title: Music of the Katamari Damacy series

abstract: Katamari Damacy is a third-person puzzle-action video game that was published and developed by Namco for the PlayStation 2 video game console. The success of the game led to the release of six sequels in Japan and other territories: We Love Katamari, Me & My Katamari, Beautiful Katamari, Katamari Damacy Mobile, I Love Katamari, and Katamari Forever. It also inspired a spin-off game, Korogashi Puzzle Katamari Damacy. Five of the games' soundtracks have been released as albums. Katamari Fortissimo Damacy, a soundtrack album for the original game, was released by Columbia Music Entertainment in 2004, Katamari wa Damacy was released as a soundtrack album for We Love Katamari by Columbia Music Entertainment in 2005, and Katamari Original Soundtrack Damacy was released in 2006 as a soundtrack album for Me & My Katamari by the same publisher and also included tracks from We Love that were not included in its album. Katamari Suteki Damacy was released by Columbia Music Entertainment in 2007 as a soundtrack album for Beautiful Katamari, and the latest album, Katamari Damacy Tribute Original Soundtrack: Katamari Takeshi, was released in 2009 by Columbia Music Entertainment as the soundtrack album for Katamari Forever. The soundtracks to the other Katamari games have been composed of tracks from previous games in the series, and have not had separate album releases. Both the soundtracks and their associated albums have been well received by reviewers, who have cited the "catchiness" and "quirkiness" of the music as their most notable features. The soundtrack to Katamari Damacy won both IGN's and GameSpot's "Soundtrack of the Year 2004" awards, while the theme song to We Love Katamari was awarded Best Original Vocal/Pop Song at the 4th Annual Game Audio Network Guild awards in 2006. None of the other soundtracks have been nominated for any awards. They were still well received by reviewers, with the music of the PlayStation Portable game Me & My Katamari receiving the weakest reviews due to its extensive reuse of songs from previous games in the series.

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# Music of the Katamari Damacy series

*Katamari Damacy* (塊魂, lit. "*Clump Spirit*") is a third-person puzzle-action video game that was published and developed by Namco for the PlayStation 2 video game console. The success of the game led to the release of six sequels in Japan and other territories: *We Love Katamari*, *Me & My Katamari*, *Beautiful Katamari*, *Katamari Damacy Mobile*, *I Love Katamari*, and *Katamari Forever*. It also inspired a spin-off game, *Korogashi Puzzle Katamari Damacy*.

Five of the games' soundtracks have been released as albums. *Katamari Fortissimo Damacy*, a soundtrack album for the original game, was released by Columbia Music Entertainment in 2004, *Katamari wa Damacy* was released as a soundtrack album for *We Love Katamari* by Columbia Music Entertainment in 2005, and *Katamari Original Soundtrack Damacy* was released in 2006 as a soundtrack album for *Me & My Katamari* by the same publisher and also included tracks from *We Love* that were not included in its album. *Katamari Suteki Damacy* was released by Columbia Music Entertainment in 2007 as a soundtrack album for *Beautiful Katamari*, and the latest album, *Katamari Damacy Tribute Original Soundtrack: Katamari Takeshi*, was released in 2009 by Columbia Music Entertainment as the soundtrack album for *Katamari Forever*. The soundtracks to the other *Katamari* games have been composed of tracks from previous games in the series, and have not had separate album releases.

Both the soundtracks and their associated albums have been well received by reviewers, who have cited the "catchiness" and "quirkiness" of the music as their most notable features. The soundtrack to *Katamari Damacy* won both IGN's and GameSpot's "Soundtrack of the Year 2004" awards, while the theme song to *We Love Katamari* was awarded Best Original Vocal/Pop Song at the 4th Annual Game Audio Network Guild awards in 2006. None of the other soundtracks have been nominated for any awards. They were still well received by reviewers, with the music of the PlayStation Portable game *Me & My Katamari* receiving the weakest reviews due to its extensive reuse of songs from previous games in the series.

## *Katamari Damacy*

*Katamari Damacy* is a third-person puzzle-action video game that was published and developed by Namco for the PlayStation 2 in 2004. The music in the game was widely hailed as imaginative and original and was considered one of its top-selling points. Its eclectic composition featured elements of traditional electronic video game music, as well as heavy jazz and samba influences. The tracks were composed by multiple composers, with Yuu Miyake composing the most at seven and acting as the sound director; other composers for the game were Asuka Sakai, Akitaka Tohyama, Yoshihito Yano, Yuri Misumi, and Hideki Tobeta. Many of the tracks feature vocals from popular J-pop singers such as Yui Asaka and anime voice actors such as Nobue Matsubara and Ado Mizumori. Miyake has stated that they chose the artists by looking for "Japanese singers who were well-known in Japan but nobody had heard from in awhile \[*sic*\] for whatever reason". Miyake wanted to use vocal songs because he felt that they were necessary "to make music that only *Katamari Damacy* could do, really fun music". He has said that game director Keita Takahashi did not give detailed directions on the sound design of the game, allowing Miyake and his team to instead create whatever they felt would fit best.

The artists were chosen after the lyrics were written, and were selected based on how well Miyake and Takahashi felt they would "gel with the world of *Katamari Damacy* and the content of the song lyrics". They were also chosen to create a "pretty silly, goofy selection of singers" that would appeal to "a broad spectrum of people from different generations". Once the lyrics and singers had been chosen, the music was written specifically for each artist with the intention of creating songs that were "familiar" but not "trendy" so that they would not seem dated in the future. The "humming" in the opening song, described by Miyake as "na-na-na-na-na-na-na-Katamari", was included as an experiment by Miyake to try to create a "memorable" theme associated with the game, in response to criticisms that modern game music was not as memorable as that of older games. Miyake says that "Cherry Tree Times" is his favorite piece from the series.

*Katamari Fortissimo Damacy* (塊フォルテッシモ魂, *Katamari Forutesshimo Damashii*, lit. "*Clump Fortissimo Spirit*") is the soundtrack album to the game. It includes all of the tracks featured in the game, as well as an additional track, "Katamari March Damacy", a bonus song that was not included in the game. The album has 21 tracks that span a duration of 1:15:13. It was released on May 19, 2004, by Columbia Music Entertainment with the catalog number COCX-32760.

The soundtrack to *Katamari Damacy* won both IGN's and GameSpot's "Soundtrack of the Year 2004" awards. It was also nominated for "Outstanding Achievement in Original Musical Composition" at the 8th annual Interactive Achievement Awards in February 2005. In GameSpot's review of the game, they described the soundtrack as based around a "singular, extremely catchy theme" that appeared as pop, jazz, and humming throughout the "insidiously infectious" music. IGN's review of the game called its tracks catchy and genuine. The soundtrack album was praised in a review by Square Enix Music Online, who said that in addition to the music being "outside the box", the soundtrack "fits with the graphics and gameplay in every way possible", is "extremely pleasing to the ears", and "could very well be a great album with no game attached". He described the music as "fun", "catchy", and "quirky" and highly recommended the album. The album reached #191 on the Japanese Oricon charts.

Tracklist
| No. | Title | Lyrics | Music | Vocals | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "Katamari Nah-Nah" (ナナナン塊 *Nananan Katamari*) | Yuu Miyake | Miyake | Yuusama | 1:21 |
| 2. | "Katamari on the Rocks ~ Main Theme" (塊オンザロック～メインテーマ) | Miyake, Keita Takahashi | Miyake | Masayuki Tanaka (of Crystal King) & Tomomi Suzuki (chorus) | 5:57 |
| 3. | "Overture" |  | Asuka Sakai, Miyake |  | 0:49 |
| 4. | "The Moon & The Prince" (月と王子) | Akitaka Tohyama | Tohyama | Kenji Ninuma & Fumina (chorus) | 5:30 |
| 5. | "Fugue #7777" (フーガ#7777) |  | Sakai |  | 1:22 |
| 6. | "LONELY ROLLING STAR" | Yoshihito Yano | Yano | Saki Kabata | 5:44 |
| 7. | "Walking on a Star!" (ステキ星のさんぽはステキ, "The Wonderful Star's Walk is Wonderful") |  | Yuri Misumi |  | 3:12 |
| 8. | "katamari mambo \[Katamari Syndrome Re-mix\]" (塊シンドロームmix) | Kazuyuki Oda, Misumi | Misumi | Nobue Matsubara & Sakamoto-Chan | 5:35 |
| 9. | "You Are Smart" |  | Tohyama |  | 3:32 |
| 10. | "Gin & Tonic & Red Red Roses" (真っ赤なバラとジントニック, "A Crimson Rose and a Gin Tonic") | Sakai | Sakai | Ado Mizumori & Asami Shimada (chorus) | 4:29 |
| 11. | "WANDA WANDA" |  | Miyake |  | 3:23 |
| 12. | "Que Sera Sera" (ケ・セラ・セラ) | Sakai, Natsuki Isaki | Sakai | Charlie Kosei | 5:31 |
| 13. | "Angel Gifts" (天使風味の贈り物, "Angel Flavor's Present") |  | Miyake |  | 5:08 |
| 14. | "Roll Me In" (カタマりたいの *Katamaritaino*) | Hideki Tobeta | Tobeta | Yui Asaka & Mika Sato (chorus) | 5:53 |
| 15. | "Katamari☆Stars" (カタマリ☆スターズ) |  | Tobeta |  | 2:28 |
| 16. | "Cherry Tree Times" (さくらいろの季節, "Cherry Blossom Color Season") | Miyake | Miyake | Katamari-Tai Jr., Chihiro Arai, Hiroki Fujita, Kana Sagara, Kento Masui, Tomoka Osawa, Mai Tsukada, and Chikara Kawatsuchina | 6:14 |
| 17. | "Lovely Angel" (ラブリーエンジェル) |  | Miyake |  | 1:27 |
| 18. | "Stardust Fanfare" (サターダスト・ファンファーレ) |  | Tohyama |  | 0:08 |
| 19. | "The Last Samba" (さいごにサンバ) |  | Sakai | Katamari Samba-Tai | 1:00 |
| 20. | "Katamari of Love ~ Ending Theme" (愛のカタマリ～エンディングテーマ) | Yano, Tohyama | Yano, Tohyama | Shigeru Matsuzaki | 4:09 |
| 21. | "Katamari March Damacy" (塊マーチ魂) (previously unreleased bonus track) |  | Miyake |  | 2:21 |
| Total length: | | | | | 1:15:13 |

## *We Love Katamari*

| Katamari wa Damacy | |
| --- | --- |
| Soundtrack album by Yuu Miyake et al. | |
| Released | July 20, 2005 |
| Genre | Video game soundtrack |
| Length | 1:19:45 |
| Label | Columbia Music Entertainment |

*We Love Katamari* (みんな大好き塊魂, *Minna Daisuki Katamari Damashii*, roughly "*Everyone Loves Clump Spirit*"), is the sequel to *Katamari Damacy* published by Namco for the PlayStation 2 in 2005. It features music from Namco composers Yuu Miyake, Akitaka Tohyama, Asuka Sakai, Hideki Tobeta, and Katsuro Tajima, all of whom except for Tajima had composed for the previous soundtrack. Like the previous soundtrack, it also features a plethora of Japanese artists, including DOKAKA, Illreme, Arisa, KIRINJI, YOU, Karie Kahimi, Maki Nomiya and Shigeru Matsuzaki. The music has been described as covering styles ranging from swing and techno to J-pop and "other kooky sounds". Sound director Yuu Miyake has stated that he wanted to use only non-Japanese musicians in contrast to the first game using only Japanese artists, but was unable due to a "lack of foreign friends and ability to negotiate". He has stated that his goal for the soundtrack was to take what his team had done for the first game and raise the quality, creating a "more grown-up feeling". He originally wanted to additionally take the music "far beyond imagination" and fans' expectations, but was stymied by a lack of resources.

*Katamari wa Damacy* (塊は魂, *Katamari wa Damashii*) is the official soundtrack album for the game. It does not include all the music from the game, omitting many of the instrumental tracks heard throughout the game. These omissions were later added on the second disc of the soundtrack album of *Me & My Katamari*. The album was published by Columbia Music Entertainment on July 20, 2005 with the catalog number COCX-33273; its 18 tracks span a duration of 1:19:45.

*We Love Katamari* was nominated for the "best audio" award at the 2005 British Academy of Film and Television Arts awards. While the soundtrack as a whole did not win any awards like its predecessor, "Katamari on the Swing" won the award for Best Original Vocal/Pop Song at the 4th Annual Game Audio Network Guild awards in 2006. The album reached #100 on the Japanese Oricon charts. GameSpot's review of the game termed the music "utterly avant-garde" and a "completely off-the-wall soundtrack that has the same key themes as the first game", though "decidedly less focused on catchiness" than that of the first game and more "experimental". Square Enix Music Online, in their review of the soundtrack album, said that it "pretty much lives up to the original's reputation" and is full of "lots of great original compositions that fit with the concept". While they said that the soundtrack has "more flaws and it's a bit less memorable" than the soundtrack to *Katamari Damacy*, it was still "just as fun and as quirky as the last".

