Richard Chenevix   (ca. 1774 – 5 April 1830) was an Irish chemist, mineralogist and playwright who also wrote on a range of other topics. He was known for his sharp cynicism and for engaging in combative criticism.

Early life and family
He was born in Ballycommon, County Offaly, to Elizabeth Arabin and lieutenant-colonel Daniel Chenevix of the Royal Irish Artillery. His 3x great grandfather, Reverend Philip Chevenix, was a Huguenot settler who left France after Louis XIV's Edict of Fontainebleau revoked the earlier Edict of Nantes which had given additional rights to Protestants. His great uncle Richard, and namesake, was the Church of Ireland Bishop of Waterford and Lismore.

His sister, Sarah Elizabeth, married Captain Hugh Tuite of Sonna, Co. Westmeath, twice Member of Parliament for that county.

On 4 June 1812 he married "an aging French beauty of dubious reputation", Countess Jeanne Francoise de Rouault (?-1836), the widow of Comte Charles de Rouault, whom he had met at the home of Sir John Sebright.

Education
He enrolled at Glasgow University in 1785, but did not take a degree; however, he did graduate A.B. from the University of Dublin.

Career
Chenevix went to Paris after his university studies. He was imprisoned there for 15 months during the Reign of Terror. While in custody he had two children; also, amongst his fellow prisoners were a number of chemists who whetted his interest in the topic. After his release he studied at three different schools in Paris, gaining skills in chemical analysis. In 1798 he wrote his first paper, in French: 'Analysis of some magnesium rocks' in Annales de Chimie. Thereafter, in journals both sides of the Channel, he reported analyses of hydrochloric and sulphuric acids, compounds of lead, copper, iron, arsenic, carbon and sulphur and crystals of corundum including sapphires and rubies. He was made a fellow of the Royal Society in 1801 as a result of this work.

He wrote a paper in England in 1802 supporting French Neologist-inspired changes to chemical nomenclature. During a year in Germany, he published criticisms of the work of ground-breaking scientists: Danish chemist and physicist Hans Christian Ørsted and the German physicist, chemist and mineralogist Christian Samuel Weiss. In 1803, in the Philosophical Transactions of the Royal Society, he published a paper asserting that the palladium that the English chemist William Hyde Wollaston had extracted from platinum ore the previous year (and had announced and offered for sale anonymously) was in fact an alloy of mercury and platinum. For this seemingly astonishing result, he was awarded the Copley Medal. Wollaston, again anonymously, offered a reward to anyone who could confirm Chenevix's claims experimentally. On his part, Chenevix published a second paper supporting his result in 1805, by which time he'd made Paris his permanent home. Henry Cavendish, an admirer of Wollaston, was the sole Society objector in the vote for the publication. Later that year, Wollaston publicly revealed his authorship (although he had communicated as much to the Royal Society before Chenevix's second paper) and details of how he had, correctly, isolated the element palladium. Chenevix bore no apparent animus in later meetings between the two. How damaging the affair was to Chenevix's reputation as a chemist in the scientific world has been a discussion point for different writers. In 1808 came his criticism of Abraham Werner's classification of minerals. In 1809, he produced his final scientific paper, a method to produce acetone by distilling acetates. An English translation of a paper he wrote in 1808 for Annales de Chimie was published in London in 1811 as Observations on Mineralogical Systems.

Chenevix was a member of a number of European societies. The Royal Society has (a minimum of) twenty-six papers by Chenevix.

Phrenology and mesmerism
In November 1807, he attended the Paris lectures of the phrenologists Gall and Spurzheim; and, in 1828, published a review on Gall, Spurzheim, and Phrenology. Spurzheim was so impressed with Chenevix's review that he sought (and was granted) permission to immediately re-print the article as a pamphlet, with 12-page appendix of his (Spurzheim's) own notes.

In Paris, in 1816, he met Abbé Faria, who reawakened an interest in animal magnetism that had been dormant since Chenevix's visit to Rotterdam in 1797. In 1828, on a visit to Ireland, he began to practise mesmerism. He wrote extensively of his experiences in a series of papers published in the London Medical and Physical Journal in 1829.

Also in 1829, he gave a series of lectures and demonstrations of mesmerism in London that were attended by such eminent medical men as Sir Benjamin Brodie, William Prout, Henry Holland, Henry Earle, and John Elliotson.

