walk straight?

To Saint Eligius, they say Dagobert offered a turkey. "A turkey for me!" said Saint Eligius, "Your Majesty is too kind." "Take it then", said the king, "It's for you to remember me."

Good King Dagobert Feared going to hell; The great Saint Eligius Said to him: O my king! I believe, by my faith, You'll go straight there. That's true, said the king, Won't you pray for me?

When Dagobert died, The devil immediately rushed in; The great Saint Eligius Said to him: O my king! Satan is coming, You must confess. Alas, said the king, Couldn't you die for me?

title: Le bon roi Dagobert (song)


text:
Chang'an, Dongguan

Chang'an Town is an industrial town in the south east of the Dongguan prefecture-level city in the Pearl River Delta of Guangdong Province, China. The population of Chang'an was 594,809 at the 2000 Census, making it the most populous town (zhèn) in China at that count. By 2021, according to the local government, the permanent population of Chang'an will be 807,400.

Economy
There are many manufacturing operations which tailor to the needs of the export industry, and as a result, Chang'an is one of the wealthiest districts in all of China. As Dongguan is an odd agglomeration of towns without a central core (multicore), the town is more economically connected to adjacent Shenzhen than the far smaller and less dynamic urban cores of Dongguan.

Transportation
State Highway 107, Guangshen Expressway G4 and Guangshen Yanjiang Expressway S3 run through the area.

title: Chang'an, Dongguan


text:
Slender-billed kite

The slender-billed kite (Helicolestes hamatus) is a South American bird of prey in the family Accipitridae. It is found along a scattered range in forested parts of tropical northern and central South America, and far eastern Panama. The species was recategorized into and has once again been removed from the genus Rostrhamus.

Description
The slender-billed kite is a slaty gray kite with broad, rounded wings and a short, square tail. The species ranges from 36 to 41 centimeters in length and possesses a wingspan of 80–90 centimeters. There is no sexual plumage dimorphism within the species; however, females tend to be larger than the males, weighing between 367 and 485 grams while males weigh between 377 and 448 grams. Their characteristically sharp black beak is hooked, matched by sharp, black talons. Their eyes are yellowish, and their face and legs are orange-red. Juveniles resemble adults, but have brownish eyes and three narrow white bands in the tail.

Both genders resemble the male snail kite, and the slender-billed kite has often been included in the same genus, Rostrhamus. Adults are distinguished by their yellow, rather than red, eyes and a noticeably shorter tail. Other differences are found in shorter wings and more slender beaks. Nestling slender-billed kites sport a more similar plumage to their adult form than the nestlings of snail kites to theirs.

Their primary call is a nasal kee-ee-aay-aay-aay that begins with a sharp increase in frequency followed by a steady decline. This call is often heard in-flight or in response to predators. Their second call is a repeating ker-ah with oscillating frequency (sometimes followed by repeating ah-ahs) heard as they approach their mate in the nest.

Diet
The characteristic slender bill of the slender-billed kite is an adaptation designed to hunt aquatic snails, mostly of genus Pomacea, in flooded forests and other wetland areas. Though their primary food source is snails, they will hunt for crabs, such as Poppiana dentata. They perch on low branches to search for prey before diving and snatching the snails in their talons. Upon catching their prey, they will hold the snail in their talon and use their hooked beak to remove the operculum and pull the body from the shell. Like the snail kite, slender-billed kites remove the digestive tract from the snail before consuming it, but it is unknown if they similarly remove the albumen. Slender-billed kites tend to hunt for smaller snails than do snail kites.

Breeding
Slender-billed kites nest in trees from 9–20 meters in areas that flood during wet seasons. They commonly nest from June to October, and the nesting period lasts between 98 and 112 days. Typically, two eggs are laid, and the incubation period lasts 30 days. Young can stand at two weeks of age and successfully fly by 40 days. Until 7 weeks of age, the chicks are fed pieces of snail from bill-to-bill by the parent. Males court females by presenting them with snails and feeding them bill-to-bill, leaving and return with more snails until the female accepts the courtship.

title: Slender-billed kite


text:
39 Boötis

39 Boötis is a triple star system located around 224 light years away from the Sun in the northern constellation of Boötes. It is visible to the naked eye as a faint, yellow-white hued star with a combined apparent magnitude of 5.68. The system is moving closer to the Earth with a heliocentric radial velocity of −31 km/s.