Track list
| No. | Title | Lyrics | Music | Vocals | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "Introduction" | Yuu Miyake | Miyake (Arrangement by Akitaka Tohyama) |  | 0:24 |
| 2. | "Katamari on the Rocks" (塊オンザロック) | Miyake, Keita Takahashi | Miyake (Arr. Dokaka) | Dokaka (Beatboxing) | 6:37 |
| 3. | "Overture II" |  | Miyake, Asuka Sakai |  | 1:16 |
| 4. | "Katamari on the Swing" (塊オンザスウィング) | Miyake, Yoshihito Yano | Miyake, Yano (Arr. Miyake) | Shigeru Matsuzaki | 4:40 |
| 5. | "Kuru Kuru Rock" (くるくるロック) | Illreme | Illreme | Illreme | 5:10 |
| 6. | "Everlasting Love" | Tohyama | Tohyama | Alisa | 4:45 |
| 7. | "Bluffing Damacy" (つよがり魂) | Takahashi | Sakai (Arr. Sakai, Horigome Takaki, Miyake) | Kirinji (Yasuyuki Horigome) | 5:32 |
| 8. | "Beautiful Star" (ビューティフルスター) |  | Miyake |  | 3:08 |
| 9. | "Angel Rain" (天使の雨) | Hideki Tobeta | Tobeta | YOU | 7:11 |
| 10. | "Houston" (ヒューストン) |  | Tobeta | Katamari Robo | 4:16 |
| 11. | "Blue Orb" | Karie Kahimi | Tomoki Kanda (Arr. Kanda, Kahimi) | Karie Kahimi | 5:00 |
| 12. | "Katamari Holiday" (塊ホリディ) | Yuri Misawa | Misawa | Yuusama | 5:37 |
| 13. | "Baby Universe" (ベイビーユニバース) | Hiroshi Okubo | Okubo | Maki Nomiya | 5:06 |
| 14. | "DISCO☆PRINCE" | Okubo | Okubo | Kenji Ninuma (Chorus by Katamari Choir) | 7:01 |
| 15. | "Sunbaked Savanna" (灼熱のサバンナ) |  | Tobeta, Miyake, Sakai, Yano, Tohyama, Misawa (Arr. Miyake, Yano) | John the Dog, Bigmouth the Duck, Yuuhi the Crow, Pe the Goat, Booby the Pig, Sexy the Cat and Nyuu the Cow | 5:32 |
| 16. | "The Royal Academy of Katamari" |  | Katsuro Tajima |  | 3:35 |
| 17. | "A Song for the King of Kings" (キングオブキングのうた) | Takeshi Ugajin, Miyake, Yuri Misumi | Katsuro Tajima (Arr. Misumi, Miyake) | Tomu Miyazaki & Kitomu Miyaza | 4:41 |
| 18. | "I Love You" (Bonus Track) |  | NAMCO |  | 0:14 |
| Total length: | | | | | 1:19:45 |

## *Me & My Katamari*

| Katamari Original Soundtrack Damacy | |
| --- | --- |
| Soundtrack album by Yuu Miyake et al. | |
| Released | December 26, 2005 |
| Genre | Video game soundtrack |
| Length | 1:48:55 |
| Label | Columbia Music Entertainment |

*Me & My Katamari* (僕の私の塊魂, *Boku no Watashi no Katamari Damashii*, lit. "*Our Clump Spirit*") is the third game in the series, and was released on the PlayStation Portable by Namco in 2005. Its soundtrack was primarily composed of tracks from the previous two games, and has been described as "ranging from smoky lounge music to bleepy Japanese pop songs". The new tracks were composed by Yuu Miyake, Yuri Misawa, Hideki Tobeta, Yoshihito Yano, Akitaka Tohyama, and Naoki Tohyama; Misawa and Tohyama were new composers to the series, while Miyake reprised his role from the previous two games as sound director.

*Katamari Original Soundtrack Damacy* (塊オリジナルサウンドトラック魂, *Katamari Orijinaru Saundotorakku Damashii*) is the soundtrack album for the game. In addition to the new tracks, it includes previously unreleased tracks from *We Love Katamari* as tracks 10–17 on the first disc. Its second disc is made up of orchestral arrangements of previous tracks, tracks from other Namco games, three ambient noise tracks, two taiko drum tracks, and one a cappella track. The album was released by Columbia Music Entertainment on December 26, 2005 with the catalog numbers COCX-33517~8. Its 37 tracks have a total length of 1:48:55.

In their review of the game, GameSpot called the music "catchy and eclectic", though they disapproved of the number of reused tracks from previous *Katamari* games. IGN was more ambivalent, saying that while they had no complaints about the music, they also saw "nothing to really praise either". Square Enix Music Online, in their review of the album, said that the album's "lack of humorous vocal tracks and high quality experimental instrumentals" meant that it did not match up to the previous soundtracks in the series. They additionally felt that the second disc did not add much to the album, and that on the whole the new *Me & My Katamari* tracks were not strong or numerous enough to make the purchase worthwhile. Unlike the previous two soundtracks in the series, the soundtrack to *Me & My Katamari* did not win any awards.

**Track list**

Disc 1
| No. | Title | Lyrics | Music | Vocals | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "Overture III" |  | Yuri Misawa, Yuu Miyake (Arrangement by Miyake) |  | 2:35 |
| 2. | "Katamari on the Funk" (塊オンザファンク) | Miyake, Naoki Toyama | Miyake | Katamari Soul Trains (Benny Diggs, John James, Lisa Fisher, Nick Richards, Kevin Owens, Paulette McWilliams) | 10:22 |
| 3. | "Katamaresort" (カタマリゾート) |  | Hideki Tobeta |  | 3:04 |
| 4. | "Shabadoobie" (シャバドゥビー) |  | Yoshihito Yano |  | 3:01 |
| 5. | "Jesus Island" (ジーザスアイランド) |  | Miyake |  | 4:47 |
| 6. | "Family Damacy" (Family魂) |  | Yano |  | 4:41 |
| 7. | "Katamari on the Moog" (塊オンザムーグ) |  | Miyake, Akitaka Tohyama |  | 0:32 |
| 8. | "Shine! Mr. Sunshine" (輝け! Mr.サンシャイン) | Miyake, Yano, Toyama | Misawa | Shigeru Matsuzaki | 5:36 |
| 9. | "KATAMARHYTHM Box" (KATAMARHYTHM箱) |  | Yano, Tohyama |  | 1:41 |
| 10. | "Canon of Kings" |  | Ryuichi Takada (Arr. Miyake) |  | 2:14 |
| 11. | "Meadowtron" (草原トロン) |  | Tobeta |  | 4:27 |
| 12. | "One Chip March" (ワンチップマーチ) |  | Hiroshi Okubo |  | 2:43 |
| 13. | "Do Re Mi Katamari Do" (ドレミカタマリド) |  | Miyake |  | 3:13 |
| 14. | "Starlight Jamboree" (スターライト・ジャンボリー) |  | Miyake, Shoji Sugiyama |  | 2:56 |
| 15. | "Everyone Dancing Katamari Damacy" (みんなDancing塊魂) |  | Miyake |  | 1:00 |
| 16. | "LOVE & PEACE & Katamari Damacy" (LOVE＆PEACE＆塊魂) |  | Miyake, Sugiyama |  | 0:43 |
| 17. | "Big Cosmos Salon" (大コスモサロン) |  | Katsuro Tajima |  | 3:03 |

Disc 2
| No. | Title | Lyrics | Music | Vocals | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "In A Muddle" |  | Tajima |  | 7:05 |
| 2. | "KANEWOOD EDGE ~ morning" |  | Tomomitsu Kaneko |  | 0:40 |
| 3. | "None But the Lonely Heart... Op. 6-6" (HET，TOЛЬКО ТОТ，КОТЗНАЛ・・・Op. 6-6 *Net, Tol'ko tot, kto Znal*) | Johann Wolfgang von Goethe | P.I Tchaikovsky | Junko Nishi | 2:51 |
| 4. | "Presto Scherzando" |  | Tajima |  | 1:35 |
| 5. | "Appassionate, Allegro Moderato" (from *Tales of Eternia Online*) |  | Tajima |  | 2:15 |
| 6. | "Super Taiko Damacy" (跳太鼓魂) |  | Miyake, Kaneko |  | 0:59 |
| 7. | "None But the Lonely Heart... Op. 6-6" (HET，TOЛЬКО ТОТ，КОТЗНАЛ・・・Op. 6-6 *Net, Tol'ko tot, kto Znal*) | Goethe | Tchaikovsky (Arr. Kaneko) | Junko Nishi | 2:58 |
| 8. | "Super Taiko Damacy ~ Refrain" (跳太鼓魂～リフレイン) |  | Miyake, Kaneko |  | 0:26 |
| 9. | "Sadness" (悲しみ) |  | Tajima |  | 1:42 |
| 10. | "Stizzoso" (おこりん坊さん) |  | Tajima |  | 1:08 |
| 11. | "KANEWOOD EDGE ~ day" |  | Kaneko |  | 0:33 |
| 12. | "Con Energico" |  | Tajima |  | 5:49 |
| 13. | "Sento nel core (I Feel a Pain in My Heart)" (私の心が痛みます) (Arranged Version from *Splatterhouse*) |  | Tajima |  | 4:24 |
| 14. | "Sticky Taro" (くっつき太郎) | Dokaka | Dokaka | Dokaka | 2:43 |
| 15. | "Misterioso" |  | Tajima |  | 3:03 |
| 16. | "Chaotic Ambience" (カオティック アンビエンス) |  | Sakai |  | 0:54 |
| 17. | "Andante, Con moto, Grandioso" |  | Tajima |  | 1:41 |
| 18. | "Big Fire" |  | Tajima |  | 1:55 |
| 19. | "Night Moo Moo" (ナイト・ムームー) |  | Tajima |  | 0:41 |
| 20. | "KANEWOOD EDGE ~ star" |  | Kaneko |  | 9:55 |

## *Beautiful Katamari*

| Katamari Suteki Damacy | |
| --- | --- |
| Soundtrack album by Tetsuya Uchida et al. | |
| Released | November 21, 2007 |
| Genre | Video game soundtrack |
| Length | 1:10:04 |
| Label | Columbia Music Entertainment |

*Beautiful Katamari* (ビューティフル塊魂, *Byūtifuru Katamari Damashii*, lit. "*Beautiful Clump Spirit*"), is a video game produced by Namco Bandai for the Xbox 360 in 2007. Like previous games in the series, its music was composed by a large number of composers: Yuri Misumi, Yuu Miyake, Akitaka Tohyama, and Yoshihito Yano returned as previous composers for the series, and were joined by Rio Hamamoto, Yuji Masubuchi, Keiichi Okabe, Hiroto Sasaki, Tetsuya Uchida, and Ryo Watanabe. Yuu Miyake did not reprise his role as sound director for the game; this role was instead filled by Tetsuya Uchida. The music for *Beautiful Katamari* has been described as "the same sort of mix of J-pop, techno-infused jazz, and ambient electro" as that of the original game. Unlike *Me & My Katamari*, the majority of the music for the game was original, though a few tracks from earlier in the series were remixed.

*Katamari Suteki Damacy* (塊ステキ魂, *Katamari Suteki Damashii*, lit. "*Clump Lovely Spirit*") is the soundtrack album for the game. The album has 17 tracks and has a length of 1:10:04; it was published by Columbia Music Entertainment on November 21, 2007 with the catalog number COCX-34602.

GameSpot, in their review of the game, termed the music "one of the quirkiest and most oddly listenable soundtracks in gaming", and said that it fit the mood of the game as well as the soundtrack to the first two games. Square Enix Music Online, in their review of the soundtrack album, said that while it had "a lot of original worth", it was not any better than the first two soundtrack albums of the series and instead came across as more of the same. They termed the album overall as a "bit underwhelming" and marred by a few "dud" tracks. The album reached #253 on the Japanese Oricon charts.