Works
In 1828 he wrote an anonymous review on Gall and Spurzheim's work on phrenology, which was reprinted two years later, with comments by Spurzheim, in London. The Edinburgh Review and Foreign Quarterly Review printed his various economic and cultural articles on France and England.
 1802: Dramatic Poems: Leonora, a Tragedy; and Etha and Aidallo, a Dramatic Poem (Second Edition), London: W. Bulmer and Co.
 1812: Two Plays: Mantuan Revels, a Comedy, in Five Acts; Henry the Seventh, an Historical Tragedy, in Five Acts, J. Johnson & Co.
 1828: "Gall and Spurzheim — Phrenology", The Foreign Quarterly Review, Vol.2, No.3, pp.1-59.
 1829: "On Mesmerism, Improperly Denominated Animal Magnetism", London Medical and Physical Journal, Vol.61, No.361, (March 1829), pp. 219–230; No.364, (June 1829), pp. 491–501; Vol.62, No.366, (August 1829), pp. 114–125; No.367, (September 1829), pp. 210–220; No.368, (October 1829), pp. 315–324.
 1830: Phrenology Article of the Foreign Quarterly Review, by Rich. Chenevix, Esq., F.R.S., &c., With Notes from G. Spurzheim, M.D. of the Universities of Vienna and Paris, and Licentiate of the Royal College of Physicians of London, London; Treuttel, Würtz, and Richter.
 1832: An Essay Upon National Character: Being an Inquiry into Some of the Principal Causes Which Contribute to Form and Modify the Characters of Nations in the State of Civilisation, in Two Volumes: Vol.I, London: J. Johnson & Co.
 1832: ''An Essay Upon National Character: Being an Inquiry into Some of the Principal Causes Which Contribute to Form and Modify the Characters of Nations in the State of Civilisation, in Two Volumes: Vol.II, London: J. Johnson & Co.

Death
He died in Paris on 5 April 1830, and was buried in the Père Lachaise Cemetery.

Legacy
The mineral Chenevixite was named in his honour because of his earlier work analysing copper ferrate arsenates.

References

Further reading

External links

1774 births
1830 deaths
Discoverers of chemical elements
Recipients of the Copley Medal
Burials at Père Lachaise Cemetery
19th-century Irish chemists
Fellows of the Royal Society
Irish people of French descent
Fellows of the Royal Society of Edinburgh
Scientists from County Offaly

Richard Chenevix (chemist)


Ellis Cliffs is a ghost town in Adams County, Mississippi, United States.

Situated atop a high chalky bluff overlooking the Mississippi River, the white cliffs were frequently mentioned by early river voyagers.

The settlement was located approximately  south of Natchez, and approximately  northeast of Hutchins Landing.

History
The settlement is named for Richard Ellis, a native of Virginia who moved to the area with his family around 1785. Prior to Ellis, the Lieutenant Governor of West Florida, Montfort Browne, received a grant of land at this place and planned to locate the civil government at the site.

The Ellis family were one of the first to permanently settle in southwestern Mississippi, which was then still under Spanish rule.

Ellis established a plantation known as "White Cliffs", where "towering cliffs lined the east side of the river, providing a floodproof access to the water and vast acres of virgin land and timber".  The foundations of the family's first home were still visible in the early 1900s.

When Ellis died in 1792, he had accumulated  of land, and more than 150 slaves.

By 1800, both the settlement and the cliffs were known as "Ellis Cliffs".

British artist William Constable visited America between 1806–08 and painted View Down the Mississippi from Ellis's Cliffs, 28 Feby. 1807.  Artist John Rowson Smith traveled the Mississippi River before the Civil War and painted The Cotton Region, which included a scene of "the house of a colored slave owner at Ellis Cliffs".  Henry Lewis also painted the river, and described Ellis Cliffs as "strikingly bold, wild, and picturesque".

During the Civil War, Confederate batteries were installed at the top of Ellis Cliffs.

The former settlement is today covered by forest, and bordered to the north by the St. Catherine Creek National Wildlife Refuge.

References

Former populated places in Adams County, Mississippi
Former populated places in Mississippi
Mississippi populated places on the Mississippi River

Ellis Cliffs, Mississippi


Shi Pu (時溥) (d. May 9, 893), formally the Prince of Julu (鉅鹿王), was a warlord of the late Tang dynasty, who controlled Ganhua Circuit (感化, headquartered in modern Xuzhou, Jiangsu) as its military governor (Jiedushi).  He was eventually defeated by Zhu Quanzhong's general Pang Shigu (龐師古), and committed suicide with his family.

Background and seizure of Ganhua Circuit
It is not known when Shi Pu was born, but it is known that he was from Pengcheng and served as an officer at Xu Prefecture (whose seat was at Pengcheng).  Both he and fellow officer Chen Fan () were favored by Zhi Xiang () the military governor (Jiedushi) of Ganhua Circuit (感化, headquartered at Xu Prefecture).

