Kabir Suman, ; born Suman Chattopadhyay on 16 March 1949) is an Indian singer-songwriter, musician, music director, music composer, writer, actor, politician, and former journalist.

From May 2009 to 2014, he was a member of parliament of India in the 15th Lok Sabha, having been elected from the Jadavpur constituency in Kolkata from All India Trinamool Congress.

He changed his name from Suman Chattopadhyay to Kabir Suman as he accepted Islam despite being a Hindu by birth. While explaining the reason of this religious transformation, he claimed his such move was to mark his protest against the killing of Christian missionary Graham Staines by a former member of Bajrang Dal. He shot to fame in the 1990s with Bengali albums such as Tomake Chai (I Want You) and Boshe Anko (Sit-and-Draw).

Early life

Suman was born in a Bengali Hindu Brahmin family on 16 March 1949 to Sudhindranath and Uma Chattopadhyay at Cuttack, Odisha. He started his training in classical music at a very young age, under the tutelage of his father. Acharya Kalipada Das & Chinmoy Lahiri taught him the khayal. He studied at St. Lawrence High School, Kolkata. He graduated with an honours in English Literature from Jadavpur University and did a diploma in the French language and the German language.

Around 1968, while learning Himangshu Dutta compositions, he felt that in spite of their compositional strength, they did not represent the contemporary times, lyrically.

Kabir Suman's first studio recording was in 1972. It was released from Hindusthan Records. His second single vinyl record was published in 1973, from the same label. Both these records were commercially unsuccessful.

After resigning from All India Radio he joined a clerical post at United Bank of India. Kabir Suman shifted to France temporarily to teach the basics of Indian Classical Music in 1973. It is said in one of his autobiographies, that in France he was first introduced to the songs of Bob Dylan and he claimed Dylan's songs left a great impression and influence on him.

Kabir Suman went to West Germany on 12 May 1975.. At the end of 1975, Voice of Germany opened a Bengali department in Cologne, and he applied for a job there. They gave him some translation work, and he gradually became a regular freelancer for the Voice of Germany's Bengali division.

In May 1979, Suman returned to Kolkata and he started to work as a teacher of German at Ramakrishna Mission Institute of Culture, Kolkata, and the Max Mueller Bhavan.

He started working in the Bengali daily Aajkal as a part-timer, and also contributed to the Desh until 1980. He joined a band called "Samatan". However, this band was unsuccessful and the members broke up very soon. Some members of Samatan and some new members, all in their twenties and thirties joined him to establish a new band called 'Nagarik : Anya Katha Anya Gan'. During this time Suman completed his first song (written in 1975) "E Kemon Akash Dekhale Tumi".

During this time Suman went to the US in to work for Voice of America. While working for Voice of America, Suman went to Nicaragua during Sandinista Revolution. He also wrote for Desh magazine under the pseudonym Manab Mitra during this time and also started writing in the 'Frontier' magazine.

Suman returned to Kolkata in early 1985. He bought many instruments, applicable for a complete recording studio, which were sent to Kolkata by ship. After returning to Kolkata, he rejoined with 'Nagarik' with some new vocalists and instrumentalists, and continued writing and composing songs, thinking mainly as group songs.

Breakup of Nagorik
From early 1986, 'Nagorik' started swinging due to clash of personality. Kabir Suman created some songs at that time like "Hariye Jeo Na", "Tomake Chai" (finally published in 1992), "Aro Balo Aro Katha" (partially published in 1992), "Machhi O Mara Mukher Gan", "Najehal Akashta", "Robbar" (finally published in 1994), "Tumi Gan Gaile (finally sung by Indranil Sen and published in 2002), "Ganahatyar Nam Bhopal", "Tirikshi Mejajer Je Lokta", "Abhibadan" (finally published in 1994) etc. His initial compositions were created keeping the group in mind.  The group consisted of amateur singers and their aptitude was limited.  Members of Nagorik recorded some of his songs on cassette tape, the entire recording was planned domestically in his home at Baishnabghata. Kabir Suman himself had written, composed, sung and played electronic keyboard on the recording. There were some other vocalists and instrumentalists, instruments included guitar and percussions. The entire recording was done by his four track tape recorder, where live vocals and live instruments were recorded in two tracks by all vocalists, and Kabir Suman himself added more electronic sounds on the rest of the two tracks by playing synthesizer. His book "Mukta Nicaragua" about Sandinista revolution was published by K.P. Bagchi Publication at that time (republished many years later), but another book "Anya America" failed to get published. He also recorded some information and song about Sandinista Revolution at that time. During this time he constructed a recording studio named 'Sing To Live' inside an abandoned factory near Bansdroni.

1986–1989: In West Germany
Kabir Suman was not sure about the future of his created songs, and also not interested to involve in a general job. He thought if he could go to a foreign country as an employee, he could buy many electronic music instruments. Thinking thus, he went to West Germany again in September 1986, and before departure he recorded another album of 'Nagarik', following the procedure just written before, but this time in the new studio he constructed.

Learning guitar
After reaching West Germany, he started learning classical guitar. During this time he felt that guitar is a simple instrument, which could be played by a solo musician, and there is no question about any type of multi-instrument orchestra. Also a guitar makes a man moving-minded. Under an Italian teacher, he started learning guitar, with Finger-style, sight-reading, listening many guitarists' records like Andrés Segovia, Julian Bream etc., and also started learning jazz guitar & blues guitar. He then started song creation on guitar, like "Hal Chherho Na Bandhu" (finally published in 1992),  "Gan-ola" (finally published in 1994), etc. These guitar based songs started influencing of Baul, Bhawaiya, Kirtan, Folk, Blues and also some Ragas.

Suman returned to Kolkata in early 1989. He bought many instruments like before, this time both keyboard and guitar.

Struggling as a newcomer musician
After returning to Kolkata, he saw 'Nagarik' has almost disbanded because of ego-clash, and the studio is also in a sinking mood. He decided to be a solo professional singer-songwriter and musician, and thought to work in some advertisement business, but nothing materialized. During this time he wrote some songs like "Tin Shataker Shahar", "Chena Duhkha Chena Sukh" (finally published in 1992), "Pratham Sabkichhu" (finally published in 1994) etc.

First public performance with own song
In February 1990, a singer named Raju Bal took a gentleman Indranil Gupta to Suman's house. Indranil listened the "Tin Shataker Shahar" and liked it, and told Suman that Kolkata Festival was being held in Yuba Bharati Krirangan remembering the so-called tri-centenary celebration of Kolkata City, and that song relates with this, so he should sing this song at that festival.

He felt nervous because he was performing on stage after 17 years, and he was completely unknown, with his style. He sang "Tin Shataker Shahar" with guitar, then "Tomake Chai" and finally "Amader Janya" – both with electronic keyboard. The audiences became highly appreciative about his songs and music after hearing three songs and started applauding seeking encore. Kabir Suman felt very happy to realize that his song got the favour of the general public, and became optimistic. He started to practise his voice with the help of electronic tanpura, continued keyboard and guitar playing, and also creating songs with some contemporary incidents. Kabir Suman performed first time as a professional singer in December 1990. He got appreciation from Dr. Barin Roy, Gour Kishor Ghosh, Ashis Chattopadhay etc. Shubhendu Maity helped him by giving him a chance to perform in some concerts. His songs have not impressed the rural people, but urban and suburban people appreciated them very much. He also sang at some political meetings of the Communist Party of India (Marxist). During this time some controversy arose over one of his songs "Anita Dewan".

Solo live performance
Kabir Suman performed his first solo live performance on 5 May 1991 at Shishir Mancha. Many magazines and newspapers were invited, like Aajkal, Desh, Business Standard, The Statesman, and they reviewed it. 'Desh' first labeled his songs as 'Sumaner Gan', which popularized his songs after this time and still now.

But although those reviews were positive, not many invitations other from than his friend circle happened. He performed in some live programs with the help of his friends. All those were very unsure, and Kabir Suman also was not optimistic at that time about his eligibility. Many people of advertisement business got him to do jingles or theme songs including "Lexpo 1991", but some of them either gave him not a single penny, others gave him very little money, despite the fact that Kabir Suman made all this work completely alone with writing, composing, singing, playing instruments, recording, and mixing. Some advised him to go to Mumbai for some professional work, but he refused it.

He went to Doordarshan Kendra Kolkata for some work, but he was refused. He went to Akashbani Bhawan Kolkata, and applied with the help of his friend and famous newsreader Tarun Chakrabarty. Ultimately he sang some of his own songs and some songs of Rabindra Nath Tagore, after 16 years, on the radio. In 1991 he went to film director Tarun Majumdar for some work in soundtrack. Tarun Majumder listened to some of his songs, and selected "Pratham Sabkichhu" to use in one of his upcoming films 'Abhimane Anurage', although he requested Suman to change some of his lyrics to match with the theme of that movie. The song was recorded in February 1992. Kabir Suman himself played guitar, Pratap Roy played synthesizer, and Samir Khasnabis played bass guitar. Unfortunately the film was not completed, and so the song was also not released.

First solo album
Shubhendu Maity told Mr. Somnath Chattopadhyay, one of the officials of The Gramophone Company of India about the songs of Kabir Suman, and after Shubhendu's request, Suman sent some songs to Somnath after home recording. Ravi Kichlu, the head of the product development division of that company welcomed Suman, and showed interest to record his songs. Kabir suman felt very happy and surprised after listening to this, and asked Ravi about the reason for it, Ravi Kichlu told him  – "I will be doing a service to Indian Music". The recording started after some days in early 1992.

Tomake Chai
Kabir Suman recorded 12 songs for his first album, named 'Tomake Chai', which was published in April 1992. In many aspects, it was a milestone in the history of Bangla Song. It was the first Bengali Basic Song Album which was entirely written, composed, sung and musical instruments played by the artist himself. It was the first Bengali Basic Song Album which was recorded with the help of a four track tape recorder.

On thé first pressing, it did not sell well, but after the 2nd pressing, it gained a huge success, and was a big hit. With its offbeat lyric, and instrumentation, it drew a great attention of the listeners, and ultimately it got Platinum Disc.

After much deliberation, Suman zeroed in on the name, Kabir Suman. According to him, "I wanted to keep the name my parents gave me, so I kept Suman. I took the name Kabir after Sheikh Kabir, a Bengali Muslim poet who wrote Baishnab Padabali."

Personal life
 Suman has been married five times. He is married to Sabina Yasmin, a Bangladeshi singer.

Musical life
Kabir Suman, recorded a number of albums between 1992 and 1999 under the name Suman Chattopadhyay or Suman Chatterjee. He returned to the recording industry again in 2001, and this time as Kabir Suman.

His contemporary urban, socially conscious songs draw upon both Bengali adhunik (modern) and Western folk and protest music. His work has been a major influence in the development of the Bengali songs. It has influenced bands like Chandrabindoo, and has grown to become a major movement in contemporary Bengali music. Most of his songs are played solo with just a Piano, electronic keyboard or a guitar. Like many other Bengali singers, Suman recorded albums of Rabindra Sangeet (Songs of Rabindranath Tagore), starting in the late-1990s.