Track list
| No. | Title | Lyrics | Music | Vocals | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "Katamari Dancing" | Kimio Yudate | Yuji Masubuchi | Takashi Utsunomiya | 4:56 |
| 2. | "Unity" (団結) | Akihiro Ishihara | Hiroto Sasaki | iM@S ALLSTARS+ | 5:47 |
| 3. | "BOYFRIEND A GOGO" | Shougo Yasukawa | Keiichi Okabe | Iyo Matsumoto | 4:56 |
| 4. | "Bless My Stars" | Akitaka Tohyama | Tohyama | Ranran Suzuki | 6:21 |
| 5. | "Sayonara Rolling Star" | Yoshihito Yano | Yano | Aya Hirayama | 5:33 |
| 6. | "Harvest of Love" (恋の稲刈り) | Kimio Yudate | Yuji Masubuchi | Hitomi Ishikawa | 6:38 |
| 7. | "INTO THE SKY" | Itokubo (Maria & Keiko Kubota) | Masubuchi | Itokubo | 4:26 |
| 8. | "Katamarity" (カタマリティー) | Uri Misumi | Misumi | Kyoko Sekihara (of BARBEE BOYS & Fukumimi) | 5:38 |
| 9. | "Guru Guru Gravity" (ぐるぐるグラビティ) | Tetsuya Uchida, Yuu Miyake | Miyake, Yano, Uchida | Nori Horikoshi | 5:04 |
| 10. | "Colorful Heart" (カラフルハート) | Yano | Yano | Yuki Saito | 5:06 |
| 11. | "PROLOGUE" |  | Rio Hamamoto |  | 1:08 |
| 12. | "Cosmic Lounge" (コズミックラウンジ) |  | Ryo Watanabe |  | 2:36 |
| 13. | "Katamari Planet" (カタマリ惑星) |  | Uchida |  | 3:26 |
| 14. | "STAR! STAR! STAR!" |  | Uchida |  | 3:41 |
| 15. | "Everyone's Mambo" (みんなのマンボ) |  | Uchida |  | 1:07 |
| 16. | "Prince Lounge" (王子ラウンジ) |  | Uchida |  | 1:41 |
| 17. | "EPILOGUE" |  | Hamamoto |  | 1:52 |
| Total length: | | | | | 1:10:04 |

## *Katamari Forever*

| Katamari Damacy Tribute Original Soundtrack: Katamari Takeshi | |
| --- | --- |
| Soundtrack album by Yuu Miyake et al. | |
| Released | August 19, 2009 |
| Genre | Video game soundtrack |
| Length | 2:38:21 |
| Label | Columbia Music Entertainment |

*Katamari Forever*, known in Japan as *Katamari Damacy TRIBUTE* (塊魂TRIBUTE, lit. "*Katamari Damashii Tribute*"), was released for the PlayStation 3 in 2009 by Namco Bandai. The music for the game includes a number of remixed tracks from previous iterations of the series, using a combination of "electric" and "organic" sounds according to the sound director Yuu Miyake. Miyake employed the help of over 20 other Japanese artists and remixers to help the soundtrack, which was designed to act as part of a "musical trilogy" with the soundtrack to *Katamari Damacy* and *We Love Katamari*. This was accomplished by choosing tracks from those games that were either fan or staff favorites and having them remixed by both Japanese and non-Japanese artists, though Miyake notes that the majority of the artists were Japanese as he did not know many non-Japanese musicians, the same problem that kept non-Japanese artists out of the first two soundtracks of the "trilogy". Miyake has stated that focusing so much on using music from earlier in the series made it very challenging to still allow each artist to explore their creativity, and does not intend to repeat this strategy if a new game is ever made.

*Katamari Damacy Tribute Original Soundtrack: Katamari Takeshi* (「塊魂トリビュート」オリジナル・サウンドトラック) is the soundtrack album for the game. It was released on August 19, 2009 by Columbia Music Entertainment with the catalog numbers COCX-35745~6. Its 36 tracks on two discs span a duration of 2:38:21. The musical styles used in the soundtrack have been described as an "eclectic mix of sunny J-pop, throbbing dance music, jolly jazz, and more".

GameSpot, in their review of the game, said that *Katamari Forever* "carries on the series' tradition of wildly catchy soundtracks" and said that the remixes of the older songs "sound terrific". *PALGN* concurred, calling it a "great soundtrack". The album was received warmly by reviewers such as Square Enix Music Online, who said that it was full of "fresh, diverse, and often downright weird remixes". Describing it as much more of a spiritual successor to the original game's soundtrack than the prior sequels, they said that it kept the "upbeat, humorous, and sentimental feel" of the songs in the original while taking them in new directions. The album reached #158 on the Japanese Oricon charts.

Disc 1
| No. | Title | Lyrics | Music | Remixed/Re-Arranged By | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "Katamari on the Rhodes" |  | Yuu Miyake, Yoshihito Yano | Yuri Misumi | 1:30 |
| 2. | "Katamari on the Wings" (塊オンザウィングス) | Miyake, Yano | Miyake, Yano (vocals by Takuya Ōhashi) | Yano | 4:25 |
| 3. | "Katamaresort Song" (カタマリゾート・ソング) | Hideki Tobeta | Tobeta (vo. Saigenji) | Tobeta | 4:52 |
| 4. | "Bluffing Spirit" (つよがり魂) | Keita Takahashi | Asuka Sakai | GUIRO | 5:00 |
| 5. | "Katamari on the Rocks" (塊オンザロック) (5cm Prince Remix) | AFRA | Miyake | AFRA | 5:32 |
| 6. | "MONOCHROME" |  | Misumi | Misumi | 0:39 |
| 7. | "Galactic S-O-U-L" | Yano, Naotaka Higashiyama | Yano | Buffalo Daughter | 7:31 |
| 8. | "Campus DAYDREAMER" (校庭DAYDREAMER) |  | Misumi | Misumi | 2:25 |
| 9. | "Scorching Savanna High School Performance" (灼熱のサバンナ高等学校) |  | Yano, Miyake, Sakai, Tobeta, Misumi, Akitaka Tohyama | Horikoshi School Brass Band (Conductor: Takashi Yoshizawa) & Hiroki Takahashi | 6:45 |
| 10. | "Houston" (ヒューストン) | Tobeta | Tobeta | KIRINJI | 4:35 |
| 11. | "Cherry Blossom Color Season" (さくらいろの季節) (fanfare mix) | Miyake | Miyake | Beautiful Hummingbird | 5:55 |
| 12. | "Lonely Rolling No More" | Yano, Miyake | Yano (vo. Natsuko & Yuusama) | Miyake | 5:39 |
| 13. | "You are Smart" (RAAGINIA SOFT MIX) |  | Tohyama | SOFT (Japanese band) | 9:44 |
| 14. | "Cosmos" (ウチュウ) |  | Yano (vo. Yukiko Yamamoto) |  | 2:14 |
| 15. | "SHADOW AND LIGHT" | Yano | Yano (vo. Shigeru Matsuzaki) |  | 5:28 |
| 16. | "Green Village" |  | Tobeta, Tohyama |  | 2:17 |
| 17. | "Fuga #9998" |  | Keigo Hoashi |  | 1:45 |
| 18. | "Fuga #9999" |  | Hoashi |  | 2:48 |

Disc 2
| No. | Title | Lyrics | Music | Remixed/Re-Arranged By | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "Katamari On The Funk" (Señor Coconut's "Katamambo!" remix) | Miyake, Higashiyama | Miyake | Uwe Schmidt | 4:43 |
| 2. | "Gin & Tonic & Red Red Roses" (真っ赤なバラとジントニック) (YMCK 8bit Mix) | Sakai | Sakai | YMCK | 3:17 |
| 3. | "Everlasting Love + You" | Tohyama, Jun Tohyama | Tohyama (vo. Leah Dizon) | Tohyama | 6:07 |
| 4. | "The Royal Academy of Katamari" (Kimitaka Matsumae Remix) |  | Katsuro Tajima | Kimitaka Matsumae | 6:22 |
| 5. | "Everlasting Love" (atom™ remix) |  |  | Schmidt | 3:45 |
| 6. | "Sayonara Rolling Star" (サヨナラ Rolling Star) (Yuri's Mixx) | Yano | Yano, Miyake, Nathanael Yam, Tadanobu Numata (vo. Micazo) | Misumi | 6:36 |
| 7. | "Katamari Spirit" |  | Yano, Tohyama |  | 1:07 |
| 8. | "Katamari Dancing All Night" | Yano, Higashiyama | Yano (vo. RoboKing) | Tetsuya Uchida | 5:22 |
| 9. | "The Moon and The Prince (and LEOPALDON MIX)" (月と王子 (とレオパルドンMIX)) | Tohyama, LEOPALDON | Tohyama | LEOPALDON | 5:30 |
| 10. | "Mushroom Parade" |  | Tohyama, Tobeta |  | 1:02 |
| 11. | "Do Re Mi Katamari Do" (ドレミカタマリド) (-rh rehabilitation re-arrange-) |  | Misumi | Rei Harakami | 4:19 |
| 12. | "Katamari on the Swing" (塊オンザスウィング) (SEXY-SYNTHESIZER ALL ABOUT namco Mix) | Miyake, Yano | Miyake, Yano | SEXY-SYNTHESIZER | 4:55 |
| 13. | "Robotic Vision" |  | Tohyama, Tobeta |  | 1:23 |
| 14. | "Cosmic Message" |  | Tohyama, Tobeta, Miyake |  | 1:18 |
| 15. | "Be Gorgeous" |  | Tohyama |  | 2:49 |
| 16. | "Nana-Nan Damacy" (Hardfloor Remix) |  | Miyake | Hardfloor | 8:01 |
| 17. | "Nana-Nan Damacy" (Hardfloor Alternative-Remix) |  | Miyake | Hardfloor | 8:45 |
| 18. | "Last Chaotic Ambience" (ラスト・カオティックアンビエンス) |  | Miyake |  | 3:56 |

## *Touch My Katamari*

| Katamari Damacy Novita Original Soundtrack: Katamori Damacy | |
| --- | --- |
| Soundtrack album by Taku Inoue et al. | |
| Released | December 21, 2011 |
| Genre | Video game soundtrack |
| Length | 1:12:12 |
| Label | Nippon Columbia |

*Touch My Katamari*, known in Japan as *Katamari Damacy No-Vita* (塊魂ノビータ, *Katamari Damashī Nobīta*), is a video game produced by Namco Bandai Games for the PlayStation Vita in 2011. As has become commonplace for the series, its music was composed by a large number of composers: a large team headed by Taku Inoue included series veteran Yuu Miyake, Ken Inaoka, BAKUBAKU DOKIN, Akitaka Tohyama, Hiroyuki Kawada, Yoshihito Yano, Yuichi Nakamura, Hiroshi Okubo, and Trine. The music includes both original pieces as well as many remixes of pieces from prior games, such as a new version of "Lonely Rolling Star". Inoue was charged by Miyake with making the music of the game "newer and fresher", as Miyake was tired of the series repeating the same concepts, and Inoue attempted to impart his own style into the original pieces and to use new styles of arrangements.

The music was released in several forms. First, as a soundtrack album, *Katamari Damacy Novita Original Soundtrack: Katamori Damacy* (塊魂ノ･ビ～タ オリジナルサウンドトラック 「かたもりだましい」), which contains 16 tracks and has a length of 1:12:12. It was published by Columbia Music Entertainment on December 21, 2011 with the catalog number COCX-37131. An additional two digital-only publications of songs from the game, titled *Kamatari Damacy - Touch My Katamari Original Sound Track 2* and *Katamari Aventur Damacy - Touch My Katamari Original Sound Track 3*, were released on April 10 and November 20, 2012, with eleven and three songs and lengths of 33:01 and 10:10, respectively.

Christopher Huynh of Video Game Music Online (formerly Square Enix Music Online), in their review of *Katamori Damacy*, felt that the soundtrack had the energy of the first few soundtracks in the series, while providing a more cohesive experience by not including "filler" tracks like previous albums.

Track list
| No. | Title | Lyrics | Music | Vocals | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "NGC1976" |  | パッハ |  | 1:38 |
| 2. | "Katamari on the Stage" (塊オン・ザ・ステージ) | Taku Inoue | Inoue | Shigeru Matsuzaki | 5:04 |
| 3. | "Rehabilitation" |  | Ken Inaoka |  | 1:54 |
| 4. | "Alien" (エイリアン) | Yuu Miyake, BAKUBAKU DOKIN | Miyake, BAKUBAKU DOKIN |  | 4:12 |
| 5. | "Don't Give Up" |  | Akitaka Tohyama |  | 5:13 |
| 6. | "Katamari on the Funk" (塊オンザファンク) (Takeshi Nakatsuka edit) | Naotaka Higashiyama, Miyake | Miyake (Remix by Nakatsuka) |  | 5:54 |
| 7. | "Katamari Exotica" (カタマリ・エキゾチカ) |  | Hiroyuki Kawada |  | 5:29 |
| 8. | "Lonely Rolling Star" (Re-Arranged by Masahiko Osaka) |  | Yoshihito Yano (Arrangement by Osaka) |  | 4:18 |
| 9. | "Katamari on the Rocks" (塊オンザロック) (Re-Arranged by Masahiko Osaka) |  | Miyake (Arr. Osaka) |  | 4:44 |
| 10. | "Cosmomule Cosmopolitan" (コスモミュール・コスモポリタン) |  | Yuichi Nakamura |  | 4:53 |
| 11. | "Shabadoobie" (シャバドゥビー) (Takeshi Nakatsuka edit) |  | Yano (Remix by Nakatsuka) |  | 4:35 |
| 12. | "Katamari of Love" (愛のカタマリー) (SEXY-SYNTHESIZER Remix) | Yano | Yano (Remix by SEXY-SYNTHESIZER) |  | 4:28 |
| 13. | "Hello World" (ハロー・ワールド) | Hiroshi Okubo, Inoue | Okubo |  | 5:22 |
| 14. | "Katamari LOVEMIN" (塊LOVEMIN) |  | trine |  | 4:38 |
| 15. | "2011's Sky and Music" (2011の空と音楽) | Yano | Yano | Asako Toki | 5:03 |
| 16. | "Across the Katamari" (アクロス・ザ・カタマリ) | Inoue | Inoue | Kazuhiro Momo (from MO'SOME TONEBENDER) | 4:47 |

Original Sound Track 2
| No. | Title | Music | Length |
| --- | --- | --- | --- |
| 1. | "Katamari On The Backstage" | Inoue | 1:09 |
| 2. | "King of the Dance Floor" | Inoue | 4:32 |
| 3. | "ACID EUTRON #007" (Baraduke Remix) | Yuriko Keino, Norio Nakagata (Arr. eutron) | 4:58 |
| 4. | "Star King" | Inoue | 2:03 |
| 5. | "Star Prince" | Inoue | 2:02 |
| 6. | "Jupiter Dub No.404" | Inoue | 3:15 |
| 7. | "Noby Noby Prince" | Miyake | 3:37 |
| 8. | "Little Help" | Inoue | 2:11 |
| 9. | "Revolution Katamari" | Inoue | 2:23 |
| 10. | "Kakatatamamariri 1" | Inoue | 2:05 |
| 11. | "Katamari On Namco" | Toshio Kai, Nobuyuki Ohnogi, Yuriko Keino, Junko Ozawa, Miyake (Arr. Sexy-Synthesizer) | 4:46 |

Original Sound Track 3
| No. | Title | Music | Length |
| --- | --- | --- | --- |
| 1. | "Kakatatamamariri 2" | Inoue feat. Sachi from Harineko | 4:32 |
| 2. | "White Katyusha" | Jesahm feat. trine | 3:15 |
| 3. | "Katamari on the Ondo" | Miyake | 2:23 |

## InfoBox

| Katamari Fortissimo Damacy | |
| --- | --- |
|  | |
| Soundtrack album by Yuu Miyake et al. | |
| Released | May 19, 2004 |
| Recorded | 2001–2004 |
| Studio | Bunkamura Studio<br>studio Fine |
| Genre |  |
| Length | 1:15:14 |
| Label | Columbia Music Entertainment |
| Producer | Hirokuni Maeyama<br>Yuu Miyake |


title: Nicola Willis (gymnast)

abstract: Nicola Willis is a former British female artistic gymnast. She represented Great Britain at the 2004 Summer Olympics in Athens. She also competed for England at the 2002 Commonwealth Games. At the 2004 European Women's Artistic Gymnastics Championships she finished with the British team 5th in the team event. After retiring from competitive gymnastics, she joined Cirque Du Soleil and performed with them on Cirque Du Soleil shows Saltimbanco and La Nouba. After Cirque Du Soleil she joined The House of Dancing Water (Dragone) as a house troupe acrobat/artist.

text:
# Nicola Willis (gymnast)

**Nicola Willis** (born 13 March 1985 in Southend-on-Sea) is a former British female artistic gymnast. She represented Great Britain at the 2004 Summer Olympics in Athens. She also competed for England at the 2002 Commonwealth Games. At the 2004 European Women's Artistic Gymnastics Championships she finished with the British team 5th in the team event.

After retiring from competitive gymnastics, she joined Cirque Du Soleil and performed with them on Cirque Du Soleil shows Saltimbanco and La Nouba.

After Cirque Du Soleil she joined The House of Dancing Water (Dragone) as a house troupe acrobat/artist.

1. Evans, Hilary; Gjerde, Arild; Heijmans, Jeroen; Mallon, Bill; et al. "Nicola Willis". *Olympics at Sports-Reference.com*. Sports Reference LLC. Archived from the original on 18 April 2020. Retrieved 14 July 2013.
2. "25th WOMEN'S EUROPEAN CHAMPIONSHIPS ARTISTIC GYMNASTICS: Amsterdam (NED) April 29 – May 2, 2004". LonginesTiming.com. 30 April 2004. Archived from the original on 27 April 2016. Retrieved 27 January 2016. WILLIS Nicola
3. "LinkedIn". LinkedIn.com. 30 January 2014. LinkedIn Profile
4. "LinkedIn". LinkedIn.com. 15 July 2023. LinkedIn Profile

## InfoBox

| Nicola Willis | |
| --- | --- |
| Country represented | Great Britain
England |
| Born | (1985-03-13) 13 March 1985
Southend-on-Sea |
| Height | 4–11.5 (152 cm) |
| Weight | 110 lb (50 kg) |
| Discipline | Women's artistic gymnastics |
| Level | Senior International Elite
(Great Britain national team) |
| Years on national team | 2002–2004 |
| Club | South Essex |
| Medal record      Women's artistic gymnastics  Representing  England  Commonwealth Games  2002 Manchester  Team | |


title: Livonia joerinkensi

abstract: Livonia joerinkensi is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.

text:
# Livonia joerinkensi

***Livonia joerinkensi*** is a species of sea snail, a marine gastropod mollusk in the family Volutidae, the volutes.

## Description

## Original Description

* (of Cottonia joerinkensi Poppe, 1987) Poppe G. (1987) A novel species of Volutidae from northwestern Australia. Apex 2(3–4): 99–113.

## Distribution

## InfoBox

| *Livonia joerinkensi* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Family: | Volutidae |
| Genus: | *Livonia* |
| Species: | ***L. joerinkensi*** |
| Binomial name | |
| ***Livonia joerinkensi***<br>(Poppe, 1987) | |
|


title: Lochau

abstract: Lochau is a municipality in the westernmost Austrian state of Vorarlberg. It is located on Lake Constance, in the Bregenz district, near the border to Germany. About 50.3% of the municipality's area is forest. The Pfänder, the landmark mountain of the neighboring municipality of Bregenz, also lies within Lochau's boundaries. In the west, the Leiblach river forms the border to the German county (Landkreis) of Lindau.

text:
# Lochau

**Lochau** is a municipality in the westernmost Austrian state of Vorarlberg. It is located on Lake Constance, in the Bregenz district, near the border to Germany.

About 50.3% of the municipality's area is forest. The Pfänder, the landmark mountain of the neighboring municipality of Bregenz, also lies within Lochau's boundaries. In the west, the Leiblach river forms the border to the German county (Landkreis) of Lindau.

## History

The Habsburgs ruled over their Vorarlberg lands alternately from Tyrol and Further Austria. From 1805 to 1814 Lochau belonged to Bavaria, then reverted to Austria. In 1861 it became part of the Austrian Federal State of Vorarlberg. During World War II, a subcamp of Dachau concentration camp was located there. Between 1945 and 1955 the municipality was part of the French occupation zone in Austria.

## Population

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1869 | 972 |  |
| 1880 | 925 | −4.8% |
| 1890 | 1,259 | +36.1% |
| 1900 | 1,362 | +8.2% |
| 1910 | 1,526 | +12.0% |
| 1923 | 1,455 | −4.7% |
| 1934 | 1,727 | +18.7% |
| 1939 | 1,717 | −0.6% |
| 1951 | 3,030 | +76.5% |
| 1961 | 3,745 | +23.6% |
| 1971 | 4,638 | +23.8% |
| 1981 | 5,239 | +13.0% |
| 1991 | 5,472 | +4.4% |
| 2001 | 5,242 | −4.2% |
| 2011 | 5,434 | +3.7% |

## Transport

Lochau-Hörbranz railway station serves Lochau and Hörbranz. It is located on Vorarlberg's main line, which runs in north-south direction. The station is served by the S1 regional train service of Vorarlberg S-Bahn and a regional express train (REX 1), both operated by Austrian Federal Railways (ÖBB).

## InfoBox

| Lochau | |
| --- | --- |
|  | |
|  | |
| Location in the district | |
| LochauLocation within Austria | |
| Coordinates: 47°31′00″N 09°45′00″E / 47.51667°N 9.75000°E / 47.51667; 9.75000 | |
| Country | Austria |
| State | Vorarlberg |
| District | Bregenz |
| Government | |
| Mayor | Michael Simma |
| Area | |
| City | 10.27 km2 (3.97 sq mi) |
| Elevation | 416 m (1,365 ft) |
| Population (2018-01-01) | |
| City | 5,747 |
| Density | 560/km2 (1,400/sq mi) |
| Urban | 200,000 |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 6911 |
| Area code | 05574 |
| Vehicle registration |  |
| Website | www.lochau.at |


title: Logbadjeck Formation

abstract: The Logbadjeck Formation, also known as the Mungo River Formation, is a Late Cretaceous geologic formation in Cameroon. It is Turonian to Campanian in age, and represents a marine depositional environment. Pterosaur fossils have been recovered from the formation.

text:
# Logbadjeck Formation

The **Logbadjeck Formation**, also known as the **Mungo River Formation**, is a Late Cretaceous geologic formation in Cameroon. It is Turonian to Campanian in age, and represents a marine depositional environment. Pterosaur fossils have been recovered from the formation.

## InfoBox

| Logbadjeck Formation | |
| --- | --- |
| Stratigraphic range: Late Turonian-early Campanian<br>~ | |
| Type | Geological formation |
| Underlies | Logbaba Formation |
| Overlies | Mundeck Formation |
| Lithology | |
| Primary | Shale, limestone, marl |
| Other | Siltstone, sandstone |
| Location | |
| Coordinates | 3°54′N 10°00′E / 3.9°N 10.0°E / 3.9; 10.0 |
| Approximate paleocoordinates | 8°48′S 41°24′W / 8.8°S 41.4°W / -8.8; -41.4 |
| Region | Southwest Region |
| Country | Cameroon |
| Extent | Douala Basin |
| Logbadjeck Formation (Cameroon) | |


title: Logba language

abstract: Logba is a Kwa language spoken in the south-eastern Ghana by approximately 7,500 people. The Logba people call themselves and their language Ikpana, which means ‘defenders of truth’. Logba is different from Lukpa of Togo and Benin, which is also sometimes referred to as Logba.

text:
# Logba language

| Logba | |
| --- | --- |
| People | Akpanawò |
| Language | Ikpana |

**Logba** is a Kwa language spoken in the south-eastern Ghana by approximately 7,500 people. The Logba people call themselves and their language *Ikpana*, which means ‘defenders of truth’. Logba is different from Lukpa of Togo and Benin, which is also sometimes referred to as *Logba*.

## Classification

The first published treatment of Logba was a short grammar by Diedrich Hermann Westermann (1903). Westermann included Logba in his group of *Togo Restsprachen* (Togo Remnant languages), a terminology adopted by several subsequent researchers. Dakubu and Ford (1988) renamed this cluster the Central Togo languages but since Ring (1995) they are commonly referred to as Ghana–Togo Mountain languages. The dozen or so Ghana–Togo Mountain languages are part of the Kwa branch of the Niger–Congo family.

## Geography and demography

The Logba people live in the Volta Region of Ghana, east of the Volta Lake in the mountains of the Ghana–Togo borderland. Most Logba towns and villages are situated along the trunk road from Accra to Hohoe. They include the following settlements: Wuinta, Akusame, Adiveme, Andokɔfe, Adzakoe, Alakpeti, Klikpo, and Tota. Tota is located high in the Ghana–Togo Mountains to the east of the Accra–Hohoe road. Alakpeti is the commercial centre of Logba, while Klikpo is traditionally the seat of the head of the Logba people. The Logba people are primarily subsistence farmers, producing cassava, maize, yams and forest fruits, supplemented by cash crops like cocoa, coffee and sawn mahogany logs. The Logba area is known for its scenery, which includes waterfalls, cliffs, and limestone formations, including one or two known small caves with minor speleothems.

The dominant language in the region is Ewe, closely followed by Twi. Most Logba people are bilingual in Ewe. South of the Logba area live the Avatime people. Logba is only distantly related to its direct neighbours Avatime and Nyagbo-Tafi; according to Bernd Heine (1968) it is more closely related to the Akpafu and Santrokofi languages spoken northwards.

It is generally agreed that the Logba people are not the original inhabitants of the area they now reside in. There have been two hypotheses as to the origin of the Logba people. Heine (1968, following Debrunner), proposed that the Logba are descendants from the *makɔ́* people, having fled south after a defeat in the second half of the 18th century.

## Phonology

Logba has a nine vowel system with ATR vowel harmony. Vowel harmony in Logba is root-controlled, which means that the vowels of its nominal prefixes harmonize with the vowels of the root. Vowels are nasalized when they occur in the immediate environment of a nasal consonant.

\[-ATR\] vowels in Logba
| . | Front | Central | Back |
| --- | --- | --- | --- |
| Near-close | ɪ |  | ʊ |
| Open-mid | ɛ |  | ɔ |
| Open |  | a |  |

\[+ATR\] vowels in Logba
| . | Front | Central | Back |
| --- | --- | --- | --- |
| Close | i |  | u |
| Close-mid | e |  | o |
| Open |  | a |  |

Logba is a tonal language with two level tones: High and Low. These tones can be combined on one syllable, yielding a Rising or Falling contour tone.

All syllables are open in Logba. Every syllable bears a tone. The basic syllable structure can be rendered as (C1)(C2)V+T, where C = consonant, V = vowel or syllabic nasal, and T = tone. Dorvlo (2004) distinguishes three types of syllables:

1. Nucleus only, consisting of a vowel or a syllabic nasal. This type is found only in pronouns and nominal prefixes. Examples: *ɛ́-mɔ́* 'they laughed'; *ɔ́-zɔ́* 'he/she went'; *n-dà* 'liquor'.
2. Onset and nucleus. This is the most common syllabe type in Logba; most words are of this form. In multisyllabic words, it can occur in all positions. Examples:  ‘come’; *gbà* ‘sweep’; *bìsí* ‘cola nut’
3. Complex onset and nucleus. Only /r/ and /l/ occur as the second consonant of the complex onset. This syllable type can also form a word by itself. In multisyllabic words, in can occur in all positions. Examples: *à-klɔ́*   ‘goat’; *trò* ‘refuse’; *ìvàflí*   ‘(thing) white’.

### Consonants

The consonants of Logba are as follows:

|  | | Labial | Alveolar | Retroflex | Palatal | Velar | Labio-
Velar | Glottal |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Plosive | voiceless |  |  |  |  |  | kp |  |
| | voiced |  |  |  |  |  | gb |  |
| Fricative | voiceless |  |  |  |  |  |  |  |
| | voiced |  |  |  |  |  |  |  |
| Affricate | voiceless |  | ts |  |  |  |  |  |
| | voiced |  | dz |  |  |  |  |  |
| Nasal | |  |  |  |  |  |  |  |
| Approximant | |  |  |  |  |  |  |  |

s, z, ts, and dz are palatalized to ʃ, ʒ, tʃ, and dʒ respectively, when they occur before i. In the Tota dialect, t and d are pronounced as ts and dz before u.

### Tone

Logba is a tonal language with two tones, high and low. There are a few words which have rising tone, all of which are either loanwords such as zenklǎ (pot stand), a loan from Ewe, or are ideophonic, such as tǒ (to fell palm trees), which imitates the sound of a palm tree falling. Monosyllabic verbs which have a low tone in their uninflected form gain high tone when inflected.

## Notes and references

### Notes

1. See for example Heine (1968). Dorvlo (2005) indicates that Logba people who understand the meaning of the term feel uncomfortable with this terminology.
2. Heine (1968:30fn8) is aware of the oral history of the Logba but dismisses this account, professedly because Westermann did not write anything about it. See also Gbe languages#History.
3. /gb/ is not a sequence of /g/ and /b/; it is a digraph for the labio-velar stop, a double articulation common in many African languages.

* Blench, Roger (2001). *Comparative Central Togo: What have we learnt since Heine?* (paper presented at the 32nd Annual Conference on African Linguistics and subsequently revised), 39p.
* Kropp Dakubu, M.E. & K.C. Ford (1988) 'The Central Togo Languages'. In: *The Languages of Ghana*, M.E. Kropp Dakubu (ed.), 119153. London: Kegan Paul International.
* Dorvlo, Kofi (2004). ‘A Preliminary Phonology of Logba’, in Kropp Dakubu & Osam (eds.) *Studies in the Languages of the Volta Basin II* (Proceedings of the annual colloquium of the Legon-Trondheim Linguistics Project 12–13 January 2004). Legon: University of Ghana, pp. 239249.
* Dorvlo, Kofi (2008), A Grammar of Logba (Ikpana), Dissertation, University of Leiden
* Greenberg 1966 as cited in Dorvlo 2004
* Heine, Bernd (1968) *Die Verbreitung und Gliederung der Togorestsprachen* (Kölner Beiträge zur Afrikanistik vol. 1). Köln: Druckerei Wienand. \[*pp. 2930, 100101*\]
* Ladefoged, Peter (1964) *A Phonetic Study of West African Languages (an auditory-instrumental survey). Cambridge: Cambridge University Press. \[*pp. 54*\]*
* Plehn, Rudolf. 1899. 'Beiträge zur Völkerkunde des Togo-Gebietes', in *Mittheilungen des Seminars für Orientalische Sprachen*, 2, part III, 87—124.
* Westermann, Diedrich Hermann (1903) ‘Die Logbasprache in Togo. Kurzer Abriss der Grammatik und Texte’, *Zeitschrift fur afrikanische, ozeanische und ostasiatische Sprachen*, 7, 1, 2339.

## InfoBox

| Logba | |
| --- | --- |
| *Ikpana* | |
| Native to | Ghana |
| Region | Volta Region, north-west of Ho |
| Ethnicity | Logba people |
| Native speakers | 7,500 (2003) |
| Language family | Niger–Congo? |
| Language codes | |
| ISO 639-3 | `lgq` |
| *Glottolog* | `logb1245` |
| ELP | Logba |


title: Lochmaeus manteo

abstract: Lochmaeus manteo, the variable oakleaf caterpillar moth, is a moth of the family Notodontidae. It is found in eastern North America. The wingspan is 37–50 mm. Adults are on wing from April to October. The larvae feed on various deciduous trees, especially Quercus species.

text:
# Lochmaeus manteo

***Lochmaeus manteo***, the **variable oakleaf caterpillar moth**, is a moth of the family Notodontidae. It is found in eastern North America.

The wingspan is 37–50 mm. Adults are on wing from April to October.

The larvae feed on various deciduous trees, especially *Quercus* species.

## InfoBox

| Variable oakleaf caterpillar moth | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Notodontidae |
| Genus: | *Lochmaeus* |
| Species: | ***L. manteo*** |
| Binomial name | |
| ***Lochmaeus manteo***<br>Doubleday, 1841 | |
|
| Synonyms | |
| * *Tadana cinerascens* Walker, 1855 * *Lochmaeus subalbicans* (Grote, 1864) | |


title: Lochmanolenellus

abstract: Lochmanolenellus is an extinct genus of trilobites, fossil marine arthropods, with one small species, L. mexicana. It lived during the Botomian stage (Olenellus-zone), 522–513 million years ago, in the South-West of the former continent of Laurentia, in what are today Mexico, and the South-Western United States.

text:
# Lochmanolenellus

***Lochmanolenellus*** is an extinct genus of trilobites, fossil marine arthropods, with one small species, ***L. mexicana***. It lived during the Botomian stage (*Olenellus*-zone), 522–513 million years ago, in the South-West of the former continent of Laurentia, in what are today Mexico, and the South-Western United States.

## Etymology

*Lochmanolenellus* is named in honor of C. Lochman, who initially described the fossils that are assigned to this genus, and for its likeness to *Olenellus* a distantly related genus. The species epithet *mexicana* refers to Mexico, where the first specimen was found.

## Taxonomy

*L. mexicana* was first described as *Wanneria mexicana prima*. There are however so many differences, that it is highly unlikely *L. mexicana* is more than distantly related. Later scholars assigned the species to *Laudonia*. Although *Laudonia* is much more related than *Wanneria*, *L. mexicana* must be considered an early representative of the subfamily Bristoliina, that further includes a handful species of the genus *Bristolia* and *Fremontella halli*.

## Description

The headshield (or cephalon) is not semi-circular but near pentangular, about 1¼ times wider than long. The front has a blunt angle at midline. The most frontal spines (or genal spines) are prominent, pointing backwards and outwards at about 65° compared to the midline. The genal angle (between the back of the spine and the cephalic border to the rear of the spine) is opposite the furrow between L2 and L3 – the scientific convention is to count glabellar lobes back to front, giving them the following names: occipital ring or lobe (OR, OL or L0), 1st lobe (L1), 2nd lobe (L2), 3rd lobe (L3), and anterior lobe (AL or L4). The base of the genal spine is equally far from the midline as the base of the intergenal angle. The most backwards spines (or intergenal spines) are prominent too, pointing backwards and outwards at about 45° compared to the midline. The intergenal angle is opposite the middle of the occipital ring (L0). The rounded ridge that borders the cephalon (or cephalic border) and the frontal lobe (L4) of the raised central part of the cephalon (or glabella) touch. L4 bulges out the plain where cephalon rests. L4 is wider than the rearmost ring of the glabella (L0); L4 has the same length of L0 and L1 together. The eye-lobe (or ocular lobe) is stocky, reaching no further back than the furrow between L2 and L3. The medial part of posterior border flexing gently backwards.

## Distribution

*L. mexicana* occurs in the Lower Cambrian, (lower *Olenellus*-zone, Botomian) (Puerto Blanco Formation, west side of Proveedora Hills, 7 miles west of Caborca, Sonora, Mexico). It has also been collected in the Lower Cambrian, lower *Olenellus*-zone (upper part of the Poleta Formation, WhiteInyo Mountains, Death Valley).

## Habitat

*Lochmanolenellus* was probably marine bottom dweller, like all Olenellina.

## InfoBox

| *Lochmanolenellus mexicana*
Temporal range: late Lower Cambrian (Lower *Olenellus-zone*) | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Trilobita |
| Order: | Redlichiida |
| Suborder: | Olenellina |
| Superfamily: | Olenelloidea |
| Family: | Biceratopsidae |
| Subfamily: | Bristoliinae |
| Genus: | ***Lochmanolenellus***
Lieberman, 1998 |
| Species: | ***L. mexicana*** |
| Binomial name | |
| ***Lochmanolenellus***
(Lochman, 1952) | |
|
| Synonyms | |
| * *Wanneria mexicana prima* * *Laudonia mexicana* | |


title: Loet Leydesdorff

abstract: Louis André (Loet) Leydesdorff was a Dutch sociologist, cyberneticist, communication scientist and Professor in the Dynamics of Scientific Communication and Technological Innovation at the University of Amsterdam. He is known for his work in the sociology of communication and innovation, especially for his Triple helix model of innovation developed with Henry Etzkowitz in the 1990s.

text:
# Loet Leydesdorff

**Louis André (Loet) Leydesdorff** (21 August 1948, Batavia (Dutch East Indies) - 11 March 2023, Amsterdam) was a Dutch sociologist, cyberneticist, communication scientist and Professor in the Dynamics of Scientific Communication and Technological Innovation at the University of Amsterdam. He is known for his work in the sociology of communication and innovation, especially for his Triple helix model of innovation developed with Henry Etzkowitz in the 1990s.

## Biography

Leydesdorff was born in 1948 in Batavia (present-day Jakarta), then the capital of the Dutch East Indies. He received a B.Sc. in chemistry in 1969, a M.Sc. biochemistry in 1973, and an M.A. in philosophy in 1977. In 1984 he obtained his Ph.D. in sociology at the University of Amsterdam.

In 1969 Leydesdorff started working as part-time professor for chemical technology at the Gerrit Rietveld Academie in Amsterdam. In 1972 he started his career at the University of Amsterdam as teaching assistant for "Science and Society" at the Philosophy Faculty. In 1980 he became Senior lecturer at the Department of Science & Technology Dynamics of the University of Amsterdam and from 2000 of the Amsterdam School of Communications Research as well, of which he remained a honorary fellow following his retirement as professor in 2013. Despite being diagnosed with Parkinson's disease in 2014 he continued to be an active scholar until he had to resign from his remaining duties in the fall of 2022. He passed away in Amsterdam on 11 March 2023.

Leydesdorff was on editorial boards of several journals since 1987. He was on the editorial boards of *Scientometrics* since 1987, *Social Science Information,* since 1994, *Industry and Higher Education* since 1997, *Cybermetrics* since 1997, the *Journal of Technology Transfer* since 1999, the *TripleC: e-journal for cognition • communication • co-operation* since 2002, the *Science & Public Policy* since 2004, *Science Forum* since 2005, *Informetrics* since 2006, and the *International Journal of Applied Systemic Studies* since 2006. He further worked for the *Enterprise and Innovation Management Studies* journal 1999-2001, for *Science, Technology and Society* in 2001-02 and for the *Journal of the International Society for Scientometrics and Informetrics* from 1995 to 1998. As contributing editor he also worked for *Science, Technology, & Human Values* 1988-1990 and for *Science & Technology Studies* 1987-1988.

He received the Derek de Solla Price Memorial Medal for scientometrics in 2003. Since 2006 he was Honorary Research Fellow at the Virtual Knowledge Studio of the Royal Netherlands Academy of Arts and Sciences and since 2007 Honorary Fellow of SPRUScience and Technology Policy Research of the University of Sussex. He was president of the Dutch Systems Group society, the society that cofounded the International Federation for Systems Research in the early 1980s.

## Work

Leydesdorff's research interests were in the fields of the philosophy of science, social network analysis, scientometrics, and the sociology of innovation. His studies in communication in science, technology, and innovation enabled him to specify theory and methods for understanding the dynamics of knowledge-based development.

## Selected publications

Leydesdorff has published extensively in fields of systems theory, social network analysis, scientometrics, and the sociology of innovation. Books:

* 1987. *The Social Direction of the Public Sciences: Causes and Consequences of Cooperation Between Scientists and Non-Scientific Groups*. With Stuart Blume, Joske Bunders and Richard P. Whitley. Sociology of the Sciences Yearbook, Springer.
* 1994. *Evolutionary Economics and Chaos Theory: New Directions in Technology Studies*. With Peter Van Den Besselaar. Palgrave Macmillan.
* 2001. *The Challenge of Scientometrics: the development, measurement, and self-organization of scientific communications*, Universal Publishers
* 2001. *A Sociological Theory of Communication: The Self-Organization of the Knowledge-Based Society*. Universal Publishers/uPublish.com.
* 2005. *Universities And The Global Knowledge Economy: A Triple Helix Of University-Industry-Government Relations*. With Henry Etzkowitz. Continuum International Publishing Group.
* 2006. *The Knowledge-Based Economy: Modeled, Measured, Simulated*. Universal Publishers.
* 2021. "The Evolutionary Dynamics of Discursive Knowledge: Communication Theoretical Perspectives on an Empirical Philosophy of Science". In: Qualitative and Quantitative Analysis of Scientific and Scholarly Communication (Wolfgang Glänzel and Andrasz Schubert., Eds.). Cham, Switzerland: Springer Nature, 247 +ix pp.

Articles, a selection:

## InfoBox

| Loet Leydesdorff | |
| --- | --- |
| Loet Leydesdorff, 2008. | |
| Born | Louis André Leydesdorff
(1948-08-21)August 21, 1948
Batavia (Dutch East Indies) |
| Died | March 11, 2023(2023-03-11) (aged 74)
Amsterdam |
| Nationality | Dutch |
| Alma mater | University of Amsterdam |
| Awards | Derek de Solla Price Memorial Medal |
|  | |
| Institutions | University of Amsterdam |
| Main interests | Dynamics of Scientific Communication and Technological Innovation |
| Notable ideas | Triple helix model of innovation |
|  | |
| Website | http://www.leydesdorff.net |


title: Lola (1986 film)

abstract: Lola is a 1986 Spanish drama film directed by Bigas Luna which stars Ángela Molina as the title character. Patrick Bauchau, Féodor Atkine, and Assumpta Serna co-star.

text:
# Lola (1986 film)

***Lola*** is a 1986 Spanish drama film directed by Bigas Luna which stars Ángela Molina as the title character. Patrick Bauchau, Féodor Atkine, and Assumpta Serna co-star.

## Plot

Shoemaking worker Lola lefts husband Mario and then begins a relationship with French car manufacturing manager Robert, but the former re-appears and upends Lola's life.

## Cast

## Production

The film is a Figaró Films production.

## Release

The film was released theatrically in Barcelona on 17 January 1986 and in Madrid on 17 February 1986.

## Reception

Octavi Martí of *El País* assessed that Bigas Lunas tries to mask various script flaws "by skilfully taking great care with the packaging".

## InfoBox

| Lola | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Bigas Luna |
| Screenplay by | * Luis Herce * Bigas Luna * Enrique Viciano |
| Starring |  |
| Cinematography | José María Civit |
| Edited by | Ernest Blasi |
| Music by | José Manuel Pagán |
| Production<br>company | Figaró Films |
| Distributed by | Ópalo Films |
| Release date | * 17 January 1986 (1986-01-17) |
| Country | Spain |
| Language | Spanish |


title: Logan Run

abstract: Logan Run is a tributary of the Susquehanna River in Northumberland County, Pennsylvania, in the United States. It is approximately 5.7 miles (9.2 km) long and flows through Rush Township. The watershed of the stream has an area of 8.70 square miles (22.5 km⁲) and is in the Lower Susquehanna River drainage basin. The stream is crossed by five bridges and was home to a gristmill and sawmill at some point in the past. It is considered to be a coldwater fishery and a migratory fishery. Rock of the Catskill Formation, the Pocono Formation, and the Hamilton Formation are present in the watershed.

text:
# Logan Run

**Logan Run** (also known as **Logan's Run**) is a tributary of the Susquehanna River in Northumberland County, Pennsylvania, in the United States. It is approximately 5.7 miles (9.2 km) long and flows through Rush Township. The watershed of the stream has an area of 8.70 square miles (22.5 km2) and is in the Lower Susquehanna River drainage basin. The stream is crossed by five bridges and was home to a gristmill and sawmill at some point in the past. It is considered to be a coldwater fishery and a migratory fishery. Rock of the Catskill Formation, the Pocono Formation, and the Hamilton Formation are present in the watershed.

## Course

Logan Run begins on Shamokin Hill, near the southern border of Rush Township. It flows west in a valley for a short distance before turning north for a few tenths of a mile. The stream then turns northwest for some distance and its valley becomes broader and deeper. It then turns roughly north for a few miles, receiving four unnamed tributaries. At this point, the stream crosses State Route 2004 and turns northwest for a short distance. Its valley broadens further. The stream then turns north and receives an unnamed tributary before turning northeast and receiving another unnamed tributary. It then turns north and receives two more unnamed tributaries before turning north-northeast for several tenths of a mile. At this point, the stream crosses Pennsylvania Route 54 and flows north for several tenths of a mile before reaching its confluence with the Susquehanna River.

Logan Run joins the Susquehanna River 138.96 miles (223.63 km) upstream of its mouth.

## Hydrology, geography, and geology

The elevation near the mouth of Logan Run is 440 feet (130 m) above sea level. The elevation of the stream's source is between 960 feet (290 m) and 980 feet (300 m) above sea level.

There are beds of rock containing rounded boulders on Logan Run at an elevation of 725 feet (221 m) above sea level. Angular pieces of several rock formations occur at this area. These include sandstone of the Hamilton Formation, the Pocono Formation, and conglomerate of the Catskill Formation. Some of these pieces have diameters of more than 2 feet (0.61 m). No glacial action has occurred in the area.

Sandstone of the Catskill Formation has been found in the hills in the vicinity of Logan Run.

Logan Run enters the Susquehanna River on the river's left bank.

Nutrients containing nitrogen have been observed in Logan Run.

## Watershed

The watershed of Logan Run has an area of 8.70 square miles (22.5 km2). The stream is in the United States Geological Survey quadrangle of Danville. It is one of the main streams in Rush Township. The stream is in the Lower Susquehanna River drainage basin. The Hydrologic Unit Code of the stream is 020501071003.

## History

A gristmill and sawmill was constructed on Logan Run by Daniel Montgomery. The mill was operated by John Gilliam at some point in the past.

A total of five bridges more than 20 feet (6.1 m) long cross Logan Run, four of which were built in the 1930s and three of which were built in 1934 and 1935. A concrete tee beam bridge was built over the creek in 1930 and is 24.0 feet (7.3 m) long. A concrete slab bridge and a steel stringer bridge were built over the stream in 1934. They are 21.0 feet (6.4 m) long and 32.2 feet (9.8 m) long, respectively. Another bridge was built over it in 1935. It is a concrete tee beam bridge that is 44.0 feet (13.4 m) long. A prestressed box beam bridge was also built over the stream in 1985. It is 49.9 feet (15.2 m) long and carries Pennsylvania Route 54.

## Biology

Logan Run is considered to be a coldwater fishery and a migratory fishery. It is inhabited by fish of the family Salmonidae and other coldwater fish.

* Little Roaring Creek, next tributary of the Susquehanna River going upriver
* Toby Run, next tributary of the Susquehanna River going downriver

## InfoBox

| Logan Run | |
| --- | --- |
| Logan Run looking downstream | |
| Physical characteristics | |
|  | |
| Source |  |
| location | Shamokin Hill near in Rush Township, Northumberland County, Pennsylvania |
| elevation | 960 to 980 feet (290 to 300 m) |
|  | |
| Mouth |  |
| location | Susquehanna River in Rush Township, Northumberland County, Pennsylvania |
| coordinates | 40°56′20″N 76°35′36″W / 40.9389°N 76.5932°W / 40.9389; -76.5932 |
| elevation | 440 ft (130 m) |
| Length | 5.7 mi (9.2 km) |
| Basin size | 8.70 sq mi (22.5 km2) |
| Basin features | |
| Progression | Susquehanna River → Chesapeake Bay |


title: Logan Sandler

abstract: Logan Sandler is an American writer and director who is best known for his first feature film Live Cargo.

text:
# Logan Sandler

**Logan Sandler** is an American writer and director who is best known for his first feature film *Live Cargo*.

## Early life and education

Sandler graduated from SFTV within Loyola Marymount University's Film School in 2011 with a B.A. in Film Production, and three years later, while earning an M.F.A. from AFI in Film Directing, he developed his first feature film, Live Cargo*.* He developed the script with the late Seth Winston and co-writer Thymaya Payne. In 2015, Sandler was awarded the Institute's Franklin J. Schaffner Fellow Award for his short film, *Tracks*.

## Career

Sandler's senior thesis, *All It Will Ever Be* premiered at the Bermuda International Film Festival in 2012. Sandler's second short film *Tracks* screened at various festival around the world, including AFI FEST, Marfa Film Fest, Cambridge Film Festival, and the Miami International Film Festival. The film won the Lexus Audience Award for Best Short film at the Miami International Film Festival and best actor for Keith Stanfield at the 24 FPS International Film Festival.

Sandler's debut feature film *Live Cargo* was filmed in the Bahamas, and premiered at the Tribeca Film Festival in 2016. The film stars Dree Hemingway, Keith Stanfield, and Robert Wisdom. In addition to the 2016 Tribeca Film Festival*, Live Cargo* had its European premiere at the Warsaw International Film Festival, then went on to screen at the American Film Festival in Poland, the São Paulo International Film Festival, the Denver Film Festival, the Key West Film Festival, the Torino Film Festival, the Bahamas International Film Festival, and AFI FEST.

Sandler has collaborated with Stanfield on music videos, co-directing the group MOORS’ single *Gas.* The music video premiered on Vice’s music channel Noisey.

IONCINEMA.com chose Sandler as their IONCINEPHILE of the Month for April 2017, a feature that focuses on an emerging filmmaker from the world of cinema. When asked about his favorite films of his formative years Sandler said, "I fell in love with Jean Luc Godard’s *Contempt* and *Weekend*. I was blown away by Agnes Varda’s *Cleo from 5 to 7*. Michelangelo Antonioni’s films really struck a chord with me as well. After seeing *L’Avventura* and *Blowup*, I went online and ordered every film of his I could find. *The Passenger*’s penultimate shot blew me away. I watched that 7 minute shot over and over. It’s probably my favorite shot in the history of cinema."

## Critical reception

Angelica Jade Bastien for Roger Ebert wrote of the film, "In 'Live Cargo,' director/co-writer Logan Sandler strives to tell a story that finds poetry in the commonplace by shirking narrative conventions."

Chuck Wilson for The Village Voice wrote, "The well-acted Live Cargo, which also features Robert Wisdom and Sam Dillon, is at its best when it observes character acting silently against landscape, as when Nadine goes snorkeling and uses a spear gun to jab at sharks, a juxtaposition of natural beauty and human fury typical of Sandler’s poetic approach.” Wilson as well called Sandler "a filmmaker to watch."

Katie Walsh in her IndieWire review wrote, ”Anchored by a quartet of equally strong and understated performances, LIVE CARGO proves itself to be a singularly artful film of great emotional heft.” Walsh gave the film an A - grade.

Stephen Saito for The Moveable Fest in his review and interview wrote, "While there’s intrigue aplenty as anxieties rise higher than the tide, the assured hand of director Logan Sandler, who co-wrote the script with Thymaya Payne, guides 'Live Cargo' admirably as a thriller that may appear immediately as monochrome but shifts quickly into varying degrees of grey.”

H. Nelson Tracey of Cinemacy wrote that Sandler's, “Live Cargo is an unforgettable debut and a promise of greater heights to come.”

Justin Lowe of the Hollywood Reporter in his review stated, “A pronounced sense of style and place suffuses the entire film, boding well for Sandler’s future projects.”

## Awards/Nominations

| Year | Awards | Category | Recipient | Outcome |
| --- | --- | --- | --- | --- |
| 2016 | Tribeca Film Festival | Best Narrative Feature | Live Cargo | Nominated |
| 2016 | Miami International Film Festival | Audience Award for Best Short Film | Tracks | Won |
| 2015 | American Film Institute (AFI) | Franklin J. Schaffner Fellow Award | Logan Sandler | Won |
| 2015 | AFI FEST | Grand Jury Prize for Live Action Short Film | Tracks | Nominated |
| 2012 | Bermuda International Film Festival | Bermuda Shorts Award for Best Short Film | All It Will Ever Be | Nominated |


title: Loka pri Dobrni

abstract: Loka pri Dobrni is a small dispersed settlement in the hills northwest of Dobrna in Slovenia. The area is part of the traditional region of Styria. The Municipality of Dobrna is now included in the Savinja Statistical Region.

text:
# Loka pri Dobrni

**Loka pri Dobrni** (pronounced \[ˈloːka pɾi ˈdoːbəɾni\]) is a small dispersed settlement in the hills northwest of Dobrna in Slovenia. The area is part of the traditional region of Styria. The Municipality of Dobrna is now included in the Savinja Statistical Region.

## Name

The name of the settlement was changed from *Loka* to *Loka pri Dobrni* in 1953.

## InfoBox

| Loka pri Dobrni | |
| --- | --- |
| Loka pri DobrniLocation in Slovenia | |
| Coordinates: 46°21′3.52″N 15°12′20.01″E / 46.3509778°N 15.2055583°E / 46.3509778; 15.2055583 | |
| Country | Slovenia |
| Traditional region | Styria |
| Statistical region | Savinja |
| Municipality | Dobrna |
| Area | |
| Total | 0.63 km2 (0.24 sq mi) |
| Elevation | 601.7 m (1,974.1 ft) |
| Population (2020) | |
| Total | 36 |
| Density | 57/km2 (150/sq mi) |
|  | |


title: Loghan Paylor

abstract: Loghan Paylor is a Canadian writer, whose debut novel The Cure for Drowning was longlisted for the 2024 Giller Prize. Born and raised in Ontario, Paylor has a master's degree in creative writing from the University of British Columbia, and is currently based in Abbotsford, British Columbia. They have also published short fiction and essays in literary magazines. The Cure for Drowning, a World War II-era historical fiction centred on a trans man who enters the Royal Canadian Air Force, was published in January 2024 by Penguin Random House Canada.

text:
# Loghan Paylor

**Loghan Paylor** is a Canadian writer, whose debut novel *The Cure for Drowning* was longlisted for the 2024 Giller Prize.

Born and raised in Ontario, Paylor has a master's degree in creative writing from the University of British Columbia, and is currently based in Abbotsford, British Columbia. They have also published short fiction and essays in literary magazines.

*The Cure for Drowning*, a World War II-era historical fiction centred on a trans man who enters the Royal Canadian Air Force, was published in January 2024 by Penguin Random House Canada.


title: Loggly

abstract: SolarWinds Loggly is a cloud-based log management and analytics service provider based in San Francisco, California. Jon Gifford, Raffael Marty, and Kord Campbell founded the company in 2009, and Charlie Oppenheimer was the CEO of Loggly until its announced acquisition by SolarWinds on January 8, 2018.

text:
# Loggly

**SolarWinds Loggly** is a cloud-based log management and analytics service provider based in San Francisco, California. Jon Gifford, Raffael Marty, and Kord Campbell founded the company in 2009, and Charlie Oppenheimer was the CEO of Loggly until its announced acquisition by SolarWinds (as part of the SolarWinds Cloud division of brands) on January 8, 2018.

## History

In 2009, Jon Gifford, Raffael Marty, and Kord Campbell founded Loggly.

App47, a mobile application management provider, partnered with Loggly in September 2012. The company chose Loggly because of its software-as-a-service (SaaS) deployment option.

On January 8, 2018, the company announced that they are now part of SolarWinds.

## Funding

In September 2013, Loggly released "Generation 2", an updated version of its service. The update included log collection through standard syslog protocols and a graphical web interface that allowed users to use a point-and-click process to find log events and generate charts. The same month, Loggly completed a $10.5 million funding round led by Cisco and Data Collective. Trinity Ventures, True Ventures, and Matrix Partners also participated in the round.

In October 2014, the company announced a $15 million Series C funding round led by Harmony Partners. Matrix Partners, Trinity Ventures, Cisco, Data Collective, and True Ventures also participated. The funding round raised Loggly's total investment funding to $33.4 million. The company released Loggly Dynamic Field Explorer, a new user experience that aims to reduce the time developers spend on identifying and troubleshooting problems, that month.

## Operations

Loggly is headquartered in San Francisco, California. The company had 54 employees and 10,000 customers in October 2017. Loggly records log data from any device and reports it in a real-time management platform with trend data.

## Technology

Loggly is a cloud-based log management service provider. It does not require the use of proprietary software agents to collect log data. The service uses open-source technologies, including Elasticsearch, Apache Lucene 4 and Apache Kafka.

## InfoBox

Loggly
|  | |
| --- | --- |
|  | |
| Type of site | Subsidiary |
| Founded | 2009 |
| Headquarters | San Francisco, California, USA |
| Key people | * Charlie Oppenheimer (Former CEO) * Jon Gifford (Former Co-Founder & Chief Search Officer) * Manoj Chaudhary (Former CTO & Vice President of Engineering) |
| Industry | Computer software, Enterprise software, log management and intelligence |
| Services | Log Management and Intelligence, Log Analysis |
| Parent | SolarWinds |
| URL | www.loggly.com |


title: Nguyễn Việt Thắng

abstract: Nguyễn Việt Thắng is a Vietnamese professional football manager and former player. He is formerly the assistant coach of Vietnam national team and Vietnam national under-23 team.

text:
# Nguyễn Việt Thắng

**Nguyễn Việt Thắng** (born September 13, 1981) is a Vietnamese professional football manager and former player. He is formerly the assistant coach of Vietnam national team and Vietnam national under-23 team.

## Club career

Thắng was one of the talent of Vietnam football after being found Ho Chi Minh City Police F.C. In 2002, he moved to Hoàng Anh Gia Lai after spending 3 years playing for the club.

In 2003, he was believed to participate in a match-fixing scandal with another Hoàng Anh Gia Lai player in 2003 ASEAN Club Championship. Vietnam Football Federation decided to ban him from all domestic league for 3 years. In 2006, he came back and played for Đồng Tâm Long An F.C.

During the time he was banned by the Vietnam Football Federation in 2005, he was sent to F.C. Porto B for training so that he could prepare for his returning to play in V-League.

## International career

Việt Thắng was chosen to play for the national team in 2002 FIFA World Cup qualification along with other stars such as Lê Huỳnh Đức. However, two years later, because of the ban from the federation, he could not play for the national team for 3 years.

In 2007, Việt Thắng returned to the national team but he missed the 2007 AFC Asian Cup. In 2008, he was chosen to play in 2008 AFF Suzuki Cup. He is the partner of striker Le Cong Vinh in the starting line-up at the tournament. He finished the tournament with one goal and one assist.

| # | Date | Venue | Opponent | Score | Result | Competition |
| --- | --- | --- | --- | --- | --- | --- |
| 1. | December 15, 2008 | Shenyang, China | China U23 | 3–2 | Loss | Friendly |
| 2. | November 16, 2008 | Hanoi, Vietnam | Thailand | 2–2 | Draw | T&T Cup 2008 |
| 3. | December 10, 2008 | Phuket, Thailand | Laos | 4–0 | Won | 2008 AFF Suzuki Cup |
|

## Honour

**Vietnam**

## InfoBox

Nguyễn Việt Thắng
|  | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Nguyễn Việt Thắng | | |
| Date of birth | (1981-09-13) September 13, 1981 | | |
| Place of birth | Tân An, Long An, Vietnam | | |
| Height | 1.77 m (5 ft 10 in) | | |
| Position(s) | Striker | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1998–2001 | Hồ Chí Minh City Police | 4 | (q) |
| 2002–2003 | Hoàng Anh Gia Lai | 5 | (1) |
| 2005–2009 | Đồng Tâm Long An | 4 | (3) |
| 2005 | Porto B (loan) | 2 | (0) |
| 2010–2011 | XM The Vissai Ninh Bình | 21 | (7) |
| 2011–2013 | Becamex Bình Dương | 8 | (0) |
| 2012 | Thanh Hóa (loan) | 13 | (2) |
| 2012–2013 | Đồng Tâm Long An (loan) | 10 | (8) |
| 2013–2014 | Đồng Tâm Long An | 12 | (3) |
| International career | | | |
| 2001–2003 | Vietnam U23 | 8 | (3) |
| 2001–2012 | Vietnam | 37 | (3) |
| Managerial career | | | |
| 2014–2019 | PVF | | |
| 2019–2021 | SHB Danang (assistant) | | |
| 2022 | Can Tho | | |
| 2022–2024 | Vietnam (assistant) | | |
| 2023–2024 | Vietnam U23 (assistant) | | |
| \*Club domestic league appearances and goals | | | |


title: Xtra Magazine

abstract: Xtra Magazine is an LGBTQ-focused digital publication and former print newspaper published by Pink Triangle Press in Toronto, Ontario, Canada. The publication is a continuation of the company's former print titles Xtra!, Xtra Ottawa, and Xtra Vancouver, which were all discontinued in 2015.

text:
# Xtra Magazine

***Xtra Magazine*** (formerly ***DailyXtra*** and ***Xtra!***) is an LGBTQ-focused digital publication and former print newspaper published by Pink Triangle Press in Toronto, Ontario, Canada. The publication is a continuation of the company's former print titles *Xtra!*, *Xtra Ottawa*, and *Xtra Vancouver*, which were all discontinued in 2015.

## History

*Xtra* was founded in Toronto on February 19, 1984 (with a March cover date) by Pink Triangle Press, a not-for-profit organization. It was introduced as a four-page tabloid, as a way to broaden PTP's Toronto readership. Pink Triangle Press had previously published *The Body Politic*, which was discontinued in 1987. From 1990 to 2000, *Xtra* published a quarterly literary supplement, *The Church-Wellesley Review*, for work by LGBTQ2 fiction and poetry writers.

The company also launched a telephone dating personals service, Cruiseline, which later evolved into the contemporary web-based Squirt.org.

In 1993, *Xtra* expanded, adding *Xtra! West* in Vancouver and *Capital Xtra!* in Ottawa. The three *Xtra* papers also produced an annual *Ultimate Pride Guide* and an annual lesbian and gay business directory called *Index*. *Xtra* and *Xtra! West* were published biweekly, while *Capital Xtra!* was initially published as a monthly, with its publication frequency later expanding to every three weeks.

The Vancouver and Ottawa publications were renamed *Xtra Vancouver* and *Xtra Ottawa* in the late 2000s, while the Toronto edition retained the name *Xtra*.

In 2010, due to the changing business climate for print publications, PTP closed the Ottawa offices, with the Ottawa edition of the publication published out of the Toronto office thereafter.

The final print issues of *Xtra Vancouver* and *Xtra Ottawa* appeared on February 12, 2015, while the Toronto edition's final print issue was published on the newspaper's 31st anniversary, February 19, 2015. The publications continued online as a digital publication, initially under the name *Daily Xtra* before reverting to the *Xtra Magazine* name.

## Contributors

Past contributors to the publications have included Lily Alexandre, Sandra Alland, Richard Burnett, Brenda Cossman, James Dubro, Gerald Hannon, Matthew Hays, Greg Kearney, Todd Klinck, Greg Kramer, R. W. Gray, Raziel Reid, Irshad Manji, Alex Munter, Rachel Giese, Brian Francis, Peter Knegt, and Jeffrey Round.

## InfoBox

Xtra Magazine
| Type | Digital Publication |
| --- | --- |
| Format | Online, former print |
| Owner(s) | Pink Triangle Press |
| Editor-in-chief | Jennifer McGuire |
| Editor | Gordon Bowness |
| Founded | 1984 |
| Ceased publication | February 19, 2015 (print) |
| Headquarters | Toronto, Ontario |
| ISSN | 0829-3384 |
| Website | xtramagazine.com |


title: Gualterus Anglicus

abstract: Gualterus Anglicus was an Anglo-Norman poet and scribe who produced a seminal version of Aesop's Fables around the year 1175.

text:
# Gualterus Anglicus

**Gualterus Anglicus** (Medieval Latin for **Walter the Englishman**) was an Anglo-Norman poet and scribe who produced a seminal version of *Aesop's Fables* (in distichs) around the year 1175.

## Identification of the author

This author was earlier called the *Anonymus Neveleti*, referring to attribution in the seventeenth-century *Mythologia Aesopica* of Isaac Nicholas Nevelet. The name Walter (Latin Gualterus) was produced by Léopold Hervieux, on the basis of manuscript evidence, and he went on to identify the author as Walter of the Mill, archbishop of Palermo from 1168 onwards. Scholars have disputed this second step of identification; it may no longer be supported. The entire attribution is attacked.

## The collection and its influence

This collection of 62 fables is more accurately called the verse *Romulus*, or elegiac *Romulus* (from its elegiac couplets). Given the uncertainty over the authorship, these terms are used in scholarly works.

There is an earlier prose version of *Romulus*, also; it has been dated as early as the tenth century, or the sixth century. It is adapted from Phaedrus; the initial fable "The Cock and the Jewel", supposedly the reply of Phaedrus to his critics, marks out fable collections originating from this source. Walter changed the "jewel" from a pearl to jasper.

The verse *Romulus* formed the mainstream versions of medieval 'Aesop'. It is thought to be the version used by Dante. It with Ovid influenced the *Doligamus* of Adolphus of Vienna.

When John Lydgate produced *Isopes Fabules*, the first fable collection written in English, the verse *Romulus* was a major source. Particularly sophisticated use of this fable tradition is made later in the 15th century in Robert Henryson's *Morall Fabillis*, written in Scots.

Early printed editions appeared under the title *Aesopus moralisatus*, around 1500.

* Julia Bastin (editor) (1929–30), *Recueil général des Isopets* (two volumes)
* Sandro Boldrini (1994), *Uomini e bestie: le favole dell Aesopus latinus*
* Aaron E. Wright (editor) (1997), *The Fables of "Walter of England", Edited from Wolfenbüttel, Herzog August Bibliothek, Codex Guelferbytanus 185 Helmstadiensis*
* Paola Busdraghi (editor) (2005), *L'Esopus. attribuito a Gualtiero Anglico*
* Rebekka Nöcker: *Volkssprachiges Proverbium in der Gelehrtenkultur : ein lateinischer Fabelkommentar des 15. Jahrhunderts mit deutschen Reimpaarepimythien; Untersuchung und Edition*, Berlin \[u.a.\] : De Gruyter, 2015, ISBN 978-3-05-006442-0

1. Galterus, Gualtherus Anglicus, Waltarius; Walter the Englishman, Walter of England, Walther; Gauthier or Gautier l'Anglais; Anonyme de Nevelet.
2. In *Les fabulistes latins depuis le siècle d'Auguste jusqu'à la fin du Moyen-Age*, 1893-4.
3. L. J. A. Loewenthal, *For the Biography of Walter Ophamil, Archhishop of Palermo*, The English Historical Review, Vol. 87, No. 342 (Jan., 1972), pp. 75-82.
4. Bruno W. Häuptli (2005). "Walter von Palermo (Gualtiero di Palermo, Gautier de Palerme, Gualterius Palermitanus; angeblich auch: Waltherus Anglicus, Gualtiero Anglico, Gualterus Ophamilius, Walter of Mill, Gualtiero Offamilio)". In Bautz, Traugott (ed.). *Biographisch-Bibliographisches Kirchenlexikon (BBKL)* (in German). Vol. 25. Nordhausen: Bautz. cols. 1447–1453. ISBN 3-88309-332-7.
5. Cataldo Roccaro, *Sull'autore dell'Aesopus comunemente attribuito a Gualtiero Anglico*, Pan: studi dell'Istituto di Filologia Latina, Università degli Studi, Palermo 17 (1999).
6. "Ph. Renault - Fable et tradition ésopique". Bcs.fltr.ucl.ac.be. 14 June 2006. Retrieved 29 April 2014.
7. Laura Gibbs (29 December 2002). "Medieval Latin Online (University of Oklahoma)". Mythfolklore.net. Retrieved 29 April 2014.
8. A. G. Rigg, *History of Anglo-Latin Literature, 1066-1422* (1992) states that 58 of the 62 tales were from Phaedrus, via the prose Latin of 'Romulus'.
9. John MacQueen, *Complete and Full with Numbers: The Narrative Poetry of Robert Henryson* (2006), p. 15.
10. "Illinois Medieval Association". Luc.edu. Retrieved 29 April 2014.
11. "Notes". Luc.edu. Retrieved 29 April 2014.
12. Fabulae (Aesopus) - 1. De gallo et iaspide
13. R. Howard Bloch, *The Anonymous Marie de France* (2006), p. 122.
14. Ronald L. Durling, *The Divine Comedy of Dante Alighieri: Inferno* (1997), notes to Canto 23.4-6, p. 354.
15. "Thesaurus Exemplorum Medii Aevi - Doligamus". Archived from the original on 21 June 2007. Retrieved 25 March 2008.
16. Edward Wheatley, *Mastering Aesop: Medieval Education, Chaucer, and His Followers*, p. 125.
17. Annabel M. Patterson, *Fables of Power: Aesopian Writing and Political History* (1991), p. 31.
18. "The Morall Fabillis, Notes". Lib.rochester.edu. Archived from the original on 7 October 2008. Retrieved 29 April 2014.
19. "note 14". Luc.edu. Retrieved 29 April 2014.
20. "The Morall Fabillis: Introduction". Lib.rochester.edu. Retrieved 29 April 2014.


title: Nottuln-Appelhülsen station

abstract: Nottuln-Appelhülsen is a station in Appelhülsen, a suburb of the municipality of Nottuln, in the district of Coesfeld in the German state of Nordrhein-Westfalen.

text:
# Nottuln-Appelhülsen station

**Nottuln-Appelhülsen** is a station in Appelhülsen, a suburb of the municipality of Nottuln, in the district of Coesfeld in the German state of Nordrhein-Westfalen.

## History

The Cologne-Minden Railway Company (*Köln-Mindener Eisenbahn-Gesellschaft*, CME) received a concession to build the railway from Wanne to Osnabrück on 28 May 1866. This was part of the Hamburg–Venlo railway, which in turn was part of an international Paris–Hamburg railway. On 1 January 1870, the CME commenced passenger services on the first section between *Wanne* station (now Wanne-Eickel Hauptbahnhof) and *Münster* station (now Münster (Westfalen) Hauptbahnhof) on its trunk line. Appelhülsen station was opened at the same time.

The importance of the station for the transport of passengers and freight in Appelhülsen and the surrounding area was so great that it was classified as a second class station. After Buldern and Bösensell stations received freight facilities, it was reclassified as a third class station.

Until 1942, Appelhülsen station was the only railway station between Münster and Dülmen. It included a workshop and a carpenter's workshop, with up to 30 people working at the time. General freight traffic was stopped in 1973. The station came under the control of Dülmen station in 1974. The signal box was replaced by an electronic interlocking, which is remotely controlled from Dülmen, in 1998. The signal box was demolished in November 2000. The name of the station was changed from *Appelhülsen* to *Nottuln-Appelhülsen* in 2004. A new pedestrian crossing was built over the railway tracks as part of the renovation of the station in 2012. The parking lots and bicycle stands were expanded in the autumn of 2013.

## Station building

The station building was built of yellow bricks in 1870 together with the rest of the station. The station restaurant was closed in 1970 and the ticket office was closed 1975. The municipality of Nottuln acquired the heritage-listed entrance building in 1999. All attempts to sell the building, including over eBay, were unsuccessful. On 18 January 2007, the roof of the station building was so badly damaged by extratropical cyclone Kyrill that it had to be demolished in April 2007 for safety reasons.

The municipality of Nottuln had listed the building as a monument.

## Operations

### Passenger services

The station is served only by regional services of the so-called Haard-Achse network: the RE 2 *Rhein-Haard-Express* (Münster (Westf) Hbf – Düsseldorf Hbf) and the RE 42 *Niers-Haard-Express* (Münster (Westf) Hbf – Mönchengladbach Hbf). Both lines are operated by DB Regio AG, Region NRW as part of the *Rhein-Haard* network.

| Line | Route | Interval |
| --- | --- | --- |
| RE 2 | **Rhein-Haard-Express:**
Münster Hbf – Münster-Albachten – Bösensell – Nottuln-Appelhülsen – Buldern – Dülmen – Sythen – Haltern am SeeMarl-SinsenRecklinghausen HbfWanne-Eickel HbfGelsenkirchen  HbfEssen HbfMülheim  HbfDuisburg HbfDüsseldorf AirportDüsseldorf  Hbf
Status: December 2015 timetable | 60 min |
| RE 42 | **Niers-Haard-Express:**
Münster Hbf – Münster-Albachten – Bösensell – Nottuln-Appelhülsen – Buldern – Dülmen – Sythen – Haltern am SeeMarl-SinsenRecklinghausen HbfRecklinghausen SüdWanne-Eickel HbfGelsenkirchen  HbfEssen HbfMülheim  HbfDuisburg HbfRheinhausenKrefeld-UerdingenKrefeld HbfViersenMönchengladbach Hbf
Status: December 2016 timetable | 60 min |

## InfoBox

| Nottuln-Appelhülsen | |
| --- | --- |
| Through station | |
| Station building | |
| General information | |
| Location | Bahnhofstr. 59, Appelhülsen, Nottuln, North Rhine-Westphalia
Germany |
| Coordinates | 51°53′32″N 7°25′34″E / 51.89221083°N 7.42623941°E / 51.89221083; 7.42623941 |
| Line(s) | Wanne-Eickel Hbf – Hamburg Hbf |
| Platforms | 2 |
| Other information | |
| Station code | 167 |
| DS100 code | EAPH |
| IBNR | 8000595 |
| Category | 4 |
| Fare zone | Westfalentarif: 55535 |
| Website | www.bahnhof.de |
| History | |
| Opened | 1 January 1870 |
| Previous names | Appelhülsen |
|  | |
| Services | |
| Preceding station  DB Regio NRW Following station  Bulderntowards Düsseldorf Hbf  RE 2  Bösenselltowards Osnabrück Hbf  Bulderntowards Mönchengladbach Hbf  RE 42  Bösenselltowards Münster Hbf | |
|  | |
|  | |
|  | |


title: Vasile Păun

abstract: Vasile Păun was a Wallachian, later Romanian poet, theorist and literary critic.

text:
# Vasile Păun

**Vasile Păun** (Romanian pronunciation: \[vaˈsile pəˈun\]; February 9, 1850 – March 1, 1908) was a Wallachian, later Romanian poet, theorist and literary critic.

## Biography

Born in Bucharest, he attended gymnasium (Gheorghe Lazăr) and high school (Saint Sava) in his native city. He briefly worked as a government clerk, then graduated from the literature and philosophy faculty of the University of Bucharest. In 1877, he began teaching Romanian and Latin at Cantemir Vodă Gymnasium, becoming its director in 1878. In 1879, he was hired to teach at Saint Sava. Named "principal preceptor" to Prince Ferdinand, heir to the Romanian throne, Păun spent a number of years with the prince in Germany, where he took the occasion to further his own studies. From 1890, he was a professor at Gheorghe Lazăr High School, where he served as director from 1892 to 1903.

### Literary work

He made his literary debut in 1868 with *Umbra lui Mihai*, a poem in three cantos that appeared in Grigore H. Grandea's *Albina Pindului*, to which he continued to contribute, sometimes under the pen names Basiliu Dimitrescu and Vasile Demetrescu. Together with Anghel Demetrescu, another prestigious schoolteacher, he belonged to Orientul, a literary society organized around Grandea, and through which he became acquainted with Mihai Eminescu. By 1870, the latter was appealing to Iacob Negruzzi on behalf of his "discouraged friend" Păun, whose poems Negruzzi had declined to publish in *Convorbiri Literare*. Other magazines to which he submitted poems, as well as prose, criticism and literary reviews include *Traian*, *Columna lui Traian*, *Foaia Societății "Românismul"*, *Foaia Societății "Renașterea"*, *Povestitorul*, *România Literară* and *Românul literar*. His first published book was the 1877 *Odă la resbel*.

### Other interests

After 1890, Păun's interests shifted away from poetry and toward criticism, as well as literary and art theory. He published the biographical sketch *Ferdinand de Hohenzolern* (1889); *Catastrofa Nibelungilor*, a "literary critical analysis" (1896); *Ficțiune, imagine și comparațiune. Studiu comparativ de literatură poetică* (1896); *Sihastrul. Poveste poetică* (1896) and *Înrudirea poeziei cu celelalte arte frumoase (muzica, pictura, plastica și arhitectura)* (1898). He wrote for *Vatra* and for *Literatură și artă română*, edited by his friend N. Petrașcu. From 1897 to 1899, he was editor-in-chief of *Revista societății "Tinerimea română"*, and co-edited *Apărarea națională*, where he sometimes signed as Davus or Pavo Zorilă. Until the year of his death, he wrote a weekly review column, "Note și reflexiuni", in *Secolul*.