The magnitude 6.36 primary, component A, is actually a double-lined spectroscopic binary system with an orbital period of 12.822 days, an eccentricity of 0.39, and an angular separation of $−30.9$. It has a combined stellar classification of F8V, matching an F-type main-sequence star, with individual massed of 1.29 and 1.05 times the mass of the Sun. Component B is of magnitude 6.72 with a class of F7V and 1.25 solar masses. The A–B pair have a separation of $2,422,379.49 JD$ and a period of 1,347.653 years. This system is a source of X-ray emission with a luminosity of $2.021 mas$.

It was a transferred by Jérôme Lalande from Boötes to Quadrans Muralis. Later when the International Astronomical Union officially recognised constellations, Quadrans Muralis became obsolete, so this star was moved back to Boötes.

title: 39 Boötis


text:
40 Boötis

40 Boötis is a single star located 166.5 light years away from the Sun in the northern constellation of Boötes. It is visible to the naked eye as a dim, yellow-white hued star with an apparent visual magnitude of 5.64. The star is moving away from the Earth with a heliocentric radial velocity of +12 km/s.

The Hipparcos catalogue (1997) lists a stellar classification of F1 III–IV, matching the luminosity class of an aging star that is evolving into a giant. Earlier, Cowley and Bidelman (1979) listed a class of F2 III, while Sato and Kuji (1990) found a main sequence class of F0V. It is around 1.2 billion years old with a relatively high rotation rate, showing a projected rotational velocity of 72.5 km/s. The star has 1.5 times the mass of the Sun and 2.4 times the Sun's radius. It is radiating 11.6 times the luminosity of the Sun from its photosphere at an effective temperature of 7,070 K.

title: 40 Boötis


text:
Hook-billed kite

The hook-billed kite (Chondrohierax uncinatus), is a bird of prey in the family Accipitridae, which also includes many other diurnal raptors such as kites, eagles, and harriers. It occurs in the Americas, including the Rio Grande Valley of Texas in the United States, Mexico, the Caribbean, Central America, and tropical South America.

Description
It is a mid-sized, slender raptor with an invariably striped belly and banded tail but there is probably more individual variation in color and in size of bill than in any other species of diurnal raptor. Birds from beneath can look blackish or gray (especially males) and brown or brick-red (females) variously. This renders species identification at times extremely difficult. The downcurved hook at the tip of the beak is apparent on perched and low-flying birds. Weight can range from 215 to 397 g and length is 38 –.

Ecology
Tree snails (e.g. Bulimulus, Homolanyx, and Polymita) are a vital component of the hook-billed kite’s diet. The density of their population within a region is proportional to the presence of tree snails. It has also been observed that the beak of the hook-billed kite has adapted in size and shape between different regions of their territory in response to the species of tree snail available to them. However, terrestrial snails (e.g. Strophocheilus), aquatic snails (e.g. Pomacea), frogs, salamanders, lizards, small mammals, crabs, spiders, caterpillars, and insects are also taken. It supposedly also hunts other birds, but this seems unlikely. When it finds a tree snail it holds it with its talon and uses its beak to pry open the shell.

Breeding
The nest, a flimsy platform of sticks, is built by both sexes. The hook-billed kite lays two to three buff-white eggs marked with red-brown. Incubation is by both sexes. Semialtricial young stay in the nest 35–45 days and are fed by both sexes. This raptor is often considered sluggish and retiring, preferring to perch inside leafy canopy when not flying.

Taxonomy
The critically endangered Cuban kite (C. wilsonii) is considered by some authors to be a subspecies of the hook-billed kite.

title: Hook-billed kite


text:
50 Boötis

50 Boötis is a single star located 275 light years away from the Sun in the northern constellation of Boötes. It is visible to the naked eye as a dim, blue-white hued star with an apparent visual magnitude of 5.38. The object is moving closer to the Earth with a heliocentric radial velocity of −9 km/s.

This is a B-type main-sequence star with a stellar classification of B9 Vn, where the 'n' notation indicates "nebulous" lines due to rapid rotation. It is 174 million years old with a projected rotational velocity of 232 km/s. The star has 3.31 times the mass of the Sun and about 3.1 times the Sun's radius. It is radiating 55 times the Sun's luminosity from its photosphere at an effective temperature of 12,140 K.

title: 50 Boötis


text: User:Ufonacious

title: User:Ufonacious


text:
Square-tailed kite

The square-tailed kite (Lophoictinia isura) is a medium-sized bird of prey in the family Accipitridae, which also includes many other diurnal raptors such as kites, eagles and harriers.

Taxonomy
German naturalist Johann Jakob Kaup described the square-tailed kite in 1847.

The square-tailed kite is monomorphic with no recorded geographic variations.