He released his first solo album, Tomake Chai, on 23 April 1992, which was immensely successful as it redefined Bengali songs. Later Suman stopped making songs for general audience and focused on more political issues.

Basic song albums with his 'own created-own sung' songs
In April 1992, Suman published his first album 'Tomake Chai', which had twelve songs. He sang, wrote and composed all those songs. Except three songs, all songs were accompanied by either electronic keyboard, or acoustic guitar, or both (mixed by a four track tape recorder and hardware sequencer) by him alone; those three songs were accompanied by tabla and percussion by other artists. The song Tomake Chai is the most famous track of the album. This continued to next album 'Bosey Anko', published in March 1992 along with twelve songs again. Unlike previous album, which was mostly accompanied by electronic keyboard and multi track mixed sound electronically, 'Bosey Anko' was recorded directly without any complex mixing except one song, which was mixed with both guitar and keyboard (and also with tabla and percussion). Most songs were recorded with a simple acoustic guitar, only two songs with an electronic keyboard, and four songs were accompanied by a sarod, tabla and percussion by other artists. This second album was also a big hit, and popularized Suman so much, that he was obliged to record his third album on the same year.

From his third album 'Ichchhe Holo', he started recording his basic albums annually as a 'Puja Album' like other artists during August of each year, until 1999. 'Ichchhe Holo' contained 14 songs, the first of such basic Bengali song albums. Unlike two previous albums, electronic keyboard was completely unused in this album. Most songs were completely accompanied by a simple acoustic guitar, and 4 songs were accompanied by sarod, santur, tabla and percussion by other artists. This fully acoustic music arrangement drew attention to many music-lovers, and it was such an album, which was completely electric or electronic music instrument less almost after 40 years in Bengali music history. It was also his first album which the front cover does not have a picture of himself.

In 1994, Suman recorded his 4th album 'Gan-ola', which contained 15 songs. He broke his own record, and also the record of Bengali music history because it was the first of such basic Bengali song album which contains such number of songs. By this album, he returned with his electronic music era again, with an updated, state-of-the art electronic keyboard with arranger facility. It was also his first album, where no other musicians played. All 15 songs were accompanied by either electronic keyboard, or acoustic guitar, among these, two songs were recorded with both guitar and harmonica. Some people believe that he had not used keyboard in any of his songs after 'Bosey Anko' – because he continued to practice this new keyboard, which was finally recorded in 'Gan-ola'. It was his second album in which the front cover does not have any picture of himself. His electronic music supremacy developed further on his next album 'Ghumo Baundule'. Although the number of songs reduced from 15 to 13, but it was another album, which was entirely accompanied by his musical instruments. In this album, all songs were accompanied with electronic keyboard, harmonica, acoustic guitar and electric guitar combination. It was also the first time in Bengali music history. All these mixing were done by both four track tape recorder, and hardware sequencer, which was unique and very hard to do.

1996 saw a big departure of Suman's music, because, in this year, his 6th album 'Chaichhi Tomar Bondhuta' published. It contained again 15 songs like 'Gan-ola', but the main exception is that it was the first and only basic album of Suman, where a music arranger, named Amit Bandopadhyay, arranged the instrumental part. Only 3 songs were accompanied by Suman's acoustic guitar, but other songs were accompanied by session musicians, with santoor, sarod, violin, tabla, dhol, drum pad, electronic keyboard, guitar and bass guitar. Also for the first time, some male and female background vocalists were used in some songs. Many hardcore Suman fans criticized and disliked this music, which was not alike with his previous albums.

However, in 1997, Suman returned again to his own instrumental music by his 7th album 'Jaatishwar'. It contained 12 songs again after 'Bosey Anko', and also like 'Bosey Anko' – most songs was recorded with a simple guitar, (this time with an electric guitar), only 2 songs with electronic keyboard, 1 song with keyboard, guitar and drums, another song with piano, guitar and harmonica, and 2 songs were accompanied by sarod, santoor, tabla and drums by other artists. The title song 'Jaatishwar' inspired then young Srijit Mukherjee, and he made a Bengali feature film with the same name in 2013.

In 1998, Suman published his 8th album 'Nishiddho Istehar', which was a stark contrast with his 3rd album 'Ichchhe Holo'. Where 'Ichchhe Holo' completely omitted electronic keyboard, 'Nishiddho Istehar' was entirely accompanied by electronic keyboard. It was one of the complex electronic music recording in Bengali music industry, where all 14 songs were accompanied by complex-customized electronic sound. After 'Ghumo Baundule', it was the first album where no other musicians played. This continued to his 9th album 'Pagla Sanai', which was published in 1999. Only 2 songs were accompanied by simple acoustic guitar, and 2 were with sanai and tabla by other artists.  All other songs were accompanied by electronic keyboard, and hardware drum programmer. Suman used both instruments very complexly, and created a complex orchestration alone. After this album, his next album was published again in 2001, after a long gap.

Basic song albums with his 'own created-others sung' songs
Beside himself, some other artists have recorded his songs. It first happened in 1995, when Haimanti Shukla recorded an album 'Sobujer Pratishodh', which contained 8 songs. Amit Bandopadhyay arranged the instrumental music with many session musicians. Some female background vocalists were used in some songs. It continued in the next year, 1996 when Suman created an album 'Chhoto Boro Miley' with 14 songs. It was his first album mainly for children. Along with Anjan Dutt, Nachiketa Chakraborty, Lopamudra Mitra & Swagatalakshmi Dasgupta, some child singers sang most songs either single or as group, or as collaborative with those famous singers. Amit Bandopadhyay was also arranger here, but in 3 songs. Kabir Suman played acoustic guitar and harmonic in this album.

In 1999, there was another children song album 'Eksathe Banchboi' with 12 songs. Unlike 'Chhoto Boro Miley', here no other famous singers sang. All songs were sung by child singers, although they were not same of those in 'Chhoto Boro Miley' (except Payel Kar, who was in both albums). Also in this album, all songs were accompanied with electronic keyboard, and hardware drum programmer by Suman. Suman used both instruments very complexly, and created an ethereal orchestration alone. He also sang 3 songs collaboratively with those child singers, and he says that it was his best artistic work till now. In this year, another album published named 'Achena Chhuti', which contained 14 songs, where Suman sang with Sabina Yasmin. Some songs were sung by Suman, some by Sabina, and some as duet. The entire instrumentation was done by Suman. Only two songs were accompanied with guitar and harmonica, rest of the songs were accompanied completely with electronic keyboard, and sometimes with harmonica, like 'Nishiddha Istehar'. It was his first basic song album, where complete lyrics of the songs were printed in its album cover. It was his last collaborative album as 'Suman Chatterjee'. Initially it was published only as cassette, but later also as CD. It was his first album which was published from a recording company other than SAREGAMA India Limited; it was published from Raga Music.

Motion picture soundtrack
In 1994, Kabir Suman debuted his Soundtrack music career. In this year, he wrote, composed, sung, and even played a cameo role in a Bengali film Mahasangram, which contained 6 songs. Amit Bandopadhyay arranged the instrumental music with many session musicians for all songs but one, where Suman played his guitar and harmonica only. Here Suman sang with Indrani Sen. Some songs were sung by Suman, some by Indrani, and some as duet. Background score was also done by Suman. Unfortunately the motion picture released after a long 12 years gap, in 2006, and was flop.

In 1997, Suman became music director again in a Bengali film Sedin Chaitramas, which contained 7 songs. Unlike Mahasangram, Suman played all instruments like electronic keyboard, guitar and harmonica and himself was an arranger like his basic albums. It was his first soundtrack where he worked with own instruments. Beside Suman, other singers in this album were Nachiketa Chakrabarty, Lopamudra Mitra & Swagata Lakshmi Das Gupta. Background score was also done by Suman. It became a hit for both the movie and soundtrack, and Kabir Suman received BFJA award as best music director. It continued to next year when he became music director again in a Bengali film Suryakanya, which contained 6 songs. Unlike two previous films, he did not direct the background score here. Suman played all instruments like electronic keyboard, guitar and harmonica and himself was an arranger like his basic albums. Beside Suman, other singers were Shrikanta Acharya, Shriradha Bandopadhyay & Swagata Lakshmi Das Gupta. The movie was a flop.

Songs created by Rabindra Nath Tagore
Kabir Suman started his music career with Rabindra Nath Tagore's song in 1972, but it was almost unsuccessful. He recorded Tagore's song again 1994, after a long gap, this time he was already a popular singer. From 1994 to 1997, he recorded Tagore's Song each year as albums. These were published as 'Tumi Sandhyar Meghamala' in 1994, 'Pathik Ami` in 1995, 'Priyar Chhaya` in 1996 and 'Chirabhakta` in 1997. In first three albums, music was arranged by V Balsara, Amit Bandopadhyay and again V. Balsara respectively. In the album 'Chirabhakta', 7 songs were arranged by Amit Bandopadhyay, but rest 5 songs was sung by Suman with only a simple acoustic guitar, which was unique in the history of Tagore's song recording, and it was also permitted by Vishwa Bharati Music Board.

Songs composed by Himangshu Dutta
1n 1995, Kabir Suman recorded an album which contained 10 songs, that were composed by Surasagar Himangshu Dutta, around 1940. All these songs were written by different lyricists. During its recording, Pete Seeger's 12 string guitar was played by renowned guitarist Buddhadeb Gangopadhyay.

After 1999, he returned in recording industry again in 2001, and this time as Kabir Suman.

Concert With Pete Seeger

One of Suman's greatest critical success, was his concert at Kalamandir in Kolkata with American folk icon Pete Seeger, in 1996.

Basic song albums with his own created songs from 2001
After a long gap throughout 2000, Kabir Suman returned to recording career again in January 2001, by publishing his 10th album 'Jabo Awchenay', which contained 10 songs. It was his first concept album about holiday, leave, vacation. Its theme contained 'leave' in many aspects like vacation, death, lost youth, holiday, break etc. After 'Nishiddho Istehar', this was his second album, which was entirely accompanied by electronic keyboard, except the last song, which was played with an acoustic piano. This was his first album, where there were some lyric reading, without any music and tune. There were such 6 lyrics. Kabir Suman had already changed his name from Suman Chattopadhyay to Kabir Suman, but the recording company still used his old name primarily, and his new name within brackets. The cover art was also a photograph of old days when he had hair, beard and moustache, where during that time, practically there were nothing to him.

Next year, Kabir Suman published his 11th album 'Adab', which contained 12 songs. This was almost his back to route effort, like 'Tomake Chai' and 'Bose Anko', which also contained 6 songs on each side. 5 Songs were played with an electric guitar, and 1 song with both electronic keyboard and guitar. Rest of all songs were played with electronic keyboard. This album was remarkable with four more points—1) Here his new name was used primarily, with his old name within brackets (unlike previous albums), 2) His then actual photo was used as cover photo, 3) It was his last album recorded in Saregama India Limited. 4) It was his last album which was published only as cassette. His next Bengali full solo album was published in 2005, after a long 3 years gap.