In 881, after the agrarian rebel Huang Chao captured the imperial capital Chang'an, forcing then-ruling Emperor Xizong to flee, Zhi sent Shi and Chen with an army to try to aid the emperor.  When Shi reached the eastern capital Luoyang, however, he claimed to receive an order from Zhi to withdraw, and after rendezvous with Chen, they slaughtered Heyin (河陰, in modern Luoyang) and pillaged Zheng Prefecture (鄭州, in modern Zhengzhou, Henan) before returning to Xu Prefecture.  Zhi tried to placate them by treating them and their soldiers well, but Shi had his trusted soldiers meet with Zhi and threaten him, forcing him to yield the command to Shi, who took the title of acting military governor.  Chen tried to persuade Shi to kill Zhi, pointing out that Zhi had treated the people of the circuit well and might be able to return to power.  Shi refused, and instead had Zhi escorted to Emperor Xizong's then-location at Chengdu.  On the way, however, Chen laid an ambush for Zhi and slaughtered his family.  Subsequently, Emperor Xizong confirmed Shi as acting military governor and, later in the year, full military governor.  (Shi made Chen the prefect of Su Prefecture (宿州, in modern Suzhou, Anhui), but had him executed when he proved to be violent and corrupt as prefect.)

Campaign against Huang Chao
In spring 882, when Emperor Xizong commissioned the chancellor Wang Duo as the overall commander of the operations against Huang Chao, he gave Shi Pu the title of director of army supplies, under Wang's command.

In 883, after Huang abandoned Chang'an and fled east, Shi mobilized his troops and stationed them at Yin River (溵水, a major branch of the Shaying River) to try to stop Huang's movement, and Emperor Xizong gave him the title of the commander on the eastern front.  Around the same time, there was an incident where Shi suffered from food poisoning and suspected his staff member Li Ninggu () of poisoning him, and so put Li Ninggu to death.  At that time, Li Ninggu's father Li Sun () was an advisory official at the imperial government.  Shi accused Li Sun of being complicit and bribed the powerful eunuch Tian Lingzi to have Li Sun put to death.  Li Sun was arrested, but his life was spared due to the intercession of the chancellor Xiao Gou.

Meanwhile, Huang's army put Chen Prefecture () and its prefect Zhao Chou under siege.  Shi, along with Zhu Quanzhong the military governor of Xuanwu Circuit (宣武, headquartered in modern Kaifeng, Henan) and Zhou Ji the military governor of Zhongwu Circuit (忠武, headquartered in modern Xuchang, Henan) all launched troops to try to save Zhao.  Shi was said to have repeated victories over the armies of Huang and his vassal Qin Zongquan the military governor of Fengguo Circuit (奉國, headquartered in modern Zhumadian, Henan).  However, these three military governors did not feel that they could stand up to Huang on their own, so they sought aid from Li Keyong the military governor of Hedong Circuit (河東, headquartered in modern Taiyuan, Shanxi) — who had been instrumental in Tang's recapture of Chang'an.  After Li Keyong arrived and defeated Huang's army at Chen Prefecture, Huang's major general Shang Rang surrendered to Shi.

Li Keyong subsequently withdrew from the front after getting into a dispute with Zhu and surviving an assassination attempt Zhu made against him.  Shi, however, continued the pursuit against Huang, and sent his officer Li Shiyue () and Shang to go after Huang.  Huang fled into Langhu Valley (狼虎谷, in modern Heze, Shandong), where his nephew Lin Yan () killed him, preparing to surrender his head to Shi — but on the way, Lin was intercepted by irregular Shatuo (i.e., Li Keyong's soldiers left in the area) and Boye Army () soldiers, who killed him and seized Huang's head to present to Shi.  For Shi's contributions in destroying Huang, he was made acting Taiwei (太尉, one of the Three Excellencies), given the honorary chancellor title of Zhongshu Ling (), and created the Prince of Julu.

Campaign against Qin Zongquan
Despite Huang Chao's destruction, however, Qin Zongquan continued to retain an army and continued to pillage the nearby circuits, and in 885 claimed the title of emperor.  Emperor Xizong commissioned Shi Pu to serve as the overall commander against Qin.  (Despite Shi's title as overall commander, however, it is unclear what Shi's acts were during the subsequent Tang military actions against Qin were, as the historical records largely described only Zhu Quanzhong's battles with Qin.)

In 887, with Huainan Circuit (淮南, headquartered in modern Yangzhou, Jiangsu) embroiled in warfare, with a number of parties contending for it (including Qin Yan, Yang Xingmi, and Qin Zongquan's general Sun Ru), the imperial government, intending to calm the warfare, made Zhu Quanzhong the military governor of Huainan, in addition to Xuanwu.  Zhu Quanzhong commissioned Yang, who had by that point captured Huainan's capital Yang Prefecture (), deputy military governor and Li Fan () as acting military governor.  Zhu wrote to Shi Pu, requesting passage