title: Tokugawa clan

text: The nominal originator of the Matsudaira clan was reportedly Matsudaira Chikauji, who was originally a poor Buddhist monk. He reportedly descended from Nitta Yoshisue in the 8th generation and witnessed the ruin of the Nitta in their war against the Ashikaga. He settled at Matsudaira (Mikawa province) and was adopted by his wife's family. Their provincial history book claimed that this original clan was Ariwara clan. Because this place is said to have been reclaimed by Ariwara Nobumori, one theory holds that Matsudaira clan was related to Ariwara no Narihira. Matsudaira Nobumitsu (15th century), son of Chikauji, was in charge of Okazaki Castle, and strengthened the authority of his family in the Mikawa province. Nobumitsu's great-great-grandson Matsudaira Kiyoyasu made his clan strong, but was assassinated. In 1567, Matsudaira Motonobu – then known as Tokugawa Ieyasu (1542–1616) – grandson of Kiyoyasu, was recognized by Emperor Ōgimachi as a descendant of Seiwa Genji; he also started the family name Tokugawa. The clan rose to power at the end of the Sengoku period, and to the end of the Edo period they ruled Japan as "shōguns". There were fifteen Tokugawa "shōguns". Their dominance was so strong that some history books use the term "Tokugawa era" instead of "Edo period". Their principal family shrine is the Tōshō-gū in Nikkō, and principal temple is at Kan'ei-ji in Tokyo. Heirlooms of the clan are partly administered by the Tokugawa Memorial Foundation.


title: Tokugawa clan

text: After the death of Ieyasu, in 1636, the heads of the "gosanke" (the three branches with fiefs in Owari, Kishū, and Mito) also bore the Tokugawa surname, so did the three additional branches, known as the "gosankyō": the Tayasu (1731), Hitotsubashi (1735), and Shimizu (1758) family, after the ascension of Tokugawa Yoshimune. Once a shōgun died without a living heir, both the heads of "gosanke" (except Mito-Tokugawa family) and "gosankyō" had priority to succeed his position. Many "daimyōs" descended from cadet branches of the clan, however, remained the surname Matsudaira; examples include the Matsudaira of Fukui and Aizu. Members of the Tokugawa clan intermarried with prominent daimyo and the Imperial family.


title: Tokugawa clan

text: On November 9, 1867, Tokugawa Yoshinobu, the 15th and the last shōgun of Tokugawa, tendered his resignation to Emperor Meiji and formally stepped down ten days later, returning governing power to the Emperor, marking the end of the ruling power of the Tokugawa shogunate. By the next year, Tokugawa Iesato (1863–1940, from Tayasu family) was chosen as the heir to Yoshinobu as the head of Tokugawa clan; on July 7, 1884, Iesato became a prince, just like the heads of some of other notable Japanese noble families, known as Kazoku. The 1946 Constitution of Japan abolished the "kazoku" and the noble titles, making Iesato's son, Iemasa Tokugawa, no longer a prince. Iemasa had a son Iehide, who died young, so he was succeeded by one of his grandsons, Tsunenari.


title: Tokugawa clan

text: Tsunenari is the second son of Toyoko (eldest daughter of Iemasa) and Ichirō Matsudaira (son of Tsuneo Matsudaira), and he is also a patrilineal descendant of Tokugawa Yorifusa, the youngest son of Tokugawa Ieyasu.


title: Tokugawa clan

text: In 2007, Tsunenari published a book entitled Edo no idenshi (江戸の遺伝子), released in English in 2009 as The Edo Inheritance, which seeks to counter the common belief among Japanese that the Edo period was like a Dark Age, when Japan, cut off from the world, fell behind. On the contrary, he argues, the roughly 250 years of peace and relative prosperity saw great economic reforms, the growth of a sophisticated urban culture, and the development of the most urbanized society on the planet. Tsunenari also formed the Tokugawa Memorial Foundation in 2003 to preserve and administer the historical objects, art, armor and documents that have been passed down in the Tokugawa family over the generations, display them for the general public and provide assistance to academic research on topics concerning historical Japan.


title: Tokugawa clan

text: The Tokugawa's clan symbol, known in Japanese as a "mon", the "triple hollyhock" (although commonly, but mistakenly identified as "hollyhock", the "aoi" actually belongs to the birthwort family and translates as "wild ginger"—"Asarum"), has been a readily recognized icon in Japan, symbolizing in equal parts the Tokugawa clan and the last shogunate.


title: Tokugawa clan

text: The symbol derives from a mythical clan, the Kamo clan, which legendarily descended from Yatagarasu. Matsudaira village was located in Higashikamo District, Aichi Prefecture. Although Emperor Go-Yōzei offered a new symbol, Ieyasu continued to use the symbol, which was not related to Minamoto clan.


title: Tokugawa clan

text: In "jidaigeki", the symbol is often shown to locate the story in the Edo period. And in works set in during the Meiji Restoration movement, the symbol is used to show the bearer's allegiance to the shogunate—as opposed to the royalists, whose cause is symbolized by the Imperial throne's chrysanthemum symbol. Compare with the red and white rose iconography of English Wars of the Roses, as imagined by Walter Scott earlier in the 19th century, in "Anne of Geierstein" (1829).


title: LGBT rights in Asia

text: Lesbian, gay, bisexual, and transgender (LGBT) rights in Asia are limited in comparison to many other areas of the world. Same-sex sexual activity is outlawed in at least twenty Asian countries. While at least eight countries have enacted protections for LGBT people, only Israel, Cyprus and Taiwan provide a wider range of LGBT rights – including same-sex relationship recognition. In Afghanistan, Brunei, Iran, Qatar, Saudi Arabia, the United Arab Emirates and Yemen <nowiki> homosexual activity is punished with the death penalty.</nowiki> In addition, LGBT people also face extrajudicial executions from non-state actors such as the Islamic State of Iraq and the Levant and Hamas in the Gaza Strip. Egalitarian relationships modeled on the Western pattern have become more frequent, though they remain rare.<ref name="http://muslimvillage.com/author/mv-media/ MV Media"></ref> , only Taiwan, the British Overseas Territories of Akrotiri and Dhekelia the British Indian Ocean Territory, and certain cities in Israel have legalized same-sex marriage, though India provides equal rights equilavent to marriage rights to LGBTQ live-in couples anagolous to cohabitation in western countries.


title: LGBT rights in Asia

text: Historical discrimination towards homosexuality in much of the region includes when Genghis Khan banned homosexual acts in the Mongol Empire and made them punishable by death. Many Asian countries have collectivist cultures, wherein aggression is generally accepted by society if it is used to protect the honor of a family. Homosexuality is generally considered to be dishonorable, so homophobic aggression in the name of protecting familial honor is common. The Fatawa-e-Alamgiri of the Mughal Empire mandated a common set of punishments for homosexuality, which could include 50 lashes for a slave, 100 for a free infidel, or death by stoning for a Muslim.


title: LGBT rights in Asia

text: In a 2011 UN General Assembly declaration for LGBT rights, state parties were given a chance to express their support, opposition or abstention on the topic. Only Armenia, Cyprus, East Timor, Georgia, Israel, Japan, Mongolia, Nepal, Philippines, South Korea, Thailand, and Vietnam expressed their support. State parties who expressed opposition were Afghanistan, Bahrain, Bangladesh, Brunei, Egypt, Indonesia, Iran, Iraq, Jordan, Kazakhstan, Kuwait, Lebanon, Malaysia, Maldives, North Korea, Oman, Pakistan, Qatar, Saudi Arabia, Syria, Tajikistan, Turkmenistan, the United Arab Emirates, and Yemen. State parties that expressed abstention were Azerbaijan, Bhutan, Cambodia, China, India, Kyrgyzstan, Laos, Myanmar, Russia, Singapore, Sri Lanka, Turkey, and Uzbekistan. In 2016, during an African-led coalition to dislodge the recently established UN expert on LGBT issues, the majority of Asian nations backed to retain the role of the UN LGBT expert, with mostly Muslim majority nations, with the addition of China and Singapore, declaring their opposition.


title: LGBT rights in Asia

text: In 2019, a survey by "The Economist" found 45% of respondents in the Asia-Pacific believed that same-sex marriage is inevitable in the region, while 31% of respondents disagreed. Furthermore, three-quarters of those surveyed reported a more open climate for LGBT rights compared to three years ago. Of those reporting an improving climate for LGBT people, 38% cited a change in policies or laws. Meanwhile, 36% said coverage of LGBT issues in mainstream media was a major factor. The top reasons cited for diminishing openness was anti-LGBT advocacy by religious institutions.


title: Compartment No. 6

text: Compartment No. 6 (; ) is a 2021 internationally co-produced road film co-written and directed by Juho Kuosmanen, starring Seidi Haarla and Yuri Borisov, based on the 2011 novel of the same name by Rosa Liksom.


title: Compartment No. 6

text: The film was selected to compete for the Palme d'Or at the 2021 Cannes Film Festival. It shares the Grand Prix with Asghar Farhadi's "A Hero". It was selected as the Finnish submission for the Best International Feature Film at the 94th Academy Awards and was one of the 15 "shortlisted" films in the category but was not nominated for the Oscar.


title: Compartment No. 6

text: During the Cannes Film Festival, Sony Pictures Classics bought the distribution rights to the film for North America as well as Latin America, Eastern Europe (excluding co-production country Russia, where the film was distributed by the domestic branch of sister company Sony Pictures Releasing in the country), Southeast Asia and the Middle East, marking the company's second acquisition of a Finnish film following Aki Kaurismäki's "The Man Without a Past" in 2002.


title: Compartment No. 6

text: Traveling by train from Moscow to Murmansk to study the Kanozero Petroglyphs, a Finnish student forms an unlikely friendship with a gruff Russian miner.


title: Canaanite languages

text: The Canaanite languages, or Canaanite dialects, are one of the three subgroups of the Northwest Semitic languages, the others being Aramaic and Ugaritic, all originating in the Levant and Mesopotamia. They are attested in Canaanite inscriptions throughout the Levant, Mesopotamia, Anatolia and the East Mediterranean, and after the founding of Carthage by Phoenician colonists, in coastal regions of North Africa and Iberian Peninsula also. Dialects have been labelled primarily with reference to Biblical geography: Hebrew (Israelian, Judean/Biblical, Samaritan), Phoenician/Punic, Amorite, Ammonite, Philistine, Moabite, Sutean and Edomite; the dialects were all mutually intelligible, being no more differentiated than geographical varieties of Modern English. This family of languages has the distinction of being the first historically attested group of languages to use an alphabet, derived from the Proto-Canaanite alphabet, to record their writings, as opposed to the far earlier Cuneiform logographic/syllabic writing of the region, which originated in Mesopotamia.


title: Canaanite languages

text: These extremely closely related tongues were spoken by the ancient Semitic people of the Canaan and Levant regions, an area encompassing what is today Israel, Jordan, Sinai, Lebanon, Syria, the Palestinian territories and also some areas of southwestern Turkey (Anatolia), western and southern Iraq (Mesopotamia) and the north western corner of Saudi Arabia.


title: Canaanite languages

text: The Canaanites are broadly defined to include the Hebrews (including Israelites, Judeans and Samaritans), Amalekites, Ammonites, Amorites, Edomites, Ekronites, Hyksos, Phoenicians (including the Carthaginians), Moabites and Suteans. Although the Amorites are included among the Canaanite peoples, their language is sometimes not considered to be a Canaanite language but very closely related.


title: Canaanite languages

text: The Canaanite languages continued to be everyday spoken languages until at least the 2nd century AD. Hebrew is the only living Canaanite language today. It remained in continuous use by many Jews well into the Middle Ages and up to the present day as both a liturgical and literary language and was used for commerce between disparate diasporic Jewish communities. It has also remained a liturgical language among Samaritans. Hebrew was revived by Jewish political and cultural activists, particularly through the revitalization and cultivation efforts of Zionists throughout Europe and in Palestine, as an everyday spoken language in the late 19th and early 20th centuries. By the mid-20th century, Modern Hebrew had become the primary language of the Jews of Palestine and was later made the official language of the State of Israel.


title: Canaanite languages

text: The primary modern reference book for the many extra-biblical Canaanite inscriptions, together with Aramaic inscriptions, is the German-language book "Kanaanäische und Aramäische Inschriften", from which inscriptions are often referenced as KAI "n" (for a number "n").


title: Canaanite languages

text: Modern Hebrew, revived in the modern era from an extinct dialect of the ancient Israelites preserved in literature, poetry, liturgy; also known as Classical Hebrew, the oldest form of the language attested in writing. The original pronunciation of Biblical Hebrew is accessible only through reconstruction. It may also include Ancient Samaritan Hebrew, a dialect formerly spoken by the ancient Samaritans. The main sources of Classical Hebrew are the Hebrew Bible (Tanakh), and inscriptions such as the Gezer calendar and Khirbet Qeiyafa pottery shard. All of the other Canaanite languages seem to have become extinct by the early 1st millennium AD – except Punic, which survived into late antiquity, or possibly even longer.


title: Canaanite languages

text: The Phoenician and Carthaginian expansion spread the Phoenician language and its Punic dialect to the Western Mediterranean for a time, but there too it died out, although it seems to have survived longer than in Phoenicia itself.


title: Wind power by country

text: The worldwide total cumulative installed electricity generation capacity from wind power has increased rapidly since the start of the third millennium, and as of the end of 2020, it amounts to 733 GW. Since 2010, more than half of all new wind power was added outside the traditional markets of Europe and North America, mainly driven by the continuing boom in China and India. At the end of 2015, China had 145 GW of wind power installed. In 2015, China installed close to half the world's added wind power capacity.


title: Wind power by country

text: By 2020, 56% wind power penetration was achieved in Denmark, 40% in Uruguay, 36% in Lithuania, 35% in Ireland, 24% in the UK, 23% in Portugal and in Germany, 20% in Spain, 18% in Greece, 16% in Sweden, 15% (avg) in the EU, 8% in the US, and 6% in China.


title: Wind power by country

text: In November 2018, wind power generation in Scotland was higher than the country's electricity consumption during the month. Wind power's share of worldwide electricity usage at the end of 2018 was 4.8%, up from 3.1% four years earlier. In Europe, its share of power generation capacity was 18.8% in 2018. In 2018, upcoming wind power markets rose from 8% to 10% across the Middle East, Latin America, South East Asia, and Africa.


title: Wind power by country

text: This section provides end-of-year figures of worldwide installed wind power capacity by country, including both onshore and offshore. The data is sourced from Global Wind Energy Council. In 2018, global wind power capacity increased by 51 GW to 591 GW, an increase of 9.6% compared to the end of 2017.


title: B'Day

text: B'Day is the second studio album by American singer Beyoncé. It was released to coincide with her 25th birthday on September 4, 2006, by Columbia Records, Music World Entertainment, and Sony Urban Music. Originally set to be released in 2004, the album was planned as a follow-up to Beyoncé's solo debut "Dangerously in Love" (2003); however, it was delayed to accommodate the recording of Destiny's Child's final studio album "Destiny Fulfilled" (2004) and Beyoncé's starring role in the 2006 film "Dreamgirls".


title: B'Day

text: While on vacation after filming "Dreamgirls", Beyoncé began contacting various producers and rented Sony Music Studios, completing "B'Day" in two weeks. Most of the lyrical content of the album was inspired by Beyoncé's role in the film, with its musical style ranging from 1970s–1980s funk influences and balladry to urban contemporary elements such as hip hop and R&B. Live instrumentation was employed in recording most of the tracks as part of Beyoncé's vision of creating a record using live instruments.


title: B'Day

text: Upon its release, "B'Day" received generally favorable reviews from music critics and later earned several accolades, including the Grammy Award for Best Contemporary R&B Album at the 49th Annual Grammy Awards (2007). The album debuted atop the US "Billboard" 200, selling over 541,000 copies in its first week and scoring the third-highest debut-week sales for Beyoncé. It has been certified quintuple platinum by the Recording Industry Association of America (RIAA) and has sold eight million copies worldwide.


title: B'Day

text: "B'Day" produced six singles–"Déjà Vu", "Ring the Alarm", "Irreplaceable", "Beautiful Liar", "Get Me Bodied" and "Green Light". "Irreplaceable" became Beyoncé's fourth US "Billboard" Hot 100 number-one single, while "Déjà Vu" and "Beautiful Liar" peaked within the top five. "B'Day Anthology Video Album", which featured 13 music videos to accompany the songs, was released alongside the deluxe edition of "B'Day". To further promote the album, Beyoncé embarked on her second solo concert tour The Beyoncé Experience (2007); a live album titled "The Beyoncé Experience Live" was also released.


title: B'Day

text: Between March 2002 and March 2003, Beyoncé had productive studio sessions while recording her debut solo studio album "Dangerously in Love", recording up to 45 songs. After the release of "Dangerously in Love" in June 2003, Beyoncé had planned to produce a follow-up album using several of the leftover tracks. However, on January 7, 2004, a spokesperson for her record label Columbia Records announced that Beyoncé had put her plans on hold in order to concentrate on the recording of "Destiny Fulfilled", the final studio album by Destiny's Child, and to sing "The Star-Spangled Banner" at the Super Bowl XXXVIII in Houston, Texas, which was a childhood dream of hers. Furthermore, she starred as Xania in the 2006 comedy-mystery film "The Pink Panther", which was filmed in 2004. She also spent the following two years promoting "Destiny Fulfilled" and Destiny's Child's first greatest hits album "#1's" (2005), embarking on their final world tour Destiny Fulfilled... and Lovin' It; the group would disband in 2006.


title: B'Day

text: Beyoncé originally recorded "Check on It" for "The Pink Panther" soundtrack; although its soundtrack inclusion was cancelled, it was released as the second single from "#1's" in December 2005 and became Beyoncé's third solo US "Billboard" Hot 100 number-one single, later appearing as a bonus track on the international editions of "B'Day". In late 2005, Beyoncé decided to postpone the recording of her second studio album because she had landed the lead role in "Dreamgirls", a film adaptation of the Tony Award-winning Broadway musical of the same name (1981). As she wanted to focus on one project at a time, Beyoncé decided to wait until the film was completed before returning to the recording studio. Beyoncé later told "Billboard": "I'm not going to write for the album until I finish doing the movie."


title: B'Day

text: While having a month-long vacation after filming "Dreamgirls", Beyoncé went to the studio to start working on the album. She said: "[When filming ended] I had so many things bottled up, so many emotions, so many ideas", prompting her to begin working without telling her father and then-manager Mathew Knowles. Beyoncé kept the recording of "B'Day" somewhat quiet, telling only her artists and repertoire executive Max Gousse, and the team of producers they contacted to collaborate with on the album. She began working with songwriters and producers Rich Harrison, Rodney Jerkins, Sean Garrett, Cameron Wallace, the Neptunes, Norwegian production duo Stargate, American hip hop producer and rapper Swizz Beatz, and Walter Millsap III. Two female songwriters, who helped structure the album, were also a part of the team–Beyoncé's cousin Angela Beyincé, who had previously contributed to "Dangerously in Love", and up-and-coming songwriter Makeba Riddick, who made her way onto the team after writing "Déjà Vu", the lead single off the album.


title: B'Day

text: Beyoncé rented the Sony Music Studios in New York City, and was influenced by her now-husband Jay-Z's method of collaborating with multiple record producers; she used four recording studios simultaneously. She booked Harrison, Jerkins and Garrett, each with a room to work in. During the sessions, Beyoncé would move from studio to studio to check her producers' progress, later claiming this fostered "healthy competition" among producers. When Beyoncé conceived a potential song, she would tell the group who would deliberate, and after three hours the song would be created. While Beyoncé and the team brainstormed the lyrics, other collaborators such as the Neptunes, Jerkins and Swizz Beatz would simultaneously produce the tracks. They would sometimes begin working at eleven o'clock, spending up to fourteen hours a day in the studios during the recording process. Beyoncé arranged, co-wrote and co-produced all of the songs on the album. Makeba Riddick, in an interview with MTV News, recounted her experience in the production:


title: B'Day

text: [Beyoncé] had multiple producers in Sony Studios. She booked out the whole studio and she had the biggest and best producers in there. She would have us in one room, we would start collaborating with one producer, then she would go and start something else with another producer. We would bounce around to the different rooms and work with the different producers. It was definitely a factory type of process.


title: B'Day

text: "B'Day" was completed within three weeks, ahead of the originally scheduled six weeks. Swizz Beatz co-produced four songs for the album, the most from a single producer in the team. Beyoncé recorded three songs a day, finishing recording within two weeks in April 2006. Other recording locations included Great Divide Studios in Aspen, Colorado, where "Freakum Dress" was recorded, and Los Angeles recording studios Lair Studios, where "Irreplaceable" was recorded; Henson Recording Studios, where bonus track "Check on It" was recorded; and Record Plant, where "Kitty Kat" and "Green Light were recorded and "Déjà Vu" was assisted. 25 songs were produced for the album; ten of the tracks were selected for the standard edition track listing, and were mastered in early July by Brian "Big Bass" Gardner at the Bernie Grundman Mastering in Los Angeles.


title: B'Day

text: Many of the themes and musical styles of the album were inspired by Beyoncé's role in "Dreamgirls". The plot of the film revolves around "The Dreams", a fictional 1960s group of three female singers who attempt success in the mainstream music industry with the help of their manager Curtis Taylor. Beyoncé portrays Deena Jones, the lead singer of the group and the wife of Taylor, and is emotionally abused by him. Because of her role, Beyoncé was inspired to produce an album with an overriding theme of feminism and female empowerment. In the bonus track "Encore for the Fans", Beyoncé says: "Because I was so inspired by Deena, I wrote songs that were saying all the things I wish she would have said in the film."


title: B'Day

text: "B'Day" was influenced by a variety of American genres, and, like Beyoncé's previous album, incorporated urban contemporary elements including contemporary R&B and hip hop. Some songs have 1970s and 1980s styles, inspired through record sampling. "Suga Mama", which employs blues-guitar samples from Jake Wade and the Soul Searchers' "Searching for Soul", contains a 1970s funk and 1980s go-go-influenced melody. "Upgrade U" is sampled from Betty Wright's song "Girls Can't Do What the Guys Do" (1968). "Resentment" used Curtis Mayfield's "Think (Instrumental)" (1972), from the "Super Fly" soundtrack. "Déjà Vu" has 1970s influence, "Green Light" has a classic groove, and "Get Me Bodied" features twang, a musical style that originated from Texas.


title: B'Day

text: Beyoncé crafted most songs on "B'Day" through live instrumentation and diverse techniques. This is evident on "Déjà Vu", which utilizes bass guitar, conga, hi-hat, horns and the 808 drum; it also features rap vocals by Jay-Z. In an interview with MTV, Beyoncé said: "When I recorded 'Déjà Vu' [...] I knew that even before I started working on my album, I wanted to add live instruments to all of my songs..." Lyrically, the song details a woman being constantly reminded of a past lover, shown in the lines: "Is it because I'm missing you that I'm having déjà vu?" "Get Me Bodied", the second track on "B'Day", is a moderate R&B, and bounce song, which displays influences of dance-pop, dancehall, and funk music, which speaks about a female protagonist going out and dressing up suitably to leave a lasting impression and get what she's looking for. The following track "Suga Mama" is a moderate R&B and soul song which displays influences of the 1960s as well as 1970s funk and rock music, also containing limited elements of the 1980s go-go and sounds more closely resembling live music than Beyoncé's previous recordings. Lyrically, it features the female protagonist offering up the keys to her house and car, and her credit card just to keep her love interest and his good loving at home, presumably so that he can listen to her collection of old soul records. These interpretations are shown in the lines: "It's so good to the point that I'll do anything just to keep you home ... Tell me what you want me to buy, my accountant's waiting on the phone ..." The woman also sees the man as a sex object, asking him to sit on her lap and "take it off while I watch you perform".


title: B'Day

text: "Upgrade U", which features Jay-Z, follows, and speaks about a woman offering luxuries to a man, to upgrade his lifestyle and reputation, similar to the concept of "Suga Mama". Musically, it's a hip hop song, with influences of pop, soul and R&B. The album's fifth track and second single "Ring the Alarm", which is an R&B song incorporating elements of punk rock, is noted for the use of a siren in its melody and "shows a harder edge to Beyoncé's sound". Lyrically, it features Beyoncé as the female protagonist impersonating a threatened woman involved in a love triangle and is unwilling to allow another woman to profit from all the efforts she put on to make her lover a better man. The sixth track "Kitty Kat" is a smooth R&B song with hip hop influences which speaks about the female protagonist who feels that her love interest has underestimated her. "Freakum Dress" is a crescendo that uses a two-note riff and galloping beats. The song "advises women who have partners with straying eyes to put on sexy dresses and grind on other guys in the club to regain their affections." Meanwhile, the use of the "uh-huh huh huh" vocals and brassy stabs in the R&B and funk break-up song "Green Light" is a direct echo to "Crazy in Love", according to Peter Robinson of "The Guardian". "Irreplaceable" is a midtempo ballad with pop and R&B influences, and speaks of a breakdown of a woman's relationship with a man after she discovers his infidelity. The standard edition's closing track "Resentment" is a soul and soft rock ballad about a gritty, agitated goodbye which adds a "different kind of overwrought drama".


title: B'Day

text: "Beautiful Liar", the opening track on the deluxe edition and duet with Shakira, is an R&B and pop song. Lyrically, it speaks about two women who chose not to end a friendship because of a man who has cheated both of them; its main theme is female independence. The fifth track on the deluxe edition "Welcome to Hollywood" is Beyoncé's solo version of Jay-Z's song "Hollywood" on which she's featured. It's a disco-influenced R&B song which speaks of tiredness celebrities sometimes feel. "Flaws and All", the seventh track, is an R&B and trip hop song on which Beyoncé shows appreciation for the love given by her love interest, who sees through all of her flaws and loves her unconditionally. "Still in Love (Kissing You)", which was later replaced by "If", is a cover of Des'ree's pop ballad "Kissing You". "If" is a ballad on which a female protagonist is disappointed with the way her love interest treats her and thinks that even his best friend treats her better and pays more attention to her. "World Wide Woman" is an uptempo R&B song on which Beyoncé calls herself "a world wide woman", a play on term World Wide Web. The deluxe edition also includes "Listen", which appeared in the film "Dreamgirls", in which Beyoncé starred, and . It's a soul and R&B ballad, and was called by its co-writer Anne Preven a song on which the film's character Deena Jones, portrayed by Beyoncé, is exclaiming: "You don't know who I am, and I know I do."


title: B'Day

text: "B'Day" was titled as a reference to Beyoncé's birthday. The album's cover artwork was revealed on July 18, 2006, and features Beyoncé looking into the distance, wearing a golden low-cut dress and small golden hoop earrings, with a dark eye liner and her hair piled high on her head. The cover artwork for the deluxe edition is the same as the cover artwork used for single "Déjà Vu" and "B'Day Anthology Video Album", and features Beyoncé with a 1960s-inspired hairstyle and similar makeup as on the standard edition cover artwork, wearing a white and black top and golden hoop earrings. The booklet of the deluxe edition is highly similar to the standard edition one, also featuring some new images. Images for both covers and booklets were photographed by Max Vadukul.


title: B'Day

text: In collaboration with Sony Urban Music and Music World Entertainment, "B'Day" was released by Columbia Records on September 4, 2006, Beyoncé's 25th birthday, internationally and the following day in the United States. Exclusively at Walmart, "B'Day" was packaged with a bonus DVD titled "BET Presents Beyoncé" (2006), which featured BET and performance highlights, and music videos from her solo career. To promote "B'Day", Beyoncé appeared on various television and award shows from mid-2006 until mid-2007. She performed the album's lead single "Déjà Vu" with Jay-Z at the BET Awards 2006 at the Shrine Auditorium in Los Angeles on June 27, 2006. At the 2006 MTV Video Music Awards on August 31, she performed "Ring the Alarm" wearing a flowing trench coat, a corset and hotpants; the performance referenced Janet Jackson's "Rhythm Nation" routine. On September 5, Beyoncé made an appearance on "Total Request Live". In an episode of "The Ellen DeGeneres Show" which aired the same day, Beyoncé performed "Déjà Vu" and "Irreplaceable". She performed "Déjà Vu" at the Fashion Rocks on September 8, and, along with "Crazy in Love", "Green Light", "Ring the Alarm" and "Irreplaceable", during an episode of "Good Morning America" which aired the same day. She also performed "Déjà Vu" on "The Tyra Banks Show" on September 15. Promoting "B'Day" in the United Kingdom, Beyoncé performed "Irreplaceable", "Ring the Alarm" and "Crazy in Love" on "Popworld" on October 27. Beyoncé opened the 2006 World Music Awards on November 15 with the performance of "Déjà Vu" and "Ring the Alarm", performing "Irreplaceable" later during the show. She performed "Irreplaceable" at the American Music Awards of 2006 on November 21, and, along with "Listen", on "Today" on December 4.


title: B'Day

text: Seven months after the release of the standard edition, an expanded double-disc deluxe edition of the album was released in the United States on April 3, 2007. In addition to the original track listing, the deluxe edition featured five new songs, including "Beautiful Liar", a duet with Colombian singer Shakira. The single made US "Billboard" Hot 100 history when it moved 91 positions—from number 94 to number three—on April 7. "Amor Gitano", a Spanish-language flamenco-pop duet with Mexican singer Alejandro Fernández, served as a soundtrack for Telemundo's telenovela


title: B'Day

text: "El Zorro", and was included in the deluxe edition bonus disc alongside Spanish re-recordings of "Listen" ("Oye"), "Irreplaceable" ("Irreemplazable") and "Beautiful Liar" ("Bello Embustero"). The idea of recording songs in a foreign language emanated from her experience when Destiny's Child performed "Quisiera Ser" with Alejandro Sanz at the 44th Annual Grammy Awards (2002). Beyoncé worked with producer Rudy Pérez for the recordings in order to retain the same feeling of the English versions of the songs into the Spanish translation. The bonus disc was later released as the standalone extended play (EP) "Irreemplazable".


title: B'Day

text: "B'Day Anthology Video Album" was released simultaneously with the deluxe edition and featured 13 music videos, including the director's cut of the performance version of "Listen" and the extended mix of "Get Me Bodied". Most of the videos were accompaniments for the uptempo songs on "B'Day"; which featured retro stylization, use of color and black hair styles, as Beyoncé thought it would create a resemblance between herself and the character she played in "Dreamgirls", Deena Jones. The shooting of the videos was completed in two weeks; they were directed by Jake Nava, Anthony Mandler, Melina Matsoukas, Cliff Watts, Ray Kay, Sophie Muller, Diane Martel and Beyoncé herself. Initially, the DVD was available exclusively at Walmart, but was later released to other retailers. The Spanish songs were not included on international editions of the deluxe edition and were replaced by "B'Day Anthology Video Album" as the bonus DVD. Beyoncé promoted the deluxe edition of "B'Day" in April 2007 by performing the Spanglish version of "Irreplaceable" and "Green Light" on "Today" on April 2, and "Beautiful Liar" on an episode of "The Early Show" which aired on April 6. She performed "Get Me Bodied" at the BET Awards 2007 at the Shrine Auditorium in Los Angeles on June 26, wearing a gold robot gear, which she wittled down to sleek lamé gold pants and a matching bra top. As she continued singing, her younger sister Solange and former Destiny's Child bandmate Michelle Williams appeared onstage as her backup dancers; a few moments later, Beyoncé introduced her former Destiny's Child bandmate Kelly Rowland, who performed her song "Like This" with Eve. After Rowland's performance, Beyoncé, Solange and Williams appeared onstage with Rowland to complete the Destiny's Child reunion.


title: B'Day

text: In mid-2006, Beyoncé looked for an all-female band for her tour The Beyoncé Experience (2007) to promote the album. She held an audition for keyboard players, bassists, guitarists, horn players, percussionists and drummers around the world. Beyoncé named the band Suga Mamas, after the album track "Suga Mama". Although the band only consisted of women, both male and female backup dancers performed onstage. As well as singing songs from "B'Day", Beyoncé also performed songs from "Dangerously in Love", and gave a medley of Destiny's Child songs. She embarked on the tour in Japan on April 10, 2007 and concluded it in Tapei, Taiwan on November 12. During the Los Angeles show on September 2, Jay-Z and Destiny's Child bandmates Rowland and Williams made guest appearances. Footage from this show was filmed and released on November 20 as a live album titled "The Beyoncé Experience Live".


title: B'Day

text: "Déjà Vu", featuring Jay-Z, was released on June 24, 2006, as the album's lead single. It received mixed reviews from music critics. The single peaked at number four on the US "Billboard" Hot 100, topping the US Dance Club Songs, US Dance/Electronic Singles Sales, US Hot R&B/Hip-Hop Songs, and the UK Singles Chart. It was certified gold by the Recording Industry Association of America (RIAA). The single's accompanying music video, directed by Sophie Muller, was a subject of controversy due to its sexually suggestive content. "Déjà Vu" and its Freemasons club mix received three nominations at the 49th Annual Grammy Awards (2007).


title: B'Day

text: "Ring the Alarm" was released as the second single from the album exclusively in the United States. It was serviced to urban contemporary radio on September 10, 2006, and was released as a CD single on October 3. The single received mixed reviews from the music critics, who noticed it was different from Beyoncé's earlier works; while some commended her willingness to take risks, others were polarized about her aggressive vocals. Commercially, it became her highest-charting single debut, opening at number 12 on the US "Billboard" Hot 100. It peaked at number 11, becoming Beyoncé's first solo single not to peak within the top ten.


title: B'Day

text: "Irreplaceable" was serviced as the second international and third overall single from "B'Day". It was released in the United Kingdom on October 23, 2006, and in the United States on December 5. The single received generally favorable reviews from music critics, with some calling it the best song on "B'Day". It was a commercial success, topping the US "Billboard" Hot 100, spending ten weeks atop the chart, as well as topping various other "Billboard" charts and charts in Australia, Hungary, Ireland and New Zealand. "Irreplaceable" was ranked atop the US "Billboard" Year-End Hot 100 singles of 2007, and was the tenth best-selling digital single worldwide of 2007, having sold over four million copies worldwide by the end of 2007. It was the 25th most successful song of the 2000s decade, according to the "Billboard" Hot 100 Songs of the Decade. The single's accompanying music video features the debut performance of her all-female band Suga Mama. At the 50th Annual Grammy Awards (2008), "Irreplaceable" was nominated for the Grammy Award for Record of the Year.


title: B'Day

text: "Beautiful Liar", a duet with Shakira, was released as the lead and only single from the deluxe edition of "B'Day" and as the fourth single from "B'Day" overall. After leaking onto the Internet in early February 2007, it was serviced to contemporary hit, rhythmic and urban contemporary radio stations in the United States on February 12. It received generally favorable reviews from the music critics, and was nominated for a Grammy Award for Best Pop Collaboration with Vocals at the 50th Annual Grammy Awards (2008). The single registered the largest upward movement on the US "Billboard" Hot 100 in the history of the chart, when it jumped 91 places from number 94 to number three in its second week, which became its peak position. Internationally, it peaked atop the European Hot 100 Singles and on charts in France, Germany, Hungary, Ireland, Italy, the Netherlands, New Zealand, Spain, Switzerland, the United Kingdom, and Venezuela.


title: B'Day

text: "Get Me Bodied" was released as the fifth single from "B'Day" on July 10, 2007. The single's 1960s-influenced accompanying music video features sister Solange Knowles and former Destiny's Child bandmates Kelly Rowland and Michelle Williams. It originally peaked at number 68 on the US "Billboard" Hot 100 on August 4, 2007, becoming Beyoncé's lowest-peaking single on the chart at the time. However, as a video of a woman named Deborah Cohen and her doctors dancing to "Get Me Bodied" before she underwent a double mastectomy was posted onto YouTube and went viral, the single found a new peak position at number 46 on the "Billboard" Hot 100 on November 23, 2013.


title: B'Day

text: "Green Light" was released as the sixth and final single from the album internationally on July 27, 2007. It was originally planned to be released as the second single for the international markets, but the management opted for "Ring the Alarm" instead. Along with the release of the single, the remix extended play (EP) "Green Light: Freemasons EP" was released for digital download; the single was also planned to be released for CD in the United Kingdom, but the plans were cancelled last-minute. Its Freemasons club mix peaked at number 12 on the UK Singles Chart; the cancellation of the physical release prevented the single to obtain a higher peak position on the chart.


title: B'Day

text: Although they were not released as singles, "Upgrade U", "Kitty Kat" and "Freakum Dress" appeared on several "Billboard" charts. "Upgrade U", featuring Jay-Z, was released as a promotional single in the United States on November 27, 2006, and reached numbers 59 and 11 on the US "Billboard" Hot 100 and Hot R&B/Hip-Hop Songs, respectively. "Kitty Kat" peaked at number 66 on the Hot R&B/Hip-Hop Songs. "Freakum Dress", which was cited as a possible second single from "B'Day" in June 2006, peaked at number 25 on the US Bubbling Under Hot 100 Singles and at number 16 on the US Bubbling Under R&B/Hip-Hop Singles. In 2020, "Freakum Dress" went viral on TikTok and Instagram as part of the "Freakum Dress Challenge", appearing on many videos created by users of the platforms.


title: B'Day

text: "B'Day" received generally positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 70, based on 23 reviews. Jody Rosen, writing for "Entertainment Weekly", commented that the album's songs "arrive in huge gusts of rhythm and emotion, with Beyoncé's voice rippling over clattery beats". Jonah Weiner of "Blender" commented that "sweaty up-tempo numbers prove the best platform for Beyoncé's rapperly phrasing and pipe-flaunting fireballs". Andy Kellman of AllMusic felt that, despite "no songs with the smooth elegance" of "Me, Myself and I" or "Be with You", the album is "lean in a beneficial way". "The Boston Globe"s Sarah Rodman commented that the production team helped Beyoncé "focus on edgier, up-tempo tracks that take her sweet soprano to new places". Caroline Sullivan of "The Guardian" felt that, "apart from a few pop-R&B space-fillers, there's not much to dislike about "B'Day"". Robert Christgau from "MSN Music" said "on most of [the songs] she's wronged yet still in control because she's got so much money" and felt that Beyoncé "earns her props" if "opulence can signify liberation in this grotesquely materialistic time, as in hip-hop it can".


title: B'Day

text: In a mixed review, Jon Pareles of "The New York Times" found the album "tense, high-strung and obsessive", and said that it was neither "ingratiating or seductive". Richard Cromelin of the "Los Angeles Times" observed that Beyoncé "heads into a new, more challenging terrain", but "some of the experiments don't click". Although he found the album "solid", Mike Joseph of PopMatters said that "aside from its relatively short running time, it sounds suspiciously under produced". Brian Hiatt of "Rolling Stone" averred that "while the mostly up-tempo disc never lacks for energy, some of the more beat-driven tracks feel harmonically and melodically undercooked, with hooks that don't live up to 'Crazy in Love' or the best Destiny's Child hits". Priya Elan of "NME" cited only "Freakum Dress" and "Ring the Alarm" as highlights and criticized that "too many tracks sound like updated versions of former glories", with no song on-par with "Crazy in Love".


title: Aloha from Hawaii via Satellite

text: Aloha from Hawaii via Satellite is a concert starring Elvis Presley that took place at the Honolulu International Center and was broadcast live via satellite to audiences in Asia and Oceania on January 14, 1973. The show was presented with a delay in Europe. In the United States, to avoid a programming conflict with Super Bowl VII and "Elvis on Tour" which was playing in cinemas at the time, NBC opted to air a ninety-minute television special of the concert on April 4.


title: Aloha from Hawaii via Satellite

text: Presley returned to performing tours throughout the United States in 1970. Richard Nixon's 1972 visit to China inspired Presley's manager, Colonel Tom Parker, to promote a live broadcast concert featuring the singer and he arranged a deal with RCA Records and the NBC network to produce one. The show benefited the Kui Lee Cancer Fund.


title: Aloha from Hawaii via Satellite

text: Marty Pasetta produced the program. A filmed rehearsal concert took place on January 12. The show earned good ratings in the countries targeted by the live broadcast. The television special presented in the United States became NBC's highest-rated program of the year, and it garnered a favorable reception from critics. Its soundtrack album became Presley's last chart-topper on "Billboard" album chart.


title: Aloha from Hawaii via Satellite

text: After a seven-year hiatus from live performances to focus on his acting career, Elvis Presley returned with his 1968 NBC television special "Elvis". Following the critical success of the special, by 1969, Presley returned to record non-soundtrack albums with his release of "From Elvis in Memphis". His manager, Colonel Tom Parker, arranged for him to play a concert residency at the newly built International Hotel in Las Vegas, Nevada. For this engagement he assembled a band, later known as the TCB Band: James Burton (guitar), John Wilkinson (rhythm guitar), Jerry Scheff (bass-guitar), Ronnie Tutt (drums), Larry Muhoberac (piano) and Charlie Hodge (rhythm guitar, background vocals). The backing vocals of The Sweet Inspirations, The Imperials, The Stamps and Kathy Westmoreland accompanied the band. It was also supported by the 30-piece Joe Guercio orchestra. Presley began to tour the United States again in 1970 after a thirteen-year hiatus.


title: Aloha from Hawaii via Satellite

text: His early album releases for 1972, "Elvis Now" and "He Touched Me", charted at number 43 and 79 on the "Billboard" Hot 100 respectively. During the same year, he embarked on a 15-city tour that was filmed for the Metro-Goldwyn-Mayer (MGM) documentary "Elvis on Tour". When the recording equipment failed because of an overload during the fourth night of performances, the planned soundtrack album was never released. The film would earn a Golden Globe Award for best documentary.


title: Aloha from Hawaii via Satellite

text: Presley appeared at Madison Square Garden in New York City in June 1972. The release of the live album the same month charted at number 11 on "Billboard"s Hot 100. A month after this appearance, Parker mentioned to the press that arrangements were being made for Presley to play a concert via satellite to live audiences worldwide. Parker declared that "it is the intention of Elvis to please all of his fans throughout the world". Parker's reluctance to allow Presley to undertake international tours in person has been attributed to his status as an illegal alien in the United States. Parker concealed his origins as a Dutch national.


title: Aloha from Hawaii via Satellite

text: On September 4, the final day of Presley's fifty-nine-show-engagement at the Las Vegas Hilton, Parker announced at a press conference that the live NBC television special, called "Aloha from Hawaii", would take place in January 1973 in Hawaii. Parker got the idea in February 1972, when he saw the live broadcast of Richard Nixon's visit to China. Parker approached NBC's president Tom Sarnoff with the proposition. They set a tentative release date for November 18, the end of Presley's tour. The date had to be moved at the request of Jim Aubrey, who wanted to avoid the special overlapping with the theatrical release of "Elvis On Tour", scheduled for the same month. RCA Records Tours, founded by RCA Records at Parker's request to manage the promotion of Presley's tours, would receive US$1 million (equivalent to $ million in ) from NBC for the special. The label would be paid US$100,000 (), while Presley and his manager would receive US$900,000 (equivalent to $ million in ) to be split between them. Presley's managerial contract, signed in 1967, stipulated that Parker would receive fifty percent of the total profit of his negotiated deals.


title: Aloha from Hawaii via Satellite

text: Eddie Sherman, a "Honolulu Advertiser" writer, contacted Parker with the idea of giving the proceeds of the concert admissions to a charity he had recently established. Sherman had worked with Parker to promote Presley's 1961 benefit concert for the construction of the USS Arizona Memorial. Since Parker could not charge a television audience for tickets, Sherman proposed taking donations for the Kui Lee Cancer Fund instead. Sherman started the fund to benefit cancer research at the University of Hawaii. Kui Lee, a singer-songwriter from Hawaii, died in 1966 of lymph gland cancer. Presley recorded Lee's "I'll Remember You" in the summer of 1966 and included the song in his live sets starting in 1972. Presley contributed with the first donation of US$1,000 (); while the audience could determine the amount of their donations.


title: Aloha from Hawaii via Satellite

text: Sarnoff suggested Marty Pasetta produce the special. He had experience producing television specials for Perry Como, Bing Crosby, Glen Campbell, and Don Ho's five specials, filmed on-location in Hawaii. Pasetta had also produced broadcasts of the Oscars, Emmys, and Grammys. For his new special, Presley was interested in a producer who could capture the atmosphere of a live concert. Pasetta attended Presley's concert in Long Beach, on November 15. He was unimpressed by Presley's performance, feeling his presence was "staged, quiet". He expressed his doubts to the network that he would be able to produce an hour-and-a-half special. They told Pasetta to discuss his concerns with Parker.


title: Aloha from Hawaii via Satellite

text: Pasetta took sketches of his ideas for the stage to Parker. He envisioned the band placed on a riser behind Presley. The stage was to be built low to allow the audience proximity to him, with a runway to allow Presley to move towards them. Mirrors would frame the stage, while the background would feature flashing neon signs that read "Elvis" in the language of the countries where the concert was projected to be broadcast, and the accompanying album would be released. A figure holding a guitar was to be added to the background lights. Parker dismissed the idea telling Pasetta that Presley would not approve of his plans. Pasetta insisted on taking his ideas directly to Presley; Parker did not object. The producer told Presley he was not pleased with his performance in Long Beach and laid out his plans for the stage and the details of the Hawaii production. He finished by telling the singer he would need to lose weight for the special. Impressed by Pasetta's frankness, Presley became excited to work with him, and the meeting lasted four hours. Presley returned to his home, Graceland, in Memphis, Tennessee, and began to exercise to deal with Pasetta's weight concerns. Presley increased his practice of karate, consumed vitamins and protein drinks, and used weight-reduction pills. He lost in a month. Pasetta returned to Los Angeles, where he began work on the stage that would be shipped to Hawaii; further set decorations would be added on location. The large stage covered the space used for 3,500 of the Honolulu International Center's 8,800 seats. RCA Records commissioned the Berlitz Corporation to translate the phrases and scriptures Presley would use. The date for the live concert was set for January 14, 1973. The broadcast in the United States was postponed until April to avoid a conflict with Super Bowl VII that was to be played on the same day.


title: Aloha from Hawaii via Satellite

text: Presley approached his costume designer, Bill Belew with an idea for his concert suit. Belew began to work for Presley in 1968, with the creation of the leather suit he wore for his NBC special "Elvis", and created the one-piece jumpsuits the singer wore during his Las Vegas appearances. Belew's designs featured gabardine stretch fabric with Napoleonic collars, rhinestone decorations and bell-bottoms. For the upcoming special, Presley asked Belew to create a patriotic design. Presley felt the broadcast of the show via satellite was a product of American creative thinking. Since it was going to be viewed in foreign countries, he told Belew, "I just want the suit to say America". This was one of the few occasions when Presley made a special request of the designer. Belew usually relied on his own creativity. Initially, the designer suggested a pattern based on the outline of the map. Then they considered the flag, but settled on the bald eagle, since Belew recalled seeing the image in a US embassy. The white jumpsuit featured a bald eagle made with patterns of gold, blue and red gems on the chest and back. Belew created a four-inch white leather belt featuring five ovals with the Great Seal of the United States. Initially, Belew made a calf-length cape for Presley. He planned to be covered by it at the start of his performance, and then reveal himself as the show started. Presley discarded the cape during the rehearsals, as he felt it was too heavy. Belew created a hip-length cape. Producing the entire costume required most of Belew's staff because of the amount of embroidery and the attachment of several pieces of jewelry. It featured 6,500 individual stones.


title: Aloha from Hawaii via Satellite

text: The suit, stage, and equipment were shipped from Los Angeles to Hawaii in early January 1973. Pasetta and the crew traveled there to film the scenery to be added as inserts to the television special for its release in the United States. Presley arrived on January 10. After seeing the stage in the venue, Presley asked Pasetta to remove the scattered individual raisers that were put in place for the TCB Band and backup singers. Pasetta agreed, and while work on the stage continued, Presley rehearsed at the Hilton Hawaiian Village. The show's opener was shot at the Hilton hotel's helipad, with a thousand Presley fans in attendance. During the rehearsals, Presley gave the costume's belt to Jack Lord's wife. Presley's associate, Joe Esposito called Belew. Alarmed, the designer told Esposito he had no more rubies, and that he would have to obtain them from Europe. However, he found them locally and worked overtime with his team to produce a new belt. Belew flew to Hawaii with the replacement belt and stayed for the shows.


title: Aloha from Hawaii via Satellite

text: The rehearsal show took place on Friday, January 12. Fans "stormed" the arena as the doors opened at 7:00 p.m., two hours before the start of the show. The audience was standing or sitting in the aisles. Initially, the number of attendees was set at 6,000. The rehearsal was filmed and had technical issues. Honolulu mayor Frank Fasi declared January 13 "Elvis Presley day", to commend him for his contributions to the Kui Lee Cancer Fund. The review in the "Honolulu Star-Bulletin" declared: "(Presley) put on an hour-long show last night that was perfect" and described the positive reaction of the female fans to Presley's presence.


title: Aloha from Hawaii via Satellite

text: The "Aloha from Hawaii" concert took place on January 14, at 12:30 a.m. local time to match the prime time of the broadcast locations of the concert: Hong Kong, Japan, South Korea, South Vietnam, the Philippines and Australia. Admission was more restricted for the Saturday show. Parker arranged entertainment for the fans turned away after the limit was reached, featuring high school bands, clowns, and robots. New technical issues arose as NBC's recording equipment, combined with RCA Records' equipment brought by engineer Wally Heider, overloaded the power sources. The issue was fixed, but two hours before the start of the show, the sound system picked up a hum caused by the stage lights. The sound engineers borrowed thick lead sheets from the United States Navy to isolate the equipment. Teenage fans were present in the first rows, while most of the audience was reported to be people in their forties. Among the audience were Mayor Fasi, Jack Lord, and Kui Lee's family.


title: Aloha from Hawaii via Satellite

text: Presley's set-list consisted of 22 songs. He made his usual entrance as the band played the "" theme "Also sprach Zarathustra". The set featured classics from Presley's repertoire, including "Blue Suede Shoes", "Hound Dog", and "Love Me". Presley also performed the ballads "You Gave Me a Mountain", "My Way", "I Can't Stop Loving You", "What Now My Love", Kui Lee's "I'll Remember You" and "An American Trilogy", among others. Presley threw his belt to the crowd at the end of "An American Trilogy". He closed the set with "Can't Help Falling in Love". At the start of the number, Presley was covered with the short cape by his assistant, Charlie Hodge. As he finished, he displayed the cape by opening it and raising it with his hands as he took a knee. He threw the cape into the first rows and then gave the audience the Shaka sign and received a golden crown from fans as he walked away.


title: Aloha from Hawaii via Satellite

text: After the audience left the building, Presley returned to the arena to record additional material for the United States version of the television special. “Blue Hawaii“ was recorded with several takes, "KU-U-I-PO" and "No More" in three takes, “Hawaiian Wedding Song" is also followed with several takes, and "Early Morning Rain" closed the session. All songs except "No More" were used in the special. Pasetta then worked to edit out ten minutes for the planned European delayed broadcast on the Eurovision Network at 12:30 p.m. Central European Time.


title: Aloha from Hawaii via Satellite

text: The proceeds of the show exceeded the planned US$25,000 (), and US$75,000 () was raised for the Kui Lee Cancer Fund. The next day, "Honolulu Advertiser" columnist Wayne Harada called the show a "thrilling, compact hour-long on music and screams" in his review. He deemed Presley's performance of "I'll Remember You" as "easily the most sentimental" for the Hawaiian audience and remarked on the warm reception for "An American Trilogy".


title: Aloha from Hawaii via Satellite

text: Initial reports estimated the show was seen by 1.5 billion people in 36 countries. Parker had presented the same figures at the press conference promoting the broadcast. The communications satellite Intelsat IV F-4 was used for the transmission of the live feed to the target area. In Australia, Channel Nine presented the show with the assistance of the Overseas Telecommunications Commission (OTC). The concert closed the "Elvis Presley Week" television event on NTV in Japan and garnered 37.8% of the total television viewers; viewership reached 70% in Hong Kong. In South Korea, it attracted an estimated 70–80% of TV viewers, while tentative data from the Philippines indicated 91.8%. As the event occurred during the Cold War, China and the Soviet Union were excluded from the broadcast. Contrary to Parker's claim, the concert would be presented with a delay of days or weeks to the 21 European countries where it was finally seen; countries that were a part of the Warsaw Treaty Organization were excluded. The figures for total viewers proposed by Presley's manager were questioned, as critics pointed that the sum of the total population of all the countries targeted by the broadcast was roughly 1.3 billion.


title: Aloha from Hawaii via Satellite

text: NBC aired the ninety-minute television special on April 4. The Stokely-Van Camp Company and Toyota presented the show. It opened with an animation of the satellite "beaming" Presley to different parts of the world, with audio signals in Morse code saying "Elvis: Aloha from Hawaii". Pasetta added clips of Presley's arrival by helicopter to the Hilton hotel and the show outside the arena to the concert sequences. The additional recordings Presley made after the show were also integrated. Pasetta used split-screens to show Presley and the scenery images he had filmed of Hawaii. The track "No More" was not used. The Nielsen ratings indicated 33.8 points and a share of 57%.


title: Aloha from Hawaii via Satellite

text: "Billboard" praised the special's camera work, declaring that Presley "dominated the tube with showmanship" and concluded that at 38, Presley "still knows how to sing rock". The "Los Angeles Times" review remarked on Presley's "polished skills" while calling his antics "an amusing parody" of his early career. It called the performances of "An American Trilogy" "stunning", and "I'll Remember You" as "poignant". In contrast, The "Boston Globe"s negative review rated the show with two stars out of five. The reviewer felt the set decorations were "trappings" and that Presley's performance was "buried in folderol". The piece drew a comparison with his appearances on the "Ed Sullivan Show" and declared "the electricity was gone" and that "he was mocking himself and his milieu".


title: Aloha from Hawaii via Satellite

text: The "New York Daily News" praised Pasetta's work on the production and Presley's performance that used "fewer tricks" but delivered "a skillfully paced concert". A negative review in the "Chicago Sun-Times" said the program consisted of "a 90-minute documentary of Presley's sweat glands at work, masquerading as an entertainment special". It criticized Presley's lack of "body movements" and his "feet-apart stance that was more appropriate to address a pinball machine". "The Charlotte News" review said that while Presley "pushed himself to the limit" for the performance, the ninety-minute presentation was "entirely too much". The piece criticized NBC's choice to broadcast a special by Ann-Margret immediately following Presley's show. "The Cincinnati Enquirer" reviewer felt "captivated" by Presley's "singing and stage talents", but lamented the "unnecessary segment" depicting Presley's arrival and reception by fans. Meanwhile, the newspaper's rock critic felt that the abundance of close-ups of Presley "knock out about half of the mystique".


title: Aloha from Hawaii via Satellite

text: RCA Records released the soundtrack album worldwide in February 1973 in quadraphonic sound. RCA employed two record plants to press the album. The LP's sleeve contained the phrase "we love Elvis" written in different languages. The double-LP reached number one on "Billboard's Hot 100". It became Presley's first Hot 100 chart-topper since 1965, his last during his lifetime and sold half-a-million copies in two weeks. Within three weeks of its release, it was certified gold; it then went to be certified 5× platinum.


title: Aloha from Hawaii via Satellite

text: The 1967 "Our World" black-and-white television special was the first live international concert presented via satellite. "Aloha from Hawaii" was the first live satellite broadcast to feature a single performer. The production cost of the special was a total of US$2.5 million (equivalent to $ million in ), setting a record at the time of its broadcast. The show was NBC's highest-rated program of the year.


title: Aloha from Hawaii via Satellite

text: Belew made two costumes for the show, each worn in one of the concerts. Both of Presley's costumes are kept by Elvis Presley Enterprises; one of them is on display at Graceland mansion. The short-cape worn by Presley during the special was caught by "Honolulu Advertiser" sportswriter Bruce Spinks. Spinks sold it to collector Andrew Kern. After Kern's death in 1995, his mother followed his wish to donate the cape to be displayed at Graceland. The second cape was sold at an auction in 1999 for US$105,250.() In 2014, the long cape was listed by RR Auction. The bids reached US$90,000 (), short of the reserve price. The seller and buyer had to negotiate a final price.


title: Aloha from Hawaii via Satellite

text: In 2007, a life-size bronze statue of Presley commissioned by TV Land was unveiled at the site of the concert. It commemorated the thirtieth anniversary of Presley's death. In 2013, a five-day celebration for the fortieth anniversary of the concert took place in Hawaii. On January 14, a special screening of the concert was played at the same venue, now named the Neal Blaisdell Arena.


title: Aloha from Hawaii via Satellite

text: "Aloha from Hawaii" was first released on VHS in 1984. In September 2004, "Aloha from Hawaii: (Deluxe Edition)" was released on DVD. The two-disc package includes the concert, the rehearsal, and the extended US special. Additionally, the set contains the complete sequence of Presley's arrival and the entire post-concert session. The picture and the sound were digitally remastered from the original master tapes. "Allmusic" gave the release four stars out of five, and declared "the January 14 show remains genuinely exciting 31 years later", and praised the audio and video remastering. A single-disc special edition version of the concert was released in 2006.


title: Suman Ranganathan

text: Suman Ranganath is an Indian model and actress. She has starred in Kannada, Bengali, Tamil, Telugu, Malayalam and Hindi films.


title: Suman Ranganathan

text: She made her acting debut with the Kannada movie "C.B.I. Shankar" (1989) along with Shankar Nag. After the success of that movie, she starred in various movies like "Bala Hombale" (1989), "Doctor Krishna" (1989) "Santha Shishunala Sharifa" (1990) and "Nammoora Hammera" (1990).


title: Suman Ranganathan

text: In the year 1990, she made her Tamil debut with "Pudhu Paattu". Then, she has acted in many Tamil movies like "Perum Pulli" (1991), "Maanagara Kaaval" (1991), "Kurumbukkaran" (1991), "Unnai Vaazhthi Paadugiren" (1992), "Mettupatti Mirasu" (1994) and "Mudhal Udhayam" (1995).


title: Suman Ranganathan

text: She appeared in "Fareb" (1996), her first Bollywood film, which was an Indian adaptation of "Unlawful Entry". She appeared as an Indian-American socialite in "Aa Ab Laut Chalen" (1999). In 2003 she appeared in "Baghban". The same year, Suman claimed that she had been impersonated by a body double in some shots of the film "Ek Stree".


title: Suman Ranganathan

text: Ranganath was also in a team of judges for the Mr India World 2007. She is the judge of Kannada reality show "Thakadimitha", which airs on Colors Kannada.


title: Suman Ranganathan

text: After that part of the time, she was completely into acting in the Kannada industries. Post the long break, she acted back in the Tamil industry as a comeback in the movie "Arrambam" (2013). Making a comeback to Tamil nearly after 18 years, Suman essays the role of a tough journalist.


title: Suman Ranganathan

text: Suman Ranganathan acted in many successful projects, and she contributed to the success of many movies such as "Neer Dose" (2016) and "Kavaludaari" (2019).


title: Stress–energy tensor

text: The stress–energy tensor, sometimes called the stress–energy–momentum tensor or the energy–momentum tensor, is a tensor physical quantity that describes the density and flux of energy and momentum in spacetime, generalizing the stress tensor of Newtonian physics. It is an attribute of matter, radiation, and non-gravitational force fields. This density and flux of energy and momentum are the sources of the gravitational field in the Einstein field equations of general relativity, just as mass density is the source of such a field in Newtonian gravity.


title: Stress–energy tensor

text: The stress–energy tensor involves the use of superscripted variables ("not" exponents; see tensor index notation and Einstein summation notation). If Cartesian coordinates in SI units are used, then the components of the position four-vector are given by: , , , and , where "t" is time in seconds, and "x", "y", and "z" are distances in meters.


title: Stress–energy tensor

text: The stress–energy tensor is defined as the tensor "T" of order two that gives the flux of the "α"th component of the momentum vector across a surface with constant "x" coordinate. In the theory of relativity, this momentum vector is taken as the four-momentum. In general relativity, the stress–energy tensor is symmetric,


title: Stress–energy tensor

text: In some alternative theories like Einstein–Cartan theory, the stress–energy tensor may not be perfectly symmetric because of a nonzero spin tensor, which geometrically corresponds to a nonzero torsion tensor.


title: Stress–energy tensor

text: Because the stress–energy tensor is of order 2, its components can be displayed in 4 × 4 matrix form:


title: Stress–energy tensor

text: In solid state physics and fluid mechanics, the stress tensor is defined to be the spatial components of the stress–energy tensor in the proper frame of reference. In other words, the stress–energy tensor in engineering "differs" from the relativistic stress–energy tensor by a momentum-convective term.


title: Stress–energy tensor

text: Most of this article works with the contravariant form, of the stress–energy tensor. However, it is often necessary to work with the covariant form,


title: Stress–energy tensor

text: The divergence of the non-gravitational stress–energy is zero. In other words, non-gravitational energy and momentum are conserved,


title: Stress–energy tensor

text: When gravity is negligible and using a Cartesian coordinate system for spacetime, this may be expressed in terms of partial derivatives as


title: Stress–energy tensor

text: where "N" is any compact four-dimensional region of spacetime; formula_9 is its boundary, a three-dimensional hypersurface; and formula_10 is an element of the boundary regarded as the outward pointing normal.


title: Stress–energy tensor

text: In flat spacetime and using Cartesian coordinates, if one combines this with the symmetry of the stress–energy tensor, one can show that angular momentum is also conserved:


title: Stress–energy tensor

text: When gravity is non-negligible or when using arbitrary coordinate systems, the divergence of the stress–energy still vanishes. But in this case, a coordinate-free definition of the divergence is used which incorporates the covariant derivative


title: Stress–energy tensor

text: Consequently, if formula_14 is any Killing vector field, then the conservation law associated with the symmetry generated by the Killing vector field may be expressed as


title: Stress–energy tensor

text: In special relativity, the stress–energy tensor contains information about the energy and momentum densities of a given system, in addition to the momentum and energy flux densities.


title: Stress–energy tensor

text: Given a Lagrangian Density formula_17 that is a function of a set of fields formula_18 and their derivatives, but explicitly not of any of the spacetime coordinates, we can construct the tensor by looking at the total derivative with respect to one of the generalized coordinates of the system. So, with our condition


title: Stress–energy tensor

text: We can recognize the right hand side as a product rule. Writing it as the derivative of a product of functions tells us that


title: Stress–energy tensor

text: Now, in flat space, one can write formula_25. Doing this and moving it to the other side of the equation tells us that


title: Stress–energy tensor

text: This is to say that the divergence of the tensor in the brackets is 0. Indeed, with this, we define the stress–energy tensor:


title: Stress–energy tensor

text: Note that this divergenceless property of this tensor is equivalent to four continuity equations. That is, fields have at least four sets of quantities that obey the continuity equation. As an example, it can be seen that formula_30 is the energy density of the system and that it is thus possible to obtain the Hamiltonian density from the stress–energy tensor.


title: Stress–energy tensor

text: In general relativity, the symmetric stress–energy tensor acts as the source of spacetime curvature, and is the current density associated with gauge transformations of gravity which are general curvilinear coordinate transformations. (If there is torsion, then the tensor is no longer symmetric. This corresponds to the case with a nonzero spin tensor in Einstein–Cartan gravity theory.)


title: Stress–energy tensor

text: In general relativity, the partial derivatives used in special relativity are replaced by covariant derivatives. What this means is that the continuity equation no longer implies that the non-gravitational energy and momentum expressed by the tensor are absolutely conserved, i.e. the gravitational field can do work on matter and vice versa. In the classical limit of Newtonian gravity, this has a simple interpretation: kinetic energy is being exchanged with gravitational potential energy, which is not included in the tensor, and momentum is being transferred through the field to other bodies. In general relativity the Landau–Lifshitz pseudotensor is a unique way to define the "gravitational" field energy and momentum densities. Any such stress–energy pseudotensor can be made to vanish locally by a coordinate transformation.


title: Stress–energy tensor

text: In curved spacetime, the spacelike integral now depends on the spacelike slice, in general. There is in fact no way to define a global energy–momentum vector in a general curved spacetime.


title: Stress–energy tensor

text: In general relativity, the stress-energy tensor is studied in the context of the Einstein field equations which are often written as


title: Stress–energy tensor

text: where formula_42 is the Ricci tensor, formula_43 is the Ricci scalar (the tensor contraction of the Ricci tensor), formula_44 is the metric tensor, is the cosmological constant (negligible at the scale of a galaxy or smaller), and formula_45 is the universal gravitational constant.


title: Stress–energy tensor

text: In special relativity, the stress–energy of a non-interacting particle with rest mass "m" and trajectory formula_46 is:


title: Stress–energy tensor

text: where formula_48 is the velocity vector (which should not be confused with four-velocity, since it is missing a formula_49)


title: Stress–energy tensor

text: Written in language of classical physics, the stress-energy tensor would be (relativistic mass, momentum, the dyadic product of momentum and velocity)


title: Stress–energy tensor

text: For a perfect fluid in thermodynamic equilibrium, the stress–energy tensor takes on a particularly simple form


title: Stress–energy tensor

text: where formula_55 is the mass–energy density (kilograms per cubic meter), formula_56 is the hydrostatic pressure (pascals), formula_57 is the fluid's four-velocity, and formula_58 is the matrix inverse of the metric tensor. Therefore, the trace is given by


title: Stress–energy tensor

text: In an inertial frame of reference comoving with the fluid, better known as the fluid's proper frame of reference, the four-velocity is


title: Stress–energy tensor

text: The stress–energy tensor for a complex scalar field formula_66 that satisfies the Klein–Gordon equation is


title: Stress–energy tensor

text: where formula_70 is the nongravitational part of the action, formula_71 is the nongravitational part of the Lagrangian density, and the Euler-Lagrange equation has been used. This is symmetric and gauge-invariant. See Einstein–Hilbert action for more information.


title: Stress–energy tensor

text: Noether's theorem implies that there is a conserved current associated with translations through space and time. This is called the canonical stress–energy tensor. Generally, this is not symmetric and if we have some gauge theory, it may not be gauge invariant because space-dependent gauge transformations do not commute with spatial translations.


title: Stress–energy tensor

text: In general relativity, the translations are with respect to the coordinate system and as such, do not transform covariantly. See the section below on the gravitational stress–energy pseudo-tensor.


title: Stress–energy tensor

text: In the presence of spin or other intrinsic angular momentum, the canonical Noether stress–energy tensor fails to be symmetric. The Belinfante–Rosenfeld stress–energy tensor is constructed from the canonical stress–energy tensor and the spin current in such a way as to be symmetric and still conserved. In general relativity, this modified tensor agrees with the Hilbert stress–energy tensor.


title: Stress–energy tensor

text: By the equivalence principle gravitational stress–energy will always vanish locally at any chosen point in some chosen frame, therefore gravitational stress–energy cannot be expressed as a non-zero tensor; instead we have to use a pseudotensor.


title: Stress–energy tensor

text: In general relativity, there are many possible distinct definitions of the gravitational stress–energy–momentum pseudotensor. These include the Einstein pseudotensor and the Landau–Lifshitz pseudotensor. The Landau–Lifshitz pseudotensor can be reduced to zero at any event in spacetime by choosing an appropriate coordinate system.


title: Nation-building

text: Nation-building is constructing or structuring a national identity using the power of the state. Nation-building aims at the unification of the people within the state so that it remains politically stable and viable in the long run. According to Harris Mylonas, "Legitimate authority in modern national states is connected to popular rule, to majorities. Nation-building is the process through which these majorities are constructed."


title: Nation-building

text: Nation builders are those members of a state who take the initiative to develop the national community through government programs, including military conscription and national content mass schooling. Nation-building can involve the use of propaganda or major infrastructure development to foster social harmony and economic growth. According to Columbia University sociologist Andreas Wimmer, three factors tend to determine the success of nation-building over the long-run: "the early development of civil-society organisations, the rise of a state capable of providing public goods evenly across a territory, and the emergence of a shared medium of communication."


title: Nation-building

text: In the modern era, "nation-building" referred to the efforts of newly independent nations, to establish trusted institutions of national government, education, military defence, elections, land registry, import customs, foreign trade, foreign diplomacy, banking, finance, taxation, company registration, police, law, courts, healthcare, citizenship, citizen rights and liberties, marriage registry, birth registry, immigration, transport infrastructure and/or municipal governance charters.


title: Nation-building

text: Nation-building can also include attempts to redefine the populace of territories that had been carved out by colonial powers or empires without regard to ethnic, religious, or other boundaries, as in Africa and the Balkans.


title: Nation-building

text: Nation-building also includes the creation of national paraphernalia such as flags, coats of arms, anthems, national days, national stadiums, national airlines, national languages, and national myths.


title: Nation-building

text: At a deeper level, national identity may be deliberately constructed by molding different ethnic groups into a nation, especially since in many newly established states colonial practices of divide and rule had resulted in ethnically heterogeneous populations.


title: Nation-building

text: In a functional understanding of nation-building, both economic and social factors are seen as influential. The development of nation-states in different times and places is influenced by differing conditions. It has been suggested that elites and masses in Great Britain, France, and the United States slowly grew to identify with each other as those states were established and that nationalism developed as more people were able to participate politically and to receive public goods in exchange for taxes. The more recent development of nation-states in geographically diverse, postcolonial areas may not be comparable due to differences in underlying conditions.


title: Nation-building

text: Many new states were plagued by cronyism (the exclusion of all but friends); corruption which erodes trust; and tribalism (rivalry between ethnic groups within the nation). This sometimes resulted in their near-disintegration, such as the attempt by Biafra to secede from Nigeria in 1970, or the continuing demand of the Somali people in the Ogaden region of Ethiopia for complete independence. The Rwandan genocide, as well as the recurrent problems experienced by the Sudan, can also be related to a lack of ethnic, religious, or racial cohesion within the nation. It has often proved difficult to unite states with similar ethnic but different colonial backgrounds.


title: Nation-building

text: Differences in language may be particularly hard to overcome in the process of nation-building. Whereas some consider Cameroon to be an example of success, fractures are emerging in the form of the Anglophone problem. Failures like Senegambia Confederation demonstrate the problems of uniting Francophone and Anglophone territories.


title: Nation-building

text: Traditionally, there has been some confusion between the use of the term "nation-building" and that of "state-building" (the terms are sometimes used interchangeably in North America). Both have fairly narrow and different definitions in political science, the former referring to national identity, the latter to infrastructure, and the institutions of the state. The debate has been clouded further by the existence of two very different schools of thought on state-building. The first (prevalent in the media) portrays state-building as an interventionist action by foreign countries. The second (more academic in origin and increasingly accepted by international institutions) sees state-building as an indigenous process. For a discussion of the definitional issues, see state-building, Carolyn Stephenson's essay, and the papers by Whaites, CPC/IPA or ODI cited below.


title: Nation-building

text: The confusion over terminology has meant that more recently, nation-building has come to be used in a completely different context, with reference to what has been succinctly described by its proponents as "the use of armed force in the aftermath of a conflict to underpin an enduring transition to democracy". In this sense nation-building, better referred to as state-building, describes deliberate efforts by a foreign power to construct or install the institutions of a national government, according to a model that may be more familiar to the foreign power but is often considered foreign and even destabilizing. In this sense, state-building is typically characterized by massive investment, military occupation, transitional government, and the use of propaganda to communicate governmental policy.


title: Nation-building

text: The expansion of primary school provision is often believed to be a key driver in the process of nation-building. European rulers during the 19th century relied on state-controlled primary schooling to teach their subjects a common language, a shared identity, and a sense of duty and loyalty to the regime. In Prussia, mass primary education was introduced to foster "loyalty, obedience and devotion to the King". These beliefs about the power of education in forming loyalty to the sovereign were adopted by states in other parts of the world as well, in both non-democratic and democratic contexts. Reports on schools in the Soviet Union illustrate the fact that government-sponsored education programs emphasized not just academic content and skills but also taught "a love of country and mercilessness to the enemy, stubbornness in the overcoming of difficulties, an iron discipline, and love of oppressed peoples, the spirit of adventure and constant striving".


title: Nation-building

text: After World War II, the Allied victors engaged in large-scale nation-building with considerable success in Germany. The United States, Britain, and France operated sectors that became West Germany. The Soviet Union operated a sector that became East Germany. In Japan, the victors were nominally in charge but in practice, the United States was in full control, again with considerable political, social, and economic impact.


title: Nation-building

text: After the collapse of communism in Yugoslavia in 1989, a series of civil wars broke out. Following the Dayton Agreement, also referred to as the Dayton Accords, NATO (the North Atlantic Treaty Organization), and also the European Union, engaged in stopping the civil wars, punishing more criminals, and operating nation-building programs especially in Bosnia and Herzegovina, as well as in Kosovo.


title: Nation-building

text: Afghanistan was the target for Soviet-style nation-building during the Soviet–Afghan War. However, Soviet efforts bogged down due to Afghan resistance, in which foreign nations (primarily the United States) supported the "mujahideen" due to the geopolitics of the Cold War. The Soviet Union ultimately withdrew in 1988, ending the conflict.


title: Nation-building

text: After the Soviets left, the Taliban established de facto control of much of Afghanistan. It tolerated the Al Qaeda forces that carried out the September 11, 2001 attacks on the United States. NATO responded under US leadership. In December 2001, after the Taliban government was overthrown, the Afghan Interim Administration under Hamid Karzai was formed. The International Security Assistance Force (ISAF) was established by the UN Security Council to help assist the Karzai administration and provide basic security. By 2001, after two decades of civil war and famine, it had the lowest life expectancy,and much of the population were hungry. Many foreign donors—51 in all—started providing aid and assistance to rebuild the war-torn country. For example, Norway's had charge of the province of Faryab. The Norwegian-led Provincial Reconstruction Team had the mission of effecting security, good governance, and economic development, 2005–2012.


title: Nation-building

text: The initial invasion of Afghanistan, intended to disrupt Al Qaeda's networks ballooned into a 20 year long nation building project. Frank McKenzie described it as "an attempt to impose a form of government, a state, that would be a state the way that we recognize a state." According to McKenzie, the US "lost track of why we were there". Afghanistan was not "ungovernable", according to the former Marine Corps general, but it was "ungovernable with the Western model that will be imposed on it". He says the gradual shift to nation building put the US "far beyond the scope" of their original mission to disrupt Al Qaeda.


title: Urophagia

text: Urophagia is the consumption of urine. Urine was used in several ancient cultures for various health, healing, and cosmetic purposes; urine drinking is still practiced today. In extreme cases, people may drink urine if no other fluids are available, although numerous credible sources (including the "US Army Field Manual") advise against using it. Urine is either consumed as a remedy to heal yourself or topically for external health.


title: Urophagia

text: Survival guides such as the "US Army Field Manual", the "SAS Survival Handbook", and others generally advise "against" drinking urine for survival. These guides state that drinking urine tends to worsen rather than relieve dehydration due to the salts in it, and that urine should not be consumed in a survival situation, even when no other fluid is available. While some people in dire straits have drunk their urine, whether this actually helped or hindered their situation is unclear.


title: Urophagia

text: In one incident, Aron Ralston drank urine when trapped for several days with his arm under a boulder. Survivalist television host Bear Grylls drank urine and encouraged others to do so on several episodes on his TV shows.


title: Urophagia

text: In various cultures, alternative medicine applications exist of urine from humans, or animals such as camels or cattle, for medicinal or cosmetic purposes, including drinking of one's own urine, but no evidence supports their use.


title: Urophagia

text: Some people are sexually aroused by urine, which can include the drinking of their own or other people's urine.


title: Urophagia

text: The World Health Organization has found that the pathogens contained in urine rarely pose a health risk. However, it does caution that in areas where "Schistosoma haematobium" is prevalent, it can be transmitted from person to person.


title: Hijikata Toshizō

text: was born on May 31, 1835, in the Ishida village, Tama region of Musashi Province (present day Ishida, Hino, Tokyo), Japan. He was the youngest of ten children and his father Hijikata Yoshiatsu (Hayato), a well-to-do farmer, died a few months before his birth. His eldest brother Tamejiro, was born blind and as a result, could not inherit the family property. His third older brother Daisaku (later Kasuya Ryojin), was adopted to another family and would later become a physician. His eldest sister Shuu died when he was about three years old and his mother Etsu also died when he was six years old, and he was therefore raised by his second older brother Kiroku and sister-in-law.


title: Hijikata Toshizō

text: He was apparently tall compared to the average Japanese men of the period, and it is said that he was very handsome. He was said to be spoiled at an early age and was alleged to be mean to all but his friends and family. This changed when a 21-year-old swordsman from the Aizu clan known for opposing the Reformists was forced to commit seppuku. When Hijikata attended the man's funeral, he apparently cried in public.


title: Hijikata Toshizō

text: Hijikata spent his youth selling his family's Ishida san'yaku (medicine for treating injuries such as bruises and broken bones) while practicing his self-taught kenjutsu. His brother-in-law, Satō Hikogorō, who was married to his older sister Nobu, managed a Tennen Rishin-ryū dojo in Hino; through Satō, Hijikata later met Kondō Isami and was formally enrolled at the Tennen Rishin-ryū's Shieikan in 1859. Although Hijikata himself never fully mastered the Tennen Rishin-ryū, it is said that he managed to develop the "Shinsengumi-Kenjutsu" fighting style from the Tennen Rishin-ryū.


title: Hijikata Toshizō

text: An arrangement was made by his eldest brother Tamejiro for him to marry Okoto, the daughter of the shamisen shop owners. Since he had already planned to join the Rōshigumi with Kondō Isami, Hijikata told them that after he got a promotion, he would carry out his marriage.


title: Hijikata Toshizō

text: In 1863, Hijikata and Kondō Isami joined the Rōshigumi in Edo, they arrived in Mibu, Kyoto and remained there as the Mibu Rōshigumi while the rest returned to Edo. Later, when Mibu Rōshigumi was renamed as the Shinsengumi, Kondō and two other men, Serizawa Kamo and Niimi Nishiki, became joint leaders of the group, and Hijikata served as one of the deputy leaders. Shinsengumi served as a special police force in Kyoto that fought against the Reformists under Matsudaira Katamori, the Daimyō of Aizu.


title: Hijikata Toshizō

text: However, Serizawa and Niimi began fighting, drinking, and extorting money from merchants in Kyoto, which started to tarnish the reputation of Shinsengumi and earned the group the derogatory nickname of . Hijikata found enough proof against Niimi in these matters and ordered him to commit seppuku on October 19. Later on October 30 (or October 28) at night, Hijikata and the selected Shinsengumi members went into the house of Yagi Gennojō and assassinated Serizawa, his mistress Oume, and one of his followers Hirayama Goro, with Hirama Jūsuke been the only survivor who fled that night. Kondō became the sole leader of Shinsengumi, with Yamanami Keisuke as his Vice-Commander. During the Ikedaya incident in the evening on July 8, 1864, Hijikata led a second group of 23 Shinsengumi members after Kondō's to help arresting a group of shishi at the Ikedaya Inn.


title: Hijikata Toshizō

text: Some time after the Zenzaiya incident, Yamanami Keisuke tried to leave Shinsengumi, despite the regulation against deserters. As a result, he committed seppuku with Okita Sōji as his Kaishakunin on March 20 (lunar calendar February 23), 1865; and Hijikata took over as Vice-Commander. Due to his position in the Shinsengumi, which would be dangerous for anyone close to him, Hijikata felt that he had no choice but to cancel his marriage engagement with Okoto. Although he later had many lovers, he never came close to making a commitment to any of them.


title: Hijikata Toshizō

text: The Shinsengumi grew to 140 men, which included a number of farmers and merchants whose livelihood would be threatened if the Tokugawa shogunate was overthrown. The regulations set up by Shinsengumi within Kyoto were strict and Hijikata was known to be harsh in enforcing them, hence his nickname: . Even within the Shinsengumi itself, regulations were strictly enforced by Hijikata. As usual, deserters and traitors were forced to commit seppuku.


title: Hijikata Toshizō

text: Hijikata owned, among others, a sword signed "Izumi no Kami Kanesada" (和泉守兼定), made by the 11th and last generation Aizu Kanesada (1837-1903).


title: Hijikata Toshizō

text: Together with the rest of the Shinsengumi, Hijikata became a "hatamoto" in 1867 and took the name of Naitō Hayato (but reverted to his original name after Kondō was captured and executed during the Boshin war). He was given the rank of Yoriai (寄合格 Yoriai-kaku) in early 1868.


title: Hijikata Toshizō

text: Following the Boshin War in 1868, Kondō and Hijikata led the Shinsengumi in their final battles against the new government and fought in the Battle of Toba–Fushimi in January 1868. The Shinsengumi returned to Edo and was later reformed into a unit known as the and departed from Edo for Kōfu Castle on March 24 upon orders to suppress the uprisings there. But while on the way there, they received news on March 28 that the Kōfu Castle was taken by Imperial Court forces led by Itagaki Taisuke and later settled at a town of Katsunuma five miles east of Kōfu.


title: Hijikata Toshizō

text: On March 29, 1868, Kondō, Hijikata and the Kōyō Chinbutai resisted an attack by the Imperial forces at the Battle of Kōshū-Katsunuma for about two hours but lost, and they were scattered and fled to Edo.


title: Hijikata Toshizō

text: On April 11, 1868, Kondō, Hijikata and the Kōyō Chinbutai departed Edo again and later set up a temporary headquarters at the Kaneko family estate, northeast of Edo. They later moved to a new headquarters in Nagareyama on April 25, 1868.


title: Hijikata Toshizō

text: During the training at Nagareyama on April 26, 1868, the Kōyō Chinbutai were caught by surprise by the 200 strong Imperial forces led by Vice-chief of Staff Arima Tota of Satsuma Domain and Kondō was ordered to go with them to their camp at Koshigaya. He was later brought to Itabashi on April 27, 1868, for questioning. On the same day Hijikata went to Edo to see Katsu Kaishū and asked for his help in getting a pardon for Kondō. On the following day, a messenger arrived at Itabashi with a letter seemingly written by Katsu requesting that Kondō's life to be spared, but the messenger was arrested and the request was denied.


title: Hijikata Toshizō

text: Following his trial on April 30, 1868, Kondō was executed at Itabashi execution grounds on May 17, 1868. Hijikata, convalesced from a foot injury sustained at the Battle of Utsunomiya Castle, brought Kondō's hair to Aizu and was said to have personally supervised the erection of Kondō's grave memorial at Tenneiji Temple.


title: Hijikata Toshizō

text: Following the Battle of Bonari Pass, the next day on October 7, 1868, Hijikata met Saitō Hajime at the Inawashiro Castle and stayed at the Saitoya inn in Wakamatsu. When Hijikata decided to retreat from Aizu, Saitō and a small group of Shinsengumi parted with Hijikata and continued to battle in the Battle of Aizu until the very end. Hijikata and his rest of the Shinsengumi went to Sendai, where he joined up with Enomoto Takeaki's fleet.


title: Hijikata Toshizō

text: I am not going to battle to win. With the Tokugawa government about to collapse, it would be a disgrace if no one is willing to go down with it. That is why I must go. I will fight the best battle of my life to die for the country.


title: Hijikata Toshizō

text: In October 1868, Hijikata and Ōtori Keisuke led Shogunate forces to occupy the fortress of Goryōkaku in the Battle of Hakodate, and continued to eliminate local resistance. When the short-lived Ezo Republic was founded in December, Hijikata was made a Deputy Defence Minister (Vice-minister of the Army). Imperial troops continued to attack by land and sea.


title: Hijikata Toshizō

text: On May 6, 1869, Hijikata led a daring but doomed raid to steal the imperial warship "Kōtetsu" in the Battle of Miyako Bay, in the early morning, a number of oppositionists managed to board the ship via the "Kaiten" warship, but "Kōtetsu" repelled the attack and mowed them down with a Gatling gun. Many others including the captain of "Kaiten" were also killed by gunfire from the Imperial ships. The battle lasted only thirty minutes; Hijikata, the survivors and the "Kaiten" retreated to Hakodate.


title: Hijikata Toshizō

text: Later on the fourth week of May 1869, Hijikata led the 230-strong Republic of Ezo forces and the surviving Shinsengumi against 600 strong Imperial forces during the Battle of Futamata for sixteen hours and were forced to retreat. The Imperial forces attacked again on the next day, only to retreat. On the following night, Hijikata led a successful raid on the Imperial forces' camp, forcing them to flee. Hijikata and the forces later retreated to Hakodate on June 10.


title: Hijikata Toshizō

text: During the Battle of Hakodate, the final battle of the Boshin War, Hijikata summoned his 16-year-old page, Ichimura Tetsunosuke on June 14 (lunar calendar May 5), 1869, to a private room in an inn. There, he entrusted Ichimura with a death poem, his katana, a letter, a photograph of himself, and several strands of his hair. Ichimura was instructed to bear them to the home of Hijikata's brother-in-law Satō Hikogorō in Hino. The death poem entrusted to Ichimura reads: