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Hat Noppharat Thara–Mu Ko Phi Phi National Park

Hat Noppharat Thara-Mu Ko Phi Phi National Park lies in the Ao Nang, Sai Thai, Pak Nam Sub-districts of Amphoe Mueang Krabi, Krabi Province, Thailand. It is a marine national park. Established in 1983, it is an IUCN Category II protected area with coral reefs, an area measuring 387.9 square kilometres. The park is influenced by tropical monsoon winds resulting in two seasons: the first is a rainy season from May–December and a hot season from January–April. Average temperature ranges from 17-37 degrees Celsius. Average rainfall per year is highest in July and lowest in February. From October 2015 to May 2016, 1.168 million tourists visited Hat Noppharat Thara-Mu Ko Phi Phi Marine National Park. Seventy-seven percent, or 900,466, were foreigners. Resulting revenues were 361.91 million baht, according to the Department of National Parks and Plant Conservation. Spalding, Mark. World Atlas of Coral Reefs. University of California Press. Pp. 265–. ISBN 978-0-520-23255-6

Bodamalai Betta

Bodamalai Betta is a 1,200 metres mountain in the Eastern Ghats of South India. It is in the hills 20 kilometres west of the Stanley Reservoir in Salem District of Tamil Nadu state, India. Elevation is 1,200 metres, it is the tallest of a distinct area of hills covering an area about10 km east-west and 7 km km north-south, all with elevation below600 metres, surrounded by valleys on the south and north and plains to the east. Bodamalai Betta is in a strong earthquake zone, with on average one every 50 years, with magnitude of 5-6 on the Richter magnitude scale.3 kilometres to the north of the peak is the east-west valley of the Palar River, a minor tributary of the Kaveri River There is a local road along the river. The nearest town is Chinna Cottai18 kilometres by road in Chamarajanagar district, Karnataka state. Bodamalai Betta is in an area with a Humid subtropical climate. April is warmest month with an average temperature of 91.76 °F at noon. January is coldest with an average temperature of 59.18 °F at night.

Temperatures drop at night. February is on average the month with most sunshine. Rainfall and other precipitation peaks around October. January is the driest month. "Southern Indian Subcontinent: 4 Mountain Summits with Prominence of 1,500 meters or greater" Retrieved 2011-11-24

Pseudorhaphitoma darnleyi

Pseudorhaphitoma darnleyi is a small sea snail, a marine gastropod mollusk in the family Mangeliidae. The length of the shell attains 12 mm; the slender pyramidal shell is acuminated. It is six-sided, horny brown, longitudinally ribbed, crossed with raised striae, somewhat rugose and with smooth interstices; the shell contains 7-8 flattened whorls. The suture is opaque; the sculpture is much plainer on the body whorl. The inner lip shows a thin deposit of callus; the outer lip edged with black. The sinus is wide, cut deep down; the siphonal canal is short. The slender, six-sided shell has a pyramidal shape, it is longitudinally ribbed and crossed with raised striae, somewhat rugose, interstices smooth. It contains 7 to 8 flattened whorls; the outer lip is varicose. The sinus is deep; the color is the lip sometimes black-edged. This species is remarkable by the absence of fine grained spirals and is by this an aberrant members of this genus; this marine genus is endemic to Australia and occurs in the Gulf of Carpentaria and off Queensland, Australia

Slapstick (novel)

Slapstick, or Lonesome No More! is a science fiction novel by American author Kurt Vonnegut. Written in 1976, it depicts Vonnegut's views of loneliness, both on an social scale; the novel, published in 1976, is presented as meditation on death, on Vonnegut's relationship with his sister Alice. As the author explains in an extended prologue, his sister died of cancer in 1958, a mere two days after her husband had died in a train accident. Vonnegut raised her three children; the novel was written shortly after the death of the author's uncle, in fact the idea for the entire book came to Vonnegut in a dream he had on a plane on the way to the funeral. Slapstick is dedicated to Arthur Stanley Jefferson and Norvell Hardy, the title of the novel is in reference to the physical and situational comedy style that duo employed. Vonnegut explains the title himself in the opening lines of the book's prologue: "This is the closest I will come to writing an autobiography. I have called it "Slapstick" because it is grotesque, situational poetry -- like the slapstick film comedies those of Laurel and Hardy, of long ago.

It is about what life feels like to me." The novel is in the form of an autobiography of Dr. Wilbur Daffodil-11 Swain. Dr. Swain tells us that he lives in the ruins of the Empire State Building with his pregnant granddaughter, Melody Oriole-2 von Peterswald, her lover, Isadore Raspberry-19 Cohen. Dr. Swain is a hideous man whose ugliness, along with that of his twin sister Eliza, led their parents to cut them off from modern society; the siblings came to realize that, when in close physical contact, they form a vastly powerful and creative intelligence. Through reading and philosophizing together and Eliza combated the feelings of loneliness and isolation that would otherwise have ruined their childhood. Throughout the book, Wilbur claims that his sister Eliza is the more intelligent of the two, but that no one realizes it because she can't read or write. Wilbur and Eliza are like two halves of a brain, with Wilbur the left brain—logical, able to communicate—and Eliza the right brain: creative, but unable to communicate effectively.