Description
As an adult the square-tailed kite is a medium-sized raptor, with the following features:
 * Length: 50–56 cm (tail is about half the length of bird)
 * Wingspan: 130–145 cm
 * Weight: Male-501g, Female-650g

Plumage variation
As an adult, the squared-tailed kite has a white face, with pale eyes and black streaks across the crown. The breast is also heavily streaked. The ventral surface of the wings has a rufous-brown lining, a dark carpal crescent, and a boldly barred finger. There is also a pale white patch on the ventral surface of the wings, at the base of the primary feathers;  the saddle, rump and central upper tail-coverts are blackish, while the upper tail-coverts are grey-brown and fade into a small pale patch above the tail. The tail itself is square with dark sub-terminal band. Square-tailed kites also have a black bill, with a pink base and cere, and short legs and feet which are whitish or cream.

This species does not experience seasonal changes to the colouration of its plumage nor is the species sexual dimorphic. Juveniles are easily distinguished from adults by the lack of the white face and their richer rufous colouration (on both the head and the body). They are also significantly less streaked than adults.

Square-tailed kites can be confused with a range of other similar sized kites and raptors. The white face and shape of the tail, as well as the overall size of the bird, are considered diagnostic features in such cases

Distribution and habitat
The square-tailed kite is a specialised canopy-dwelling predator, and can be found in a number of different habitats including open and temperate forests, woodlands, scrub, heathland, riverine trees, and savannah. Square-tailed kites can also be found in well-vegetated urban areas such as golf courses and parks. They are seldom found on the ground.

Square-tailed kites are widespread throughout Australia, but are not densely distributed. The birds are solitary, but can be observed in pairs or family units (parents and dependent young) during their breeding seasons. In Eastern New South Wales, nesting square-tailed kites were found to have home territories of 50 m2, with spaces of around 13 km between nesting pairs. Current population estimates from the IUCN Red List indicate a population of between 1000 and 10,000 individuals, of which 67% are thought to be sexually mature individuals.

Many square-tailed kites migrate annually, but the timing and locations of these migrations are dependent on the home territory of each individual bird, with some birds not migrating at all.

Threats
Land clearing for agricultural use, illegal egg collection, and hunting are the major threats facing this species. Land clearing is a particularly significant threat, with the removal of trees that could be used by the birds for nesting and breeding causing dispersal and competition for the resources that are still available. This is particularly evident around coastal areas where urban or rural development is occurring.

Conservation status
Square-tailed kites are classified on the IUCN Red List as Least Concern. This classification is a result of the species large range, wide distribution, and stable population trends, though the species has previously been classified as Vulnerable (1994–96) and has a range of different classifications at state levels. In New South Wales the species is considered Vulnerable, while it is considered Threatened in Victoria, Endangered in South Australia, and Rare in Queensland.

Due to the stable population trend for this species, and its IUCN Red List classification of Least Concern, there are no active conservation efforts specific to this species. The species will benefit from any environmental protections in place across its range that preserve suitable square-tailed kite habitat, as well as revegetation of open or urban areas.

Flight
Square-tailed kites can glide or soar, depending on the positioning of their wings. For gliding, the birds wing are held in medium modified dihedral, and when soaring the wings are in a medium to strong dihedral, and the tips of the primary flight feathers are curled up. These birds are well suited to flight, and use these techniques to travel in or above the tree canopy. They are rarely seen on the ground.

Diet and foraging
Square-tailed kites hunt for food by soaring slowly above or through the tree canopy, skimming over grass, flying transect lines, or quartering. The diet of square-tailed kites includes avian prey-both smaller birds and eggs, small mammals such as mice, insects, molluscs (snails), and reptiles. Avian prey is typically young birds such as nestlings or juveniles, and square-tailed kites have been observed preying upon a range of other bird species including crested pigeons (Ocyphaps lophotes), New Holland honeyeater (Phylidonyris novaehollandiae); eastern yellow robin (Eopsaltria australis), rufous whistler (Pachycephala rufiventris) and juvenile Pacific koel (Eudynamis orientalis).

Reproduction
As part of the mate selection process, square-tailed kites perform courtship flights. These flights are typically aerobatic in nature and allow the individuals to exhibit their flying skills. The male pursues the female, and the pair perform aerial rolls in which the talons are presented but do not make contact. These flights can be accompanied by vocalisations.

The breeding season of square-tailed kites is specific to the location of the birds. Those in temperate Australia will breed between July and February, while those in more tropical areas will breed around April. When nesting, square-tailed kites prefer large, tall trees in uncleared areas. Both the male and female birds will participate in the building of the nest, or will add to disused nests of other species. Nest shape will either be the typical bowl-shaped nest, or a stick platform, and construction of the nest usually takes around 3 weeks. During the breeding season the female will roost on the nest at night, while the male roosts in a nearby tree, and when young are present both the male and female will roost near the nest. Only one attempt to breed is made each season, with a clutch producing 1–2 white eggs that are a round to oval shape. The incubation period for this species is around 40 days and offspring care is biparental. Incubation of the eggs is primarily done by the female, as the male hunts and brings food to the nest, however males have also been seen incubating eggs. The nestling stage lasts about 8 weeks, with an additional two months of dependence post-fledging. On hatching, offspring is semi-altricial with feathers and vocalisations developed by 3 weeks, post hatching.

Square-tailed kites exhibit pre-copulatory behaviour such as vocalisations and allopreening. The species will also exhibit territorial behaviour during the nesting and incubation periods of their annual cycle, making vocalisations and flying at other birds to move them away from nesting sites. Threat displays for this species include 'staring' at other birds with the bill open, and the feathers of the head and neck upright. The feathers of the wings and mantle are also raised, which serves to make the bird look larger and more threatening.

title: Square-tailed kite


text:
The Golden Cups

The Golden Cups (ザ・ゴールデン・カップス) are a Japanese pop and rock band, who were one of the top bands performing in the Group Sounds scene in the late 1960s.

Career
The band formed in November 1966 in Yokohama, and initially comprised locally born singer Tokimune "Dave" Hirao (November 17, 1944 – November 10, 2008), guitarist Eddie Ban (born June 22, 1947), Hawaiian-born guitarist Kenneth Ito (January 1, 1946 – March 2, 1997), bassist Masayoshi "Louis" Kabe (November 5, 1948 – September 26, 2020), and drummer Mamoru Manu (June 3, 1949 – September 2020).

Hirao had previously sung in local band The Sphinx, and had recently traveled to the US, as had Ban who returned to Japan with one of the first fuzzboxes in the country. The new band initially called themselves Group & I, and were influenced by the rock and roll music broadcast on the Far East Network from the local US Army base at Honmoku, and more generally by contacts made with Americans and others in the port city of Yokohama.

They began playing sets consisting of covers of American pop and rock hits such as "Hey Joe", "Got My Mojo Workin'" and "I Feel Good". They became the house band at the Golden Cup discotheque close to the US Army base, and the club's owner persuaded them to change their name to the Golden Cups. The band also soon won a regular place on the NHK-TV morning show, Young 720, and a recording deal with the Capitol label owned by Toshiba. In June 1967, they released their first single, "Itoshi No Jizabel" / "Hiwa Mata Noboru". The record label compelled the group to record bland pop songs written by staff songwriters for most of their A-sides, only allowing them free rein on the records' B-sides and some album tracks. The same approach was imposed on their performances, with the band obliged to play pop ballads at their major concerts, while playing eccentric garage band covers and hard rock when appearing in small clubs. They released their first album, The Golden Cups Album, in March 1968, and had their biggest pop hit, "Nagai Kami No Shoujo" ("Girl With Long Hair") soon afterwards.

Kenneth Ito traveled to Hawaii in mid-1968, and was not allowed a visa to return to Japan. He was replaced by keyboard player Mickey Yoshino, in time to record the band's second album The Golden Cups Album Vol. 2. This again featured covers of American pop hits like "Woman, Woman" alongside more adventurous numbers, producing what Julian Cope has called "a schizophrenic stalemate". Their next album was a live recording, Blues Message, on which the band performed versions of most of the tracks on the Paul Butterfield Blues Band's album East-West.

In 1969, Eddie Ban left the group to form his own band, and Louis Kabe took over on guitar. Later albums included Super Live Session, heavily influenced by the album Super Session by Al Kooper and Mike Bloomfield; Recital, which featured orchestral versions of some of the group's hits; and Live Album with the Golden Cups, described by Julian Cope as "abominable". During this period the band underwent many personnel changes, with only Hirao and Kabe remaining constant. On New Year's Eve 1971/72, the band were playing in a club in Okinawa when the building caught fire and burned to the ground, taking all of the band's equipment and possessions with it. Although the group members were unharmed, they split up immediately afterwards.

Aftermath
Louis Kabe later played bass in the psychedelic blues rock supergroup Speed, Glue & Shinki, and was then a member of rock band Pink Cloud. Kenneth Ito died in 1997. In 2003, most of the band's original members reunited for a concert in Yokohama, released as a live album. A full-length documentary about the band, The Golden Cups One More Time, was released in late 2004 and was followed by further concerts.

Dave Hirao died as a result of oesophageal cancer in 2008 at the age of 63.

title: The Golden Cups