In 2003, he recorded an English song album 'Reaching Out' which contained 10 songs. All songs were completely accompanied by a simple acoustic guitar. 2 songs were translation of two former Bengali songs, but the other 8 songs were directly written in English. This was Suman's first solo album which was published from a recording label other than SAREGAMA India Limited. It was published from Cosmic Harmony, which continued to publish his next few albums. It was his first album, which was marketed with his new name Kabir Suman, which is continuing after that.

2004 saw a long-awaiting incident, when Kabir Suman and Anjan Datta recorded an album collaboratively. It was named 'Onek Din Por', which contained 10 songs, 5 each were written by each artist. Suman's songs were accompanied by guitar and harmonica, where Anjan's songs were accompanied by lead guitar, bass guitar and harmonica by other musicians. Anjan himself played acoustic guitar, and Suman accompanied him by harmonica in a song. This was a milestone in Bengali Music Industry where two renowned singer-songwriters recorded an album jointly. The effort was mainly from Kabir Suman, as his 12th album. It was also his first album which was published as both cassette and CD, and his first album recorded digitally.

Kabir Suman returned to his solo Bengali album in 2005 after a three-year long gap. This time he published his 13th album 'Dekhchhi Toke'. It contained only 8 songs, which was his first album with least contained song. This album was remarkable because, it was his first album where he not only recorded the entire music instrumental parts, but also mixed and finally mastered. It was the first Bengali album which contained songs that were written, composed, sung, instruments played, recorded, mixed and mastered by a single person. 4 songs were accompanied by electronic keyboard, and 4 songs by electric guitar. However its recording quality was a bit unclear and hazy.

His next Bengali full solo album 'Nandigram' was published in 2007, after a 2 years gap. It was his 14th album, and his 2nd concept album, and his first political album. Around this time, the political situation of West Bengal was in unrest regarding land acquisition at Singur and Nandigram. On 14 March 2007, many people were killed by police at Nandigram. At that time, Kabir Suman was a reporter of Tara TV. He went more than one time to those places, and arose high protest by both as reporter and singer-songwriter-musician. This album contained 8 songs, and one lyric. It was his second album which contained lyric reading, without any music and tune. The title song 'Nandigram` was sung by him without any kind of instrumental, it was also his first time. All the rest of the songs were accompanied with only electronic keyboard. All songs' theme was the forceful land acquisition from then state government, and brutal massacre by them. It was his third album after a long gap since 'Gan-ola`, published in 1994, in which the front cover does not have any picture of himself. The royalty of this album went completely to those ordinary persons of Singur and Nandigram, who were continuing protest against the land acquisition. His protest continued to the next year, when he published his 15th album and his 3rd concept album 'Rijwanur Britto` in 2008. It was his first album which was published in Kolkata Book Fair, and the only album which was published personally, without any help from any recording company. It contained 8 songs, and except one song which was played with guitar, all other songs were played with electronic keyboard. All songs' theme was mysterious death of young multimedia designer Rizwanur Rahman, which was very controversial, and created some political unrest in West Bengal. It was his first album which was published only in CD. During this period Kabir Suman gaining popularity again in view of his many protest songs, so he obliged to publish another protest song album in the same year. His 16th album 'Protirodh', which was also a political album and his 4th concept album., which contained 8 songs. All songs were accompanied by electronic keyboard, with some songs mixed with guitar a bit. Both of these albums published in 2008 did not have any photo of him on front cover. It is often called a sequel of 'Nandigram'. Like 'Nandigram', all songs' theme was forceful land acquisition from then state government, and brutal massacre by them, and the royalty of this album went completely to those ordinary persons of Singur and Nandigram, Both 'Nandigram' and 'Protirodh' became very popular to the then opposition party of West Bengal All India Trinamool Congress. They played it on various meetings, distributed CD copies in very low price to voters. This album was marked by two aspects—1) It was his last album which was published as both cassette and CD, because from 2009, the cassette manufacturing was completely stopped in India. 2) It was his last album published from Cosmic Harmony. His protest-mindness helped Trinamool Congress to stand him as an MP in then coming Lok sabha election. He sang many such songs in his election campaign.

After elected as MP, he returned again to music recording in 2010. This time he published his 17th album 'Chhatradharer Gaan'. and his 5th concept album, and his 4th political album. It contained only 8 songs, and all songs were accompanied by a simple guitar. No other instruments were used. It was his first Bengali album which he recorded entirely with guitar, without any other musicians. This album was remarkable because it was his first album after he became an MP. The main theme of this album was the forest area at western West Bengal, its people, their political situation, and some reasonless harassment from central government. During that time, Chhatradhar Mahato was arrested and imprisoned, joint paramilitary force was posted in that area, and they started harassing common people of forest area, saying that they are helping Maoists. For this sensitive reason, this album became controversial. Suman's party All India Trinamool Congress did not like his view, and repeatedly said to ban this album, and stop saying about supporting Chhatradhar Mahato, but he did not change his view, so the clash continued with him from other leaders, including AITC supremo, then railway minister Mamata Banerjee. This album was recorded by following an early stereo recording concept, i.e.—vocal on one side, and guitar on another side.

In 2011, Suman published his 18th album 'Lalmohoner Lash'. It was his 6th and last concept album, and his 5th and last political album. It contained 9 songs, and has a stark contrast with previous albums in view of instrumentation. Unlike 'Chhatradharer Gaan', which was completely accompanied by guitar, 'Lalmohaner Lash' was entirely accompanied by electronic keyboard. This album was recorded and released at that time, when due to his political view not supported by his party, the clash with his party was continuing. It is often called a sequel of 'Chhatradharer Gan'. Like 'Chhatradharer Gan', all songs were in favor of revolution of forest people living in western West Bengal, and protest against harassment caused by the central paramilitary force, operation Green hunt etc. During that time, Lal Mohan Tudu was arrested applying UAPA, and killed by the paramilitary force. A very sharp ear can listen a humming sound in the end of some songs, it was due to 14 Kilohertz crosstalk signaling. It was caused by some earthing problem. This album also does not contain any photo of him on front cover.

2012 saw the till now last album, which is his 19th album '63te'. After some political and concept album since 2007, he returned to a standard album. It is his first standard album after 'Dekhchhi Toke', which was published in 2005. It includes 15 songs, which was after long time since 1996, when he published 'Chaichhi Tomar Bondhuta'. Instrumentation was returned again to his old style, 4 or 5 songs were played by guitar, and all other songs were played by electronic keyboard. Due to his home recording like recent albums, some outside noise were unintentionally added with final recording. The humming problem with 'Lalmohoner Lash' was also present here in some of the songs.

Basic song albums with his 'own created-others sang' songs from 2002
In 2002, Indranil Sen recorded an album 'Tumi Gan Gaile', which contained 8 songs. Sanjay Das arranged the instrumental music with some session musicians. Kabir Suman said a little speech in the middle of the title song. Complete lyrics were printed in album cover. It was his first collaborative album as 'Kabir Suman', and also his first collaborative album which was published as both cassette and CD.

In 2006, another album published named '13', which contained 13 songs, where Suman sang with Sabina Yasmin. Some songs were sung by Suman, some by Sabina, and some as duet. Among these, one song was written and composed by Rudra Mohammad Shahidullah. The entire instrumentation was done by Suman. Some songs were accompanied with guitar and harmonica, other songs were by electronic keyboard, and some were mixed with both electronic keyboard and guitar. Complete lyrics were printed in album cover. It was his first collaborative album, which was recorded digitally and instrumentations were mixed by software sequencer like Reason, Samplitude, and Nuendorum. It was his last collaborative album which was published as both cassette and CD. One song was previously published in 1994.

In 2010, Sabina Yasmin recorded an album 'Suprobhat Bishonnota', which contained 10 songs. The entire instrumentation was done by Suman. Some songs were accompanied with guitar and harmonica, other songs were by electronic keyboard, and some was mixed with both electronic keyboard and guitar. It was his first and till now the only collaborative album, which was published only as CD. A very sharp ear can listen a humming sound in the end of some songs, it was due to 14 Kilohertz crosstalk signaling. In some songs, background noise was also born, and to depress it, over-noise-reduction happened in some tracks.

Motion picture soundtrack from 2009
In 2009, Kabir Suman returned again to Bengali film industry as a music director after a long gap. In this year, he wrote, composed, sung, and instruments played in a Bengali film 'Diet', which contained 3 songs. Here Suman played his guitar, electronic keyboard and all instrumental sounds were mixed by him. Two songs were sung by Suman, one by Sabina Yasmin. Background score was also done by Suman. Unfortunately the motion picture became flop, and there was no release of its soundtrack album. The movie was released at the time when he was elected as MP.

2014 was the greatest year of Suman as a music director. In this year, he directed music in a Bengali film Jaatishwar, which contained 21 songs. It had the most songs in a single film in the history of Bengali film industry. Like his first film Mahasangram, this movie also had another person as the arranger, this time it was Indraadip Dasgupta. In only one song, Kabir Suman played his guitar (with other instruments by others). Beside Kabir Suman, other singers were Rupankar Bagchi, Shrikanta Acharya, Manomay Bhattacharya, Suman Mukhopadhyay, Kalika Prasad Bhattacharya, Kharaj Mukhopadhyay, Dibyendu Mukhopadhyay, Saptarshi Mukhopadhyay, Anupam Roy, Sidhu, Saki & Shramana Chakraborty. It was the only Bengali movie so far—which had a Spanish song. Complete lyrics were printed in a booklet, included in this album. There was a way to use all songs as mobile phone caller tune. Both the movie and the soundtrack became a major hit, and Kabir Suman received the National Award for Best Music Direction. He also got Radio Mirchi Award for best lyricist, best compact disc, and best seller compact disc for this film.

Songs created by Rabindra Nath Tagore from 2002
He recorded Tagore's Song again in 2002, after a long gap. This year, he recorded 'Kalo Horin Chokh' which had 10 songs, 2 songs were recorded previously in 1972 and 1994 respectively. It was the first Tagore's song album, where all songs were accompanied by either guitar & harmonica or electronic keyboard, which was played by solely Kabir Suman. An extended recording of this album as EP cassette 'Sondhyadiper Shikha' was published in next year 2003, which was 4 more songs, 1 of them was published in 'Kalo Horin Chokh'. It was his last Tagore Song album in both cassette and CD format. He recorded his next Tagore Song album 'Ganer Resh' in 2016, which was completely without any instruments. It was published only as CD.

Other recordings
Beside those albums, he recorded some other songs, which were compiled on some albums like 'Onurodher Asor', 'Nagorik Kobiyal', 'Pata Jhore Jay', 'Ei Prothom' (a live album with Nachiketa Chakraborty) etc. He also recorded two songs for a Bengali Movie 'Bhoy' – which was recorded and released in 1996, and one song for a Bengali Movie 'Yoddha' – which was recorded in 1995, but never released. Concord Trio has recorded two Suman's songs in 1994 and one in 1997 respectively for their albums 'Konthe Nilem Notun Gan' and 'Tomar Safar'. Lopamudra Mitra has recorded two Suman's songs in 1995 and one in 1996 respectively for her albums 'Notun Ganer Nouko Bawa' and 'Bhetor Ghore Brishti'. From 1997 to 2003 (except 2002), Sandhya Mukhopadhyay has recorded two Suman's songs almost each year, those were published respectively in her albums 'Dhonno Hok', 'Shesh Dorjata Perole', 'Aschhe Shotabdite', 'Rongdhonu Tana Setu', 'Sada Payra Giyechhe Ure' & 'Osshomedher Ghora Chhutechhe', among them one song in 1999 won the best Bengali album award.

Digital songs
Since 2011, Kabir Suman started posting his new songs on his website. During this time his 19th album '63te' was released as compact disc format, which contained some songs that were also published on his website. After that, he started completely releasing his new songs (as mostly audio format, sometimes as video format) through his website. Sometimes he releases some songs also through SoundCloud. All his internet-only songs are only playable, but not downloadable. It does not cost any money for listening those songs. It is first such example for a Bengali musician to release songs only in internet. Beside his self-created songs, he also released some Indian Classical songs and some old songs, created by late Dilip Kumar Roy and others.

Present Status

Although he has not recorded any studio album since 2012 (actually his last recording in a professional recording studio occurred in 2008, since when he has recorded his studio albums entirely at his home), he has recently recorded two soundtrack albums in 2014 and 2016. He is continuing live performance on various stages in Kolkata and various towns in West Bengal as of 2017. He also sometimes performs live in some cities outside West Bengal, including both Indian and foreign cities, even outside of Asia. He also teaches songs in his house on weekends. Despite not being completely physically fit due to some nerve problems, he still performs a three-hour solo live performance, playing electronic keyboard (now simply an acoustic piano). Until recently, he played the guitar. He also sometimes plays melodica and harmonica at his concerts. Since 2013, he took some additional musicians in his concerts for playing additional acoustic guitar and electronic percussion/tabla.

Political activities
Suman was a journalist in Nicaragua during the Sandinista revolution and wrote Mukto Nicaragua (Liberated Nicaragua) on his experiences. During the 2002 Gujarat riots, he composed songs in protest against fundamentalism. He is also noted for his strong declamations against political opponents in public. Since 2006, when Suman was involved in the land struggle in Nandigram, he started aligning himself to All India Trinamool Congress (AITC) led by Mamata Banerjee. His songs on the Nandigram land issues have been released on two albums, Nandigram and Pratirodh. Suman participated in the Singur agitation & other TMC party programmes on a regular basis.

The Trinamoool Congress nominated him for the 2009 general election from Jadavpur constituency in Kolkata, West Bengal, and won the election, defeating his nearest rival, Sujan Chakraborty of the Communist Party of India (Marxist) (CPI(M)) by 54,000 votes (by a 10% margin).

In November 2009, Suman had a dispute with the Trinamool Congress. He complained that the local leaders of the party were not allowing him to work, and his views were not taken seriously in the party. However, the issue was resolved amicably in a series of closed door meetings.

Suman has also been vocal in his support for the movement of tribals in Lalgarh, and has composed an album called Chhatradharer Gaan in support of the mass movement, going against the wishes of the party. Going against the party position, he has also expressed his protests against "Operation Green Hunt", the Indian Government's military operation where the Naxalites have some influence.

Suman, at the end of March 2010, claimed that he is going to leave Trinamool Congress and also his membership of the Parliament. On the request of Mahasweta Devi he postponed his resignation for seven days. Within a few days, however, he made a U-turn and declared on 7 April that he does not want to resign to prevent embarrassing the party further. Currently he conveys his political opinions through his own website.

Controversies

Allegations of domestic violence
One of Suman's former wives was a German national. She reportedly accused Suman of domestic violence and filed a criminal complaint against Suman. According to The Indian Express, Suman's "messy divorce...and rumours of domestic violence didn''t go down well with the people."

Support for ban on book by Taslima Nasrin
Suman supported a ban by the Government of West Bengal on the book Dwikhandito, written by the Bangladeshi writer and activist Taslima Nasrin, for allegedly blaspheming the Prophet Mohammed. The ban was later lifted by the Calcutta High Court. Nasrin, referring to a television appearance where Suman denounced her book, has stated: "I did not fear the threats made against me by the Islamic radicals as much as the fatwa issued by Kabir Suman." Nasrin has alleged that she lived in fear following Suman's remarks, and described Suman as "communal" and "zealously Islamic", following his conversion to Islam. Academic Malvika Maheshwari has linked Suman's initial candidature by the Trinamool Congress with his support for the ban on Nasrin's book, as part of a "policy of 'Muslim appeasement'" by the party.

Abusive language towards a journalist
In January 2022, Suman attacked in abusive language over the phone in a conversation with journalist Bittu Raychaudhuri from Republic TV. Suman's conduct was widely criticised and led to a criminal complaint being filed against him for attacking Hindu sentiments and misogynistic vulgar statements about women in West Bengal.

Discography

Solo albums

Tomake Chai (1992) – HMV

Boshe Aanko (1993) – HMV

Ichchhe Holo (1993) – HMV

Gaanola / Suman the One Man Band (1994) – HMV / EMI

Ghumou Baundule (1995) – HMV

Chaichhi Tomar Bondhuta (1996) – HMV

Jatishwar (1997) – HMV

Nishiddho Istehar (1998) – HMV

Pagla Shanai (1999) – HMV

Jabo Ochenaye (2001) – HMV

Aadab (2002) – HMV

Reaching Out (2003) – Kosmic Music

Dekhchhi Toke (2004) – Cozmik Harmony

Rizwanur Brityo (2008) – Artist himself

Protirodh (2008) – Cozmik Harmony

Chhotrodhorer Gaan (2010) – Artist himself and later by Bijalpa Music

Lalmohoner Lash (2010) – Questz World / Saptarshi Prakashan

63 te (2012)

Since 2011, many old and new songs are publishing in his website and Facebook

Compilations and live recordings

Collaborative albums

Onyo Katha Onyo Gaan Volumes I & II (1986) – Sing To Live [with Nagorik]
Nicaraguar Jonyo (1986) – Sing To Live [with Nagorik]
E Desh Tomaar Aamar (1991) – SFI / HMV
Konthe Nilaam Notun Gaan (1994) – Concord Records (two songs sung by Concord Trio)
Shobujer Protishodh (1995) – HMV (Haimanti Sukla)

Choto Boro Mile (1996) – HMV
[with Nachiketa Chakravarty, Anjan Dutt, Indrani Sen, Lopamudra Mitra, Payel Kar, Shalini Chatterjee, Sreetoma Ghosh, Shayari Das, Tanushree Haldar, Paromita Chatterjee, Reema Roy, Shubhanwita Guha and Reetomaa Gupto (All Composition: Kabir Suman)]

Notun Gaaner Nouka Bawa (1997) – Bhetorghore Brishti (1998) – HMV [two songs sung by Lopamudra Mitra on each album]
Dhanya Hok (1998) – HMV [two songs sung by Sandhya Mukherjee]
Shesh Dorjata Perole (1998) – HMV [two songs sung by Sandhya Mukherjee]
Tomaye Khnujechi (1999) – Soundtech Sabina Yasmin
Ochena Chuti / Gaane Gaane Duti Mon (1999) – Raagaa/Soundtech [with Sabina Yasmin]
Aashche Shotabdite (1999) – HMV [two songs sung by Sandhya Mukherjee]
Ekshaathe Bnachboi (1999) – HMV [with Sohini, Shinjini, Debdutta, Shidhdhaartho, Anirban, Oindrila, Shreya, Shilpi, Arindam, Chiranjeeb, Rajshekhar, Shongeeta, Gaargi, Arundhati, Indrani, Shoilangi, Gargi, Aakaash and Payel]
Rongdhonu Taanaa Shetu (2000) – HMV [two songs sung by Sandhya Mukherjee]
Shada Paayra Giyeche Ure (2001) – HMV [two songs sung by Sandhya Mukherjee]
Tumi Gaan Gaile (2002) – Prime Music (Indranil Sen)
Awshshomedher Ghora Chhutchche (2003) – HMV [two songs sung by Sandhya Mukherjee]
Protichhobi (2004) – No Audio Release [with Sabina Yasmin and Bnaadhon]
 Onekdin Por (2004) – Cozmic Harmony [with Anjan Dutt]
Tero (2006) – Cozmic Harmony [with Sabina Yasmin]
Suprabhat Bishannata (2008) – Cozmic Harmony (Sabina Yasmin)

Live albums and collaborations

Onurodher Aashor (1994) – T-Series
Ei Shomoye Ei Dujon- Live at GD Birla Sabhaghar (1997) – HMV (with Nachiketa)
Tribeni (1997) – HMV [with Nachiketa Chakravarty and Anjan Dutt]
Notun Shurer Chnoa (1999) – HMV (with Sandhya Mukhopadhyay, Lopamudra Mitra, Haimanti Sukla and Swagatalakshmi Dasgupta)
Praan Khola Gaan (1999) – HMV (with Lopamudra Mitra, Nachiketa Chakraborty and Bhoomi)
Onyo Hawaye Onyo Gaan (2004) – HMV [with Lopamudra Mitra]
Pujor Shera Gaan (2004) – HMV [with Sandhya Mukhopadhyay]
Graphiti (2006) – HMV [with Nachiketa Chakravarty, Anjan Dutt, Lopamudra Mitra, Protul Mukherjee and Moushumi Bhowmick]
Onno gaaner bhorey (2009) – HMV (with Nachiketa)

Film albums

Obhimaane Onuraage (1992) [Unreleased] – [Playback Singers: Kabir Suman]
Attojaa (1993) – [No Audio Release][Playback Singers: Kabir Suman, Haimanti Sukla]
Mahasangram (1994) – HMV [Playback Singers: Kabir Suman, Indrani Sen]
Bhoy (1996) – Beethoven Records [Playback Singer: Kabir Suman in two songs]
Krishnachura [Bilingual in Assamese (released) and Bengali (unreleased)] (1995) – HMV [Playback Singers: Kabir Suman, Haimanti Sukla]
Jodhdha (1995) – HMV [Playback Singer: Kabir Suman in one song]
Shedin Choitromash (1997) – HMV [Playback Singers: Kabir Suman, Nachiketa Chakravarty, Swagatatalakhi Dasgupta and Lopamudra Mitra]
Shurjokanya (1998) – HMV [Playback Singers: Kabir Suman, Sriradha Banerjee, Swagatatalakhi Dasgupta and Srikanto Acharya ]
Katha (2007) –  [No Audio Release]
Diet (2009) –  [No Audio Release] [Playback Singers: Kabir Suman, Sabina Yasmin]
Ranjana Ami Ar Asbona (2011)
Jaatishwar (2014) – T Series [Playback Singers: Kabir Suman, Rupankar Bagchi & others]
Shankar Mudi (2016) – R P Tech-vision [Playback Singers: Kabir Suman, Srikanto Acharya, Pratik Chowdhury, Raghab Chatterjee, Bidipta Chakrabarty & others]
Guhamanab (2017) – Amara Muzik [Playback Singers: Kabir Suman, Raka Bhattacharya]

Bibliography

 Sumanami
 Mon-Mejaj
 Alkhalla
 Hoye Otha Gaan
 Kon Pothe Gelo Gaan
 Sumaner Gaan, Sumaner Bhashya
 Mukto Nicaragua
 Sumaner Gaan
 Durer Janla
 Nishaner Naam Tapasi Malik

Filmography
 Herbert (2005)
 Chaturanga (2008)

Awards and honours
 1997 – BFJA Awards – Best Lyrics for Bhai
 2014 – National Film Award for Best Music Direction for the film Jaatishwar.
 2014 – Mirchi Music Awards Bangla for Music Composer of The Year (E Tumi Kemon Tumi – Jaatishwar)
 2014 – Mirchi Music Awards Bangla for Lyricist of The Year (Khudar Kasam Jaan – Jaatishwar)
 2015 – Honoured with Sangeet Mahasamman by Government of West Bengal.
 2018 – Honorary D.Litt awarded by Kalyani University.

References

External links
Official website

1950 births
Living people
Indian former Hindus
Singers from Kolkata
India MPs 2009–2014
Bengali musicians
Bengali male poets
People from Cuttack
Trinamool Congress politicians from West Bengal
21st-century Indian Muslims
Jadavpur University alumni
Converts to Islam from Hinduism
Lok Sabha members from West Bengal
Politicians from Kolkata
20th-century Indian singers
Indian male singer-songwriters
Indian singer-songwriters
21st-century Indian singers
People from South 24 Parganas district
Best Music Direction National Film Award winners
20th-century Indian male singers
21st-century Indian male singers
Converts to Islam
Islam in India

Kabir Suman


Ares Incorporated is an American weapons manufacturer and firearms engineering company co-founded by the American weapons inventor and developer Eugene Stoner in 1971. The company is based in Port Clinton, Ohio, and produces fire control systems, turret systems, small arms, automatic cannons and industrial machinery. Mr. Stoner left the company in 1989, joining Knight's Armament Company in 1990, where his designs included the Stoner 96, a further refinement of the Ares LMG/Stoner 63.

Products
Ares has a history of innovative weapon systems, weapons, and accessories including:
1973–1978: Ares FARC (Future Assault Rifle Concept)
1974–1984: 35mm Eagle Air Defense System, 35mm autocannon, 35mm CVAST Turret System
1975–1988: 75mm XM274 Medium Caliber anti-armor automatic cannon and the XM21 Loader
1980–1982: 90mm Medium Caliber anti-armor automatic cannons
1985–1986: Ares FMG (Folding Machine Gun, designed by Francis Warin)
1984–1988: .50 caliber PCTA (Plastic Cased Telescoped Ammunition), 33% lighter than M33 cartridge
1984–1987: 20mm CTA 6-barrel Gatling Gun
1985–1989: .50 caliber TAMG (Telescoped Ammunition Machine Gun, 40% lighter than the M2 HBMG
1985–1988: Innovative Recoil Mechanism, real time recoil control measuring recoil position and velocity
1985–1998: The Automatic Loader and 9-round Carousel Magazine for the AGS Advanced Gun System
1986–1993: Ares LMG (Light Machine Gun, aka the "Stoner 86", a refined version of the Stoner 63)
1986–1989: AIWS (Advanced Individual Weapon System)
1986–1994: 45mm XM295 COMVAT (COMbat Vehicles Armament Technology) automatic cannon and autoloader using CT ammunition developed by Orbital-ATK
1987–1990: .50 caliber TARG (Telescoped Ammunition Revolver Gun a lightweight gun for aircraft applications
1997–1999: The Automatic Loader and 8-round Carousel Magazine for the Stryker 105mm MGS
1997–2003: The recoil mechanism for the Stryker 105mm MGS
2003–present: Sole source supplier for new and refurbished recoil mechanisms for the Stryker 105mm MGS
2001–2003: Validated the US Army Benet Laboratories' RAVEN (RArefaction WaVE Gun) concept with the 35mm Demonstrator and the Ares designed and manufactured firing mount
2004–2011: LSAT (Lightweight Small Arms Technologies), in cooperation with AAI Corporation) that included, 5.56mm CT Spiral 1 ammunition design, 5.56mm LMG weapon action, 5.56mm Carbine
2006–2013: Test and refinement of US Army Benet Laboratories' 105mm RAVEN Demonstrator and the Ares designed and manufactured firing mount
2008–2013: Designed, manufactured, and tested the Medium caliber 45mm RAVEN Demonstrator and firing mount
2005–present: 7.62mm EPG (Externally Powered Gun) designed by Gene Stoner in the early 1970s; updated and developed for today's remote weapon stations
2007–present: Developing manufacturing technology to rifle barrels with an explosively bonded Tantalum-Tungsten liner
2014–present: Design the intermediate caliber CT carbine
Small, medium, and large caliber Mann barrels and launchers

Services
 Complete firing test range encompassing over 650 acres
 Interior and exterior ballistic instrumentation
 Indoor and outdoor firing ranges
 Small arms to 155mm artillery weapons
 Gun barrel design and manufacturing
 Experimental and one-of-a-kind gun barrels
 Weapon Systems, weapons, and component design and manufacturing
 Laser bore measuring medium caliber gun barrels

Notes and sources

 Business Development Department, Ares, Inc.
 Ares, Inc. Company Brochure
 Ares, Inc. Gun Barrel Capabilities Brochure
 Ares Inc. listing at MacRaes Blue Book
 Stoner interview from the Smithsonian Institution Archives

 The 5.56 x 45mm: 1974–1985, 1986–1994, 1995–1999, 2000–2003, 2004–Present

External links
 Ares official website

Manufacturing companies established in 1972
Companies based in Ohio
1971 establishments in Ohio

Ares Incorporated


Alania was a medieval kingdom of the Iranian Alans (Proto-Ossetians) that flourished between the 9th–13th centuries in the Northern Caucasus, roughly in the location of latter-day Circassia, Chechnya, Ingushetia, and modern North Ossetia–Alania. With its capital at Maghas, the location of which is still disputed, it became independent from the Khazars in the late 9th century. It was Christianized by a Byzantine missionary soon after, in the early 10th century.

Reaching its peak in the 11th century, under the rule of king Durgulel, it profited from controlling  a vital trade route through the Darial Pass. It maintained close relations not only with the Byzantine Empire, but also the Kingdom of Georgia as well as the small Dagestani kingdom of Sarir, the first two also employing Alan mercenaries, who were infamous horsemen. It was responsible for spreading Orthodox Christianity among neighboring pagan peoples such as the Circassians and Vainakhs. The kingdom eventually declined from the 12th century and had largely ceased to function as a political entity by the early 13th century. In 1239/1240 the Mongols invaded, storming and destroying the capital Maghas in the process.

Name
The name Alania derives from the Old Iranian stem *Aryāna-, a derivative form of the Indo-Iranian stem *arya- ('Aryan'). It is cognate with the name of Iran (Ērān), which stems from the Old Persian *Aryānām ('of the Aryans').

History

The Alans (Alani) originated as an Iranian-speaking subdivision of the Sarmatians. They were split by the invasion of the Huns into two parts, the European and the Caucasian. The Caucasian Alans occupied part of the North Caucasian plain and the foothills of the main mountain chain from the headwaters of the Kuban River in the west to the Darial Gorge in the east.

As vassal of Khazaria

Alania was an important buffer state during the Byzantine-Arab Wars and Khazar-Arab Wars of the 8th century. Theophanes the Confessor left a detailed account of Leo the Isaurian's mission to Alania in the early 8th century. Leo was instructed by Emperor Justinian II to bribe the Alan leader Itaxes into severing his "ancient friendship" with the Kingdom of Abkhazia which had allied itself with Caliph Al-Walid I. He crossed the mountain passes and concluded an alliance with the Alans, but was prevented from returning to Byzantium through Abasgia. Although the Abkhazians spared no expense to have him imprisoned, the Alans refused to convey the Byzantine envoy to his enemies. After several months of adventures in the Northern Caucasus, Leo extricated himself from the precarious situation and returned to Constantinople.

After Leo assumed the imperial title, the land of his mountaineer allies was invaded by Umar II's forces. A Khazar chieftain, Barjik, hastened to their succor and, in 722, the joint Alan-Khazar army inflicted a defeat on the Arab general Tabit al-Nahrani. The Khazars erected Skhimar and several other strongholds in Alania at this period. In 728 Maslamah ibn Abd al-Malik, having penetrated the Gate of the Alans, devastated the country of the Alans. Eight years later, Marwan ibn Muhammad passed by the Gate in order to ravage the forts in Alania. In 758, as Ibn al-Faqih reports, the Gate was held by another Arab general, Yazid ibn Usayd.

As a result of their united stand against the successive waves of invaders from the south, the Alans of the Caucasus fell under the overlordship of the Khazar Khaganate. They remained staunch allies of the Khazars in the 9th century, supporting them against a Byzantine-led coalition during the reign of the Khazar king Benjamin. According to the anonymous author of the Schechter Letter, many Alans were during this period adherents of Judaism.

Independence and Christianization (late 9th–10th centuries)

In the late 9th century, Alania became independent from the Khazars. In the early 10th century, the Alans fell under the influence of the Byzantine Empire due to King Constantine III of Abkhazia's activities in north Caucasus. He sent an army into Alan territory and, with the Byzantine patriarch Nicholas Mystikos, converted the Alans to Christianity. The conversion is documented in the letters of Patriarch Nicholas Mysticus to the local archbishop, Peter, who was appointed here through King George II of Abkhazia's efforts. Richard Foltz has suggested that only certain elite Alan families were Christianized, the bulk of the population continuing to follow their original pagan traditions.

When Ibn Rustah visited Alania at some point between 903 and 913, its king was by then Christian.  The Persian traveller came to Alania from Sarir, a Christian kingdom immediately to the east:

Later history (11th–13th centuries)

After the downfall of Khazaria, the Alan kings frequently allied with the Byzantines and various Georgian rulers for protection against encroachments by northern steppe peoples such as the Pechenegs and Kipchaks. John Skylitzes reports that Alda of Alania, after the death of her husband, "George of Abasgia" (i.e., George I of Georgia), received Anakopia as a maritime fief from Emperor Romanus III. This happened in 1033, the year when the Alans and the Rus sacked the coast of Shirvan in modern-day Azerbaijan. Alania is not mentioned in East Slavic chronicles, but archaeology indicates that the Alans maintained trade contacts with the Rus' principality of Tmutarakan. There is a stone grave cross, with a Cyrillic inscription from 1041, standing on the bank of the Bolshoi Yegorlyk River in present-day Stavropol Krai, immediately north of Alania. Two Russian crosses, datable to ca. 1200, were discovered by archaeologists in Arkhyz, the heartland of medieval Alania.

The Alans and Georgians probably collaborated in the Christianization of the Vainakhs and Dvals in the 12th and 13th centuries, Georgian missionaries were active in Alania and the Alan contingents were frequently employed by the Georgian monarchs against their Muslim neighbors. The Alanian-Georgian alliance was cemented in the 1060s, when the Alans struck across Muslim Arran and sacked Ganja. In the 1120s King David the Builder of Georgia visited the Darial to reconcile the Alans with the Kipchaks, who thereupon were allowed to pass through Alania to the Georgian soil. David's son, Demetre I, also journeyed, c. 1153, to Alania accompanied by the Arab historian Ibn al-Azraq. The alliance culminated in 1187, when the Alanian prince David Soslan married Queen Tamar of Georgia, a half-Alanian herself, with their descendants ruling Georgia until the 19th century. The medieval Alanian princesses also married Byzantine and Russian Rurikid rulers more than once. For instance, Maria the Ossetian, who founded the Convent of Princesses in Vladimir, was the wife of Vsevolod the Big Nest and grandmother of Alexander Nevsky.

Mongol conquest and aftermath (13th–14th centuries)

By the early 13th century the kingdom of Alania had factually disintegrated into a large number of autonomous clans and villages ruled by infighting chiefs leading several dozen to several hundred retainers. This state of anarchy was described by the Hungarian monk Julian, who in 1236 observed that "there are as many princes as villages, none of whom owes allegiance to another. The war there is incessant, leader against leader, village against village." The Mongols, led by the generals Jebe and Subutai, met the Alans for the first time in 1222 after passing through Shirvan and Daghestan. They were confronted by a Kipchak-Alan alliance, which they defeated by scheming with the Kipchaks. Afterwards they pushed further west, crushing a Rus alliance at the Kalka river in 1223.

The second Mongol invasion of Alania began in 1239 under Möngke and Güyük. While some Alanian fortresses, in particular Maghas, resisted the Mongols it seems that many local noblemen actually collaborated with the invaders to gain an advantage over their rivals. Those who resisted formed a confederation led by a certain Ajis. The climax of the invasion was the siege of Maghas, which began in November or December 1239 and lasted until February 1240. Aided by Alan auxiliaries, the fortress eventually fell and the population got massacred. Ajis himself was captured. Many Alans fled westwards until reaching Hungary probably still in 1239, where they became known as the Jassic people (jászsok) who preserved their language until the 16th century.

After the invasion the Mongols installed two local vassal princes, called, according to the Yuan chronicle, Arslan and Hanghusi, to rule on their behalf. Both joined the Mongol army, but were killed in combat soon afterwards. With the departure of the army in 1240 Mongol influence quickly weakened, especially in the highlands. Appreciating their skill as horsemen, the Mongols deported thousands of Alans to Mongolia in their need of fresh warriors for the conquest of the Southern Song and Dali. They became known as asud in Mongolian or asu in Mandarin and were part of the priviliged semu class, foreigners from western and central Asia who were employed in the administration and the higher echelons of the military. When Kubilai Khan, who had a daughter with an Alan woman himself, founded the Yuan Dynasty in 1271 he also established an influential Alan guard unit of 3.000 men that until 1309 was said to number 30.000 men. Converted to Catholicism by a Franciscan missionary in 1299, they staid loyal to the Yuan until the fall of the dynasty in 1368, when they escorted Toghon Temür to Mongolia. They continued to play a significant factor in Mongolian politics until a failed rebellion in 1510, although remaining, while now completely Mongolized, distinct clans to this day.

Bishop Theodore of Alania described the plight of his metropolis in a lengthy epistolary sermon written during the tenure of Patriarch Germanus II (1222–40). The French-Flemish monk and traveler William of Rubruck mentions Alans numerous times in the account of his 1253–1255 journey through Eurasia to the Great Khan, e.g. Alans living as Mongol subjects in Crimea, Old Astrakhan, the Khan's capital Karakoram, and also still as freemen in their Caucasian homeland ("the Alans or Aas, who are Christians and still fight the Tartars").

Classic Alania finally came to an end in the late 14th century, when the Turco-Mongol warlord Tamerlane invaded. Crushing the Golden Horde at the Battle of the Terek River in 1395, he subsequently attacked several Alan chiefs, resulting in months of massacres and enslavement that are still remembered in a popular Ossetian folk song called "the mother of Zadalesk". The invasion of Tamerlane resulted in the flight of the Alans deep into the Caucasian mountains and the end of the Alan presence in the steppes north of the Caucasus. The few who remained were eventually absorbed into the Circassian Kabardians and the Turkic Karachays and Balkars. The retreat into the mountains resulted in the ethnogesis of a new people: the Ossetes, represented by the Digor in the west and the Iron in the east.
The Ossetes remained in a state of near-total isolation until 1774, when they requested protection from the Russian Empire, resulting in the foundation of Vladikavkaz in 1784 and the beginning of the Russian conquest of the Caucasus.

Known rulers

The nomenclature used by the rulers of Alania is unknown. Where they are mentioned by historical records, they are variously called "lord", "prince", "king", "tsar", and by the Byzantines, exousiokrator. Notably, the Byzantines never referred to other foreign rulers by this title, using arkhon or exousiastes instead.

Non-dynastic/dynasty unknown
 Bazuk - c. late 1st/early 2nd century; allied with the Arsacid kings of Iberia
 Anbazuk/Ambazuk - co-ruled with previous
 Ashkhadar - c. early 4th century; father of Ashkhen, wife of Trdat III of Armenia
 Itaz - waged war against Abkhazia in the early 8th century

Tsarazon/Tsærasantæ dynasty
 Urdur/Urdura/Urdure - c. early 11th century; first known ruler of Alania after independence from the Khazars. He invaded Kakheti around 1029 and died in battle against Kvirike III. According to Vakhushti of Kartli, Kvirike was assassinated by an Alan slave in revenge.
 Durgulel the Great - c. 11th century; son of previous, father or brother of Alda of Alania and Borena of Alania. Byzantine seals refer to him as Gabriel, which may represent a baptismal name. Sometimes considered to be identical with his predecessor.
 Rosmik - c. early 12th century; fought with the Byzantines against the Normans invading Epirus c. 1107/8
 Khuddan - c. 12th century; father of Burdukhan of Alania, wife of George III of Georgia

Bagrationi dynasty
 David - c. 12th century; grandson of Alda of Alania; forced to flee Georgia after his father Demetrius unsuccessfully tried to claim the throne. He and his descendants married into the Tsarazon dynasty and became the rulers of Alania
 Aton - son of previous
 Jadaron - son of previous
 David Soslan - d. 1207; son of previous, married Tamar of Georgia

Non-dynastic/dynasty unknown
 Kachir-Ukule/Kachiruk Ulu (Kachiruk the Senior? Compare with David Ulu) - c. 1237 - last known ruler of the united Alan kingdom. Captured and killed by the Mongols.
 Indiabu - c. 13th century
 Peredjan - c. 1290

Legacy
In the last years of the Soviet Union, as nationalist movements swept throughout the Caucasus, many intellectuals in the North Ossetian ASSR called for the revival of the name "Alania". A leading Ossetian philologist T. A. Guriev was the main advocate of this idea, insisting that the Ossetians should accept the name of the Alans as their self-designation and rename North Ossetia into Alania. The term "Alania" quickly became popular in Ossetian daily life through the names of various enterprises, a TV channel, political and civic organizations, a publishing house, a soccer team, an airline company, etc. In November 1994, the name of "Alania" was officially added to the republican title (Republic of North Ossetia–Alania).

Gallery

Notes

References

Sources

Kuznetsov V. A. Ocherki istorii alan. Vladikavkaz, 1992.

Pletneva, Svetlana. Ot kochevii k gorodam. Moscow, 1967.

Further reading

Former countries in Europe
History of the North Caucasus

Alania


The  or Lake Geneva General Navigation Company (commonly abbreviated to CGN) is a public Swiss company operating ships on Lake Geneva connecting towns in both France and Switzerland including Geneva, , , , and .

History
The CGN was formed in 1873 through the merger between three companies, bringing together the vessels 'Helvétie', 'Léman', 'Aigle' and later the 'Flèche' in a single fleet. The growth of tourism corresponded with the construction of railways during the second half of the 19th century, leading the CGN to cater for tourists as well as local traffic.

The cessation of tourism during World War I severely affected the CGN. Similarly affected during World War II, the company had to cease all operations for three months during 1940. The company was rescued by state intervention in 1943.

After the war the fleet was updated, with some steamships converted to diesel and from the 1960s augmented with new vessels.

Current fleet

As a Swiss registered company, the ships fly the Swiss flag at the stern but, as the southern shore of the lake is mainly French territory, they also fly the Tricolour from the jackstaff at the bow.

References

External links

Shipping companies of Switzerland
Paddle steamers
Companies based in Lausanne
Lake Geneva

Compagnie Générale de Navigation sur le lac Léman


Jean Boulanger, a French line-engraver, son of the painter Olivier Boulanger and cousin to the painter of the same name, was born at Amiens in 1608 and baptized in Troyes in Champagne on 24 January 1608; he had five children with Marie Judon. He was documented in Paris in 1645 and resided in the parish of Saint-Etienne-du-Mont.

He seems to have attached himself at first to an imitation of the style of François de Poilly. An engraving, dated 1669-93, an impression of which is at the British Museum, representing the Holy Family with St John the Baptist, was engraved by Jean Boulanger and published by François de Poilly. The Ashmolean Museum possesses a drawing dated 1669-80 which corresponds very closely in style and composition to the just mentioned engraving and which has been recently identified as Boulanger's own invention rather than a drawing after another master. He also engraved with François de Poilly a group of ornament drawings by Jean Cotelle the Elder (1607–76), which are part of the collection of the Ashmolean Museum, and which were published in Paris around 1647 with the title Livres de divers ornemens pour plafonds, cintres surbaissez, galleries et autres de l'invention de Jean Cotelle, Peintre Ordinaire du Roy.

He later took up a mode of engraving similar to that of his contemporary Jean Morin, but which he greatly improved, of finishing the flesh and naked parts of his figures with dots, instead of strokes, or with a mixture of both. This gave a very soft and mellow effect; but as he finished the draperies and backgrounds with rather a harsh use of the graver, there was a want of union in the effect of his plates. Notwithstanding this defect, his prints have considerable merit, and are justly held in esteem.

He died in Amiens about 1680.

Portraits
Maria Tberesa of Austria, Queen of France; after Frère Luc.
Pope Urban VIII; J. Boulanger inv. et fec.
Charles II, King of England.
Gustavus Adolphus, King of Sweden.
Leopold, King of the Romans.
Henry of Castile, Abbot of St. Martin.
J. Regnault de Segrais, of the French Academy.
J. Jacques Olier, Cure of St. Sepulcre.
Paul Beurier, Canon of St. Genevieve; after Jacq Le Fèvre.
Daniel de Cosnac, Archbishop of Aix; after Claude Le Febvre.
V. Louis de Seckendorf; after C. Scheffer.
Michael Nostradamus, Physician. (pictured)
St. Vincent de Paul.
Mademoiselle Le Gras, Foundress of the Filles de la Charite.
Francis Isidor de Hayrien.
François de Clermont, Bishop of Noyon.

Subjects from his own designs
Two Busts of our Saviour and the Virgin Mary.
Bust of the Virgin, surrounded by a border of Laurel; oval.
The Virgin Mary and Infant Jesus; half length.
The Virgin Mary and Infant, with St. John presenting a Cross

Subjects after different masters
The Virgin and Infant Christ holding some Pinks, called the Virgin of the Pinks; after Raphael.
A Bust of the Virgin; inscribed Mater amabilis; after the same.
The Holy Family, with St. Joseph giving the Infant some Cherries; after Carracci.
The Virgin of Passau; after Solario.
The Virgin Mary, with the Infant sleeping in her Arms; after Guido.
The Virgin and Infant Jesus, with St. John kissing his Foot; after the same.
The Holy Family; after Noel Coypel.
The Holy Family; half-length figures; after Nic. Loir.
The Infant Christ; inscribed Salvator Mundi, &c.; after the same. 1651.
Christ bearing His Cross; after Nic. Mignard.
The Virgin and Infaut, with St. John kissing His Foot; after P. Mignard.
The Descent from the Cross; after S. Bourdon.
The Entombment of Christ; after the same.
The Crucifixion; after Ch. le Brun.
St. Francis de Paula; after S. Vouet.
The Dead Christ supported by Joseph of Arimathea.
The Pompous Cavalcade on the occasion of Louis XIV coming of age.

References

Bibliography

 R. A. Weigert, Inventaire du fonds français. Graveurs du XVIIe siècle, Paris, 1951, II, pp. 1–51.
 A. Aceto, 'A Rediscovered Drawing by Jean Boulanger (1608-c.1680)', Print Quarterly, XXXIII, (2016), pp. 406–414.

French engravers
1607 births
Year of death unknown
People from Amiens

Jean Boulanger (engraver)


A correlation swap is an over-the-counter financial derivative that allows one to speculate on or hedge risks associated with the observed average correlation, of a collection of underlying products, where each product has periodically observable prices, as with a commodity,  exchange rate, interest rate, or stock index.

Payoff Definition
The fixed leg of a correlation swap pays the notional  times the agreed strike , while the floating leg pays the realized correlation .  The contract value at expiration from the pay-fixed perspective is therefore

Given a set of nonnegative weights  on  securities, the realized correlation is defined as the weighted average of all pairwise correlation coefficients :

Typically  would be calculated as the Pearson correlation coefficient between the daily log-returns of assets i and j, possibly under zero-mean assumption.

Most correlation swaps trade using equal weights, in which case the realized correlation formula simplifies to:

The specificity of correlation swaps is somewhat counterintuitive, as the protection buyer pays the fixed, unlike in usual swaps.

Pricing and valuation
No industry-standard models yet exist that have stochastic correlation and are arbitrage-free.

See also
Variance swap
Rainbow option

Sources

Derivatives (finance)
Mathematical finance
Banking
Swaps (finance)

Correlation swap


Henry Killam Murphy (August 19, 1877 – October 12, 1954) was an American architect noted for his design of educational establishments in the North-East of the United States, China and Japan.

Early life and education
Henry Killam Murphy was born in 1877 in New Haven, Connecticut, to parents Alice Button Killam and John Murphy.

Murphy attended the Hopkins School, graduating in 1895.  He then went on to study at Yale University graduating in 1899 with a Bachelor of Fine Arts degree.  After a year spent at the Yale Graduate School preparing for a career as an architect, Murphy was first employed in this capacity in the New York City offices of Tracey and Startwout in 1900.

Murphy & Dana Architects
In 1906 Murphy opened his own firm with Yale University instructor, Richard Henry Dana Jr., a business partnership that lasted until 1921. Together they took on work such as designing the early Loomis Chaffee campus in 1912, and successfully earned commissions to design numerous private residential and college academic buildings in the North East of the United States, in China and in Japan.  Examples of their architectural work still extant include the historic administration buildings, old library and college chapel of Rikkyo University in Tokyo.

After Dana left in 1921, the firm continued as Murphy, McGill & Hamlin until 1924 when Murphy established his own independent practice.

Noted architectural works

Murphy, both in partnership and independently, designed a wide range of buildings throughout his career, including several buildings in his home state of Connecticut. Murphy worked for his alma mater Hopkins School, designing the early campus in 1922 and center building Baldwin Hall in 1925.

During his career Murphy made eight trips to China, the first for a few weeks in 1914, the last and longest from 1931 to 1935. In 1919, he was in charge of designing the campus of University of Shanghai (now University of Shanghai for Science and Technology). In the early 1920s, Murphy designed several landmark buildings for Tsinghua University, Beijing, including The Grand Auditorium and the Main Library. He was an advocate of traditional Chinese architectural styles, adapted to modern uses.

Murphy attracted the attention of Chinese leader Chiang Kai-shek and was hired in 1928 to design a modern capital for China in the ancient city of Nanjing. One of his more notable proposals was to save the wall around the city as a concourse. Murphy designed other Chinese buildings such as the Memorial Hall for Revolutionary Martyrs on Purple Mountain over Nanjing.  Chiang Kai-shek was not Murphy's only connection to China. Murphy also designed a small Chinese village of eight homes in Coral Gables, Florida, as well as the Chinese Nationality Room in the Cathedral of Learning

Murphy returned to the United States in 1935 and retired to a house he designed in Branford, Connecticut. He died at his home in 1954.

Family
Murphy was married four times, and had no children. His first marriage was in 1905 to Edna Mitchell Cook, who died in 1918. His second marriage in 1920 was to Ethel Andrews, from whom he was divorced in 1926. (She would remarry John Marshall Harlan II in 1928.) In 1930 Murphy married the art historian and collector of Eurasian bronzes Dagny Carter, author of China Magnificent, Five Thousand Years of Chinese Art (first published 1936). In 1949 he married his fourth wife, Rosalie Smith Exum, in North Carolina.

References

Further reading
Jeffrey W. CODY, Building in China: Henry K. Murphy's "Adaptive Architecture", 1914-1935, Hong Kong: The Chinese University Press; Seattle: University of Washington Press, 2001.

1877 births
1954 deaths
20th-century American architects
Architects from New Haven, Connecticut
Hopkins School alumni
Yale School of Architecture alumni

Henry Murphy (architect)


David Alexander Beharall (born 8 March 1979) is an English former professional footballer who played as a defender.

Beharall started his football playing career for Newcastle United in 1996 and graduated to the first team in 1998. While at St James' Park he had loan spells at Grimsby Town and Oldham Athletic in 2001 and 2002 before joining Oldham for a fee of £150,000 in March 2002. He left Oldham in February 2005 to join Carlisle United on a free transfer and a year later in February 2006 Beharall joined Stockport County. He retired from football at the age of 27 due to a knee injury in 2006.

Career

Newcastle United
Beharall started off his playing career at hometown club Newcastle United in 1996 where he graduated to the first team in 1998 after being captain to the youth and reserve teams. Beharall made his first Premier League start and his debut for Newcastle in the 3–1 loss against Everton on 17 April 1999. Beharall started another 3 Premier League games during the 1998–99 season. During the 1999–2000 season, Beharall played 2 more Premier League games; the 3–3 draw against Wimbledon and the 5–1 loss at Manchester United. The match against Manchester United turned out to be his last match for the club. After two years without a first team appearance, Beharall wanted to join Preston North End on loan after spending two days at Deepdale in early January 2001, but Preston's manager David Moyes decided against the move.

Grimsby Town
With first team opportunities running out at Newcastle, Beharall joined Grimsby Town in August 2001 originally on trial, with a view to a loan move due to Grimsby's lack of centre backs. After his trial he joined The Mariners on loan in August 2001 for 3 months and made his début in a 1–0 win against Crewe Alexandra on 11 August. David played another 15 league and cup games for Grimsby Town, including the 2–1 cup upset they inflicted on Liverpool in the League Cup 3rd round at Anfield on 9 October 2001. Beharall gave away the penalty that Liverpool midfielder Gary McAllister scored as he was judged to have handled the ball in the penalty box. That goal gave Liverpool the lead with 19 minutes left but goals from Marlon Broomes and Phil Jevons in stoppage time cancelled out Beharall's mistake and Grimsby pulled off a big cup upset. Beharall ended his loan spell in November 2001.

Oldham Athletic
Ten days after leaving Grimsby Town, Beharall was on the move again, this time to Oldham Athletic on a loan deal to the end of the season. Beharall made his dèbut in a 0–0 draw against Stoke City on 21 November 2001. He played 17 league games, two FA Cup and two Football League Trophy matches during his loan spell at Oldham, scoring one goal in the 89th minute in a 1–1 draw against Wigan Athletic on 15 December 2001. Beharall was bought by Oldham Athletic on 6 March 2002 for £150,000 on a three-year contract after impressing during his loan deal. David played one more league game for The Latics during the 2001–02 season against Wigan on 9 March, a match which Wigan won 1–0. In the 2002–03 season Beharall played 32 league, 4 League and 3 FA Cup games for Oldham under the management of Iain Dowie, who replaced Mick Wadsworth in the summer of 2002. In the pre-season of the 2003–04 season, he suffered an injury which left him out of action until October 2003. During this time in August 2003 Beharall was a victim of a carjacking when he and teammate Adam Griffin were attacked when they stopped at a cash machine with Beharall leaving Griffin in the passenger seat and his £21,000 Mercedes-Benz R230 car parked at a Texaco garage in Oldham. Griffin was left defenseless with one of the attackers holding him at knifepoint and another man hit Griffin's left arm with an iron bar, then dragging and throwing Griffin to the ground. Beharall left his wallet and mobile phone in the car but was relieved that he and Griffin were OK. During the 2003–2004 season Beharall played 7 league, 2 FA Cup and 2 Football league games, he also scored 2 league goals against Plymouth Argyle on 1 November 2003. After playing only 6 league games during the 2004–05 season new manager Brian Talbot, Beharall left the club on 24 January 2005 after agreeing a settlement figure.

Carlisle United
Nine days after leaving Oldham, Beharall joined Carlisle United, with him signing a contract until July 2006. This was the first time in his career he played for a non-league club. Beharall made his debut for the club in the 2–2 draw against Gravesend & Northfleet on 12 February 2005. In the 2004–05 season, Beharall was part of Carlisle's return to the Football League, playing 14 matches (3 of these being playoff matches) and playing 1 FA Trophy match. He scored one Conference goal, in the 2–1 win at Farnborough Town on 2 April 2005. Beharall's pre-season preparations were ruined by an injury which made him miss the start of Carlisle's season, but the MRI scan revealed he had not suffered a tear to any of the major knee ligaments. When he returned from injury in October 2005, Beharall played 6 League and 2 Football League Trophy matches. Most of these appearances came in October and November. However, with the lack of opportunities, Beharall left Carlisle by mutual consent on 1 February 2006.

Stockport County
After being released by Carlisle, Beharall decided to join League Two strugglers Stockport County until the end of the 2005–06 season, after playing well in a reserve match for County prior to his move, he had high hopes of saving the club from relegation and also hoped to impress the County manager Jim Gannon enough to earn a new contract for the following season. Beharall made his début for County in the 2–1 away victory against Chester City. Beharall played another 11 league games during the 2005–06 for Stockport and was starting contract negotiations the managed Jim Gannon, but in May 2006 Beharall retired due to an ongoing bad knee injury.

Personal life
Since retiring Beharall has gone on to set up and run digital agency CandidSky based in Manchester city centre. He has won North West Entrepreneur of the year as well as an award for his work within social media. In June 2016 CandidSky won 'Best Use of Search & CRO' at the 18th annual Big Chip Awards. It is the longest-running digital industry awards in the UK.

References

External links

1979 births
Living people
Footballers from Newcastle upon Tyne
English men's footballers
Men's association football central defenders
Newcastle United F.C. players
Grimsby Town F.C. players
Oldham Athletic A.F.C. players
Carlisle United F.C. players
Stockport County F.C. players
Premier League players
English Football League players
National League (English football) players

David Beharall


This article is about one of the five main senses. For other uses, see Touch (disambiguation)

Touch is one of the five main senses that animals have. It can be called the sense of body or the sense of touch. The system also has internal sensory receptors, and includes sensing temperature and pain. There is a special area in the brain used to processing input of touch. It is in the parietal lobe of the cerebral cortex.

An animal knows if something is against a part of its body. This is called the sense of touch. The process of touching something may be called feeling.

Tiny touch sense organs under the skin help animals feel hardness, softness, and sharpness, for example. Animals also have sense organs which feel temperature and pain. Some parts of the body, such as fingertips have many more sense organs than others.

When animals touch things, nerve fibres attached to the sense organ sends messages to the brain through the central nervous system. The brain interprets the messages, and animals feel things.

Touch as communication
Humans, and mammals in general, often touch each other. Touch is a kind of non-verbal communication. Behaviours based on touch are very important for keeping family and group members together ('bonding'). It is part of the 'glue' of their social life. Monkeys grooming each other's fur is a good example.

Related pages
 Braille
 Proprioception
 Touchscreen

References

Sensory system
Non-verbal communication

Touch


Fear of Clowns 2 is a 2007 American horror film written and directed by Kevin Kangas. It's a sequel to Fear of Clowns and takes place two years after the events of the original and continues the story of a young woman (Jacky Reres) getting stalked by a killer clown (Mark Lassise).

Plot

The film begins two years after the events of the first film, with Detective Peters at the doctor's office, who reveals to Peters that he has Creutzfeldt–Jakob disease (CJD), and there is no treatment; it's fatal.

Two months later, it is revealed that after being sent to jail two years ago, Doug Richardson a.k.a. "Shivers the Clown" was sent to a mental asylum, and Lynn Blodgett has quit her painting career and gone on to write a book called Coulrophobia, which talks about her fear of clowns and the story about the stalking killer clown two years ago; she and Tucker Reid have broken up and haven't seen each other for a while.

But things go terribly wrong: An orderly named Ralph helps Shivers and two other inmates escape the asylum. Shivers takes Ralph and the inmates back to his old house, which is now occupied by a junkie, who is later strangled to death by Shivers. The next day, after hearing of Shiver's escape, Lynn calls Detective Peters and tells him that she will be home soon. Meanwhile, the junkie's friends arrive at the house, only to be killed by the inmates, Giggles the Clown and Ogre the Clown.

Meanwhile, Lynn arrives back home and meets Detective Peters at a restaurant, where he reveals that he's going to kill Doug Richardson. As Detective Peters takes Lynn home, they find out that Shivers has just killed Tucker outside an amusement park, where Tucker was constructing a new design for a roller coaster. Peters then calls two police officers to guard Lynn's house before they leave at 9:00 to secluded cabins in the woods. Before they leave, Ogre kills the police officers, while Shivers tries to kill Lynn. But during the process, Shivers kills Giggles instead.

Peters and Lynn escape through the cellar, while Shivers takes off in the van (where Ralph is handcuffed), leaving Ogre behind to mourn over Giggle's dead body, as he was Ogre's best friend. Ogre then takes off to go after Shivers for revenge. The next day, Peters and Lynn arrive at the cabins, where they are greeted by Hot Rod, Stoltz, and Rego, who are all friends of Peters. Meanwhile, Shivers leaves Ralph in the van while he goes to the bathroom, and Ralph calls an anonymous person, telling him that he needs to pay him (Ralph) more money if he (the caller) wants the job to be done. Then, Shivers leaves to go find Lynn, only to end up at the Horner's home, killing the entire family. Shivers then continues on to find the cabins.

Peters goes outside to see if the coast is clear, only to be axed in the side. Lynn takes off into the woods with Shivers on her tail, leaving the axe inside Peters. Peters, who is still alive, reloads his gun and drags himself to where Lynn and Shivers ran off to. Peters finds them, and shoots Shivers two times: once in the hand, the other in the back, and Shivers falls into a gully. Lynn goes to check to see if Peters is okay, but looks to see Shivers rise up out of the gully. Lynn takes Peter's gun and points it at Shivers, but before she can pull the trigger, Stoltz (who was only injured in the face) pops out of nowhere and shoots Shivers three times in the chest, knocking him back into the gully. It is never revealed whether Peters is dead, or he's just simply unconscious.

The police arrive, only to find out that there's no body in the gully, only that there is a trail of blood that leads a hundred feet south, where Shivers climbed out of the gully and went into the woods. Sgt. Raup (Vincent T. Brown) decides to break the news to Lynn in the morning after she gets a good night sleep. The ending leaves it ambiguous as to whether Shivers is alive, or he died after heading out into the woods.

Cast
Jacky Reres as Lynn Blodgett
Mark Lassise as Shivers The Clown
Frank A. Lama as Detective Peters
Tom Proctor as Rego
Phillip Levine as Giggles The Clown
Clarence McNatt as Ogre The Clown
Johnny Alonso as Ralph
Adam Ciesielski as Hot Rod
Savannah Costello as Maggie
Lars Stevens as Stoltz
Leanna Chamish as Carol
John C. Bailey as Doctor Jones
Vincent T. Brown as Sgt. Raup
Dave "Bullet" Wooters as Old Man Horner
Michelle Trout as Mrs. Horner
Mike Baldwin as Craig
Chris O'Brocki as Owen
Jay McCarey as Officer Ripley
Rob Stull as Officer Rickenhouse
Steve Carson as Officer Stewie

Reception

Steve Pattee from HorrorTalk.com awarded the film 3.5/5 stars, writing, "With Fear of Clowns 2, Kevin Kangas has pulled off something that is pretty damn hard to do — he made a sequel that is better than the original... It's got more action, more tension, stronger acting and a killer score. And if one were to judge by the applause and hoots and hollers from the audience, he's got himself a winner."
Fangoria noted that the film was an improvement of the first film, with steadier performances and creepy imagery. However, they criticized the ending as "dissatisfying", and felt that some scenes were drawn out too much.

References

External links

2007 films
2007 horror films
American sequel films
American slasher films
Fictional clowns
Horror films about clowns
2000s English-language films
Films directed by Kevin Kangas
2000s American films

Fear of Clowns 2


Brevens Bruk is a minor locality in Örebro Municipality, Örebro County, Sweden. 121 people were living there in 2007. It is famous for a traditional Swedish midsummer celebration held every year. Thousands of people from neighbouring areas gather and celebrate. The celebration has drawn attention all the way to Germany and hundreds of German tourists share in the celebration.

References

Settlements in Orebro County

Brevens bruk


John Nichol (8 September 1833 – 11 October 1894), was a Scottish literary academic, and the first Regius Professor of English Language and Literature at the University of Glasgow.

Early life
Born in Montrose, Scotland, Nichol was the son of John Pringle Nichol, Regius Professor of Astronomy at the University of Glasgow. John Jr. studied first at Glasgow (1848–55) and then Balliol College, Oxford (1855–9) as a Snell Exhibitioner, graduating with a First-Class degree in Classics, Philosophy and Mathematics. After graduating, Nicholl remained at Oxford as a coach. With Albert Venn Dicey, Thomas Hill Green, Swinburne and others, he formed the Old Mortality Society for discussions on literary matters.

Glasgow
In 1862 he was made Regius Professor of English Literature at Glasgow. He had already made a reputation as an acute critic and a successful lecturer, and his influence at Glasgow was very marked. During his tenure as Regius Professor, he also lectured at Oxford University as well as private tutoring across Britain, and formed a strong reputation as an inspiring lecturer, later joining Glasgow's Dialectic Society.

He left Glasgow for London in 1889, and died on 11 October 1894. A Memoir by Professor Knight was published in 1896.

Works
Among the major works by Nichol were his drama Hannibal (1873), The Death of Themistocles, and other Poems (1881), his Byron in the "English Men of Letters" series (1880), his Robert Burns (1882) and Carlyle (1892).

Nichol was also an enthusiastic Americanist and wrote the ground-breaking American Literature: An Historical Review, 1620–1880 (1882). He visited the United States in 1865, and in 1882 he wrote the article on American literature for the ninth edition of the Encyclopædia Britannica.

In addition to the above, he was also the author of the following works:

Fragments of Criticism, a volume of essays, (1860);
Tables of European Literature and History, A.D. 200-1876 (1876);
Tables of Ancient Literature and History, (1877);
English Composition, a literature primer, (1879);
Questions on English Composition, (1890); and
two volumes on Lord Bacon's Life and Philosophy for Black's "Series of Philosophical Writers", (1887–89).

Nichol also wrote essays for the Westminster Review, North British Review, and other reviews; articles in the Encyclopædia Britannica; and several pamphlets on education questions.

Nichol was long blamed by biographers of the poet Swinburne for leading Swinburne to lose his faith and to alcoholism.  Neither charge is true (See Terry L. Meyers, "On Drink and Faith:  Swinburne and John Nichol at Oxford". Review of English Studies, ns 55:220 (June 2004), 392–424).

References

External links

 His article about American Literature (in Encyclopædia Britannica 9th ed.)

1833 births
1894 deaths
Scottish biographers
People from Montrose, Angus
Academics of the University of Glasgow
Alumni of the University of Glasgow
Alumni of Balliol College, Oxford

John Nichol (biographer)