The siblings created, among other things, a plan to end loneliness in America through vast extended families. Under the plan, all citizens would be provided with new middle names, made of the name of a random natural object paired with a random number between 1 and 20. Everyone with the same name would be cousins, everyone with the same name and number would be siblings, their parents and the staff of the mansion believe the children are retarded, the children play this up when in the company of others, so as to not interfere with what they view as a perfect childhood. But after hearing their mother wish that they were normal, the children reveal their intelligence to their parents. Eliza is still deemed retarded, is sent to a mental institution. Wilbur however is sent to a prep school and goes to Harvard University and earns a doctorate. Armed with the plan created with Eliza and the slogan, "Lonesome No More!," Dr. Swain wins election to the Presidency, devotes the waning energies of the Federal government to the implementation of the plan.

In the meantime, Western civilization is nearing collapse as oil runs out, the Chinese are making vast leaps forward by miniaturizing themselves and training groups of hundreds to think as one. The miniaturization proceeds to the point that they become so small that they cause a plague among those who accidentally inhale them destroying Western civilization beyond repair; however as life as we know it collapses, Swain's middle name policy continues to unite the survivors. The American population risk their time and their lives to selflessly help their fellow cousins and siblings, ensuring that people may live their lives "lonesome no more." The novel has a typical Vonnegut pattern of short snippets ending with a punchline of sorts. These are separated by the words "hi ho", which Dr. Swain describes as a sort of verbal hiccup that has developed in his old age. Vonnegut does not believe that traditional religions can cure loneliness or provide significant comfort, his take on belief in the afterlife is satirical.

In his novel he describes a Church of Jesus Christ the Kidnapped which becomes a dominant American religion in the post-apocalyptic world of the novel. Vonnegut finds the church followers' behavior comical: He was jerking his head around in what seemed an eccentric manner, as though hoping to catch someone peering out at him from behind a potted palm tree or an easy chair, or from directly overhead, from the crystal chandelier. Vonnegut is concerned about the transitoriness of the modern lifestyle, wherein people are forced to leave their familial and cultural roots and trade those for professional and financial security, he explains in an interview: Well, I am used to the rootlessness that goes with my profession. But I would like people to be able to stay in one community for a lifetime, to travel away from it to see the world, but always to come home again... Until recent times, you know, human beings had a permanent community of relatives, they had dozens of homes to go to. So when a married couple had a fight, one or the other could go to a house three doors down and stay with a close relative until he was feeling tender again.

Or if a kid was so fed up with his parents that he couldn't stand it, he could march over his uncle's for a while. And this is no longer possible; each family is locked into its little box. The neighbors aren't relatives. There aren't other houses where people can be cared for. Vonnegut was influenced by the theories of Robert Redfield, from whom he

GoFly Gotar

The GoFly Gotar is a French autogyro, designed by and was under development by GoFly Aeronatique of Boves, introduced in 2013. The aircraft was intended to be supplied to customers ready-to-fly; the company seems to have been founded about 2013 and gone out of business in 2016. It is unclear whether any examples were flown; the Gotar has a fuselage design that can be finished as an autogyro with an unpowered rotor, a helicopter with a powered rotor, or as an ultralight trike with a hang glider-type wing fitted. The autogyro version was developed first and it seems unlikely that other versions were completed; as an autogyro the Gotar features a single main rotor, a two-seats-in tandem open cockpit with a windshield, tricycle landing gear without wheel pants, plus a tail caster and a four-cylinder, 16 valve, air-cooled, four stroke 100 hp Vija J-10Si engine in pusher configuration. The aircraft fuselage is made from metal tubing, with a small cockpit fairing and a curved windshield that continues over the seats to the rotor mast.

Its two-bladed rotor has a diameter of 8.4 m. The aircraft has a typical empty weight of 245 kg and a gross weight of 450 kg, giving a useful load of 205 kg. With full fuel of 70 litres the payload for the pilot and baggage is 155 kg; the design was first promoted on the company website in 2013, but had not flown by 2015. The company website was removed at the end of 2016; the company no longer exists and Gotar development ended. Data from TackeGeneral characteristics Crew: one Capacity: one passenger Empty weight: 245 kg Gross weight: 450 kg Fuel capacity: two 35 litres tanks, for a total of 70 litres Powerplant: 1 × Vija J-10Si four-cylinder, 16 valve, air-cooled, four stroke aircraft engine, 75 kW Main rotor diameter: 8.4 m Main rotor area: 55 m2 Propellers: 3-bladed ground adjustablePerformance Disk loading: 8.1 kg/m2 List of rotorcraft Official website archives on

Hubert Ogunde

Chief Hubert Adedeji Ogunde, D. Lit. was a Nigerian actor, theatre manager, musician who founded the first contemporary professional theatrical company in Nigeria, the African Music Research Party, in 1945. He changed the name to Ogunde Theater Party in 1947 and Ogunde Concert Party in 1950. In 1960, he changed it to Ogunde Theater, a name which remained until his death in 1990, he has been described as "the father of Nigerian theatre, or the father of contemporary Yoruba theatre". In his career on stage, he wrote more than 50 plays, most of which incorporate dramatic action and music, with a story reflecting the political and social realities of the period, his first production was a church-financed play called The Garden of Eden. It premiered at Glover Memorial Hall, Lagos, in 1944, its success encouraged Ogunde to produce more plays, he soon left his job with the police force for a career in the theatre. In the 1940s, he released some plays with political commentaries: The Tiger's Empire and Hunger and Bread and Bullet.

During the 1950s, he toured various Nigerian cities with his travelling troupe. In 1964, he released Yoruba Ronu, a play that generated controversy and earned him the wrath of Chief Akintola, premier of the Western Region; the Ogunde Theater was banned in the Western Region of Nigeria for two years as a result. This ban was only revoked by the new military government of Lt. Col. F. A. Fajuyi on the 4th of February, 1966. In the late 1970s, Ogunde was spurred by the success of Ija Ominira and Ajani Ogun, two pioneering Yoruba feature-length films, to co-produce his first celluloid film, Aiye, in 1979, he released Jaiyesimi, Aropin N'tenia and Ayanmo, feature-length films influenced by Yoruba mysticism, thereafter. Ogunde starred in Mister Johnson, the 1990 motion picture that featured Pierce Brosnan; the movie was shot on location near Bauchi, Nigeria. Ogunde was born in Ososa, near Ijebu-Ode, Ogun State, Nigeria, to the family of Jeremiah Deinbo and Eunice Owotusan Ogunde, his father was a Baptist pastor and his maternal grandfather was a priest of Ifa, an African traditional religion.

Ogunde lived within the precincts of his grandfather's compound and was exposed to Ifá, Ogun and many other traditional religious celebrations. Both the Christian and traditional religion of the Yoruba influenced his upbringing, he had his education between 1925 and 1932, attending St John School, Ososa, St Peter's School, Faaji and Wasimi African School. His first contact with performance art was as a member of Egun Alarinjo during his elementary school days. After completing his education, he worked as a pupil-teacher at St. John's School, was church choirmaster and organist, he joined the Nigerian police force in March 1941 in Ibadan. In 1943, the police force posted him to the Denton Police Station, Ebute Metta, where he joined an African initiated church, the Church of the Lord. In Lagos, he created an amateur drama group, the African Music Research Party, in 1945. Like many of his theatre contemporaries, such as A. B. David, P. A. Dawodu, Layeni and G. T. Onimole, his theatre career began under the patronage of the Church.

In 1944, he co-produced his first folk opera with G. B. Kuyinu, The Garden of Eden and The Throne of God, commissioned by the Lagos-based Church of the Lord founded by Josiah Ositelu; the performance was sanctioned to aid contributions to a Church building fund. The folk opera premiered at Glover Memorial Hall with the chairman of the ceremony, Dr. Nnamdi Azikiwe, in attendance; the play incorporated realism and dramatic action in the acting and singing of the performers, separating it from the common Native Air Operas predominant in Yorubaland at the time. This was an innovation. At the request of the Alake of Abeokuta, Ogunde performed "The Garden of Eden" at the Ake Centenary Hall. Encouraged by the success of the play, he went on to write more operas, he wrote and co-directed three religious-themed plays: Africa and God, a folk opera infused with Yoruba cultural themes than were non-existent in The Garden of Eden, Israel in Egypt and Nebuchadnezzar's Reign and Belshazzar's Feast. In 1946, he resigned his post with the police to become a professional dramatist.

As has been stated, Ogunde's African Music Research Party, founded in 1945, was the first contemporary professional theatre company in Yorubaland. Previous performance groups were masked theatre troupes called Alarinjo who were dependent on the court or church for support, who grew in popularity as a result of word of mouth. Ogunde distinguished his group by using promotion methods such as advertisements and posters, by changing the round stage used by alarinjo performers to one with a proscenium. In addition, he introduced dramatic action and realism in his plays, depending on the audience for commercial support. By these acts Ogunde began the rise of modern professional theatre in Nigeria, a movement in which he remains the most influential practitioner. After leaving his job as a police constable, Ogunde moved away from his earlier focus on religious themes and started writing plays that were nationalistic and anti-colonial in outlook, a trend in Lagos during the furious forties. During this period, many of his early operas were co-directed by G. B.

Kuyinu. In early 1945, he produced Worse than Crime, a political play infused with Yoruba dance and ancient folk songs. Like most of his early plays, it premiered at Glover Memorial Hall, Lagos. In that year, he wrote The Black Forest and Journey to Heaven, two Yoruba operas that improved on his use of traditional Yoruba folklore; the latter had a strong Christian influence. In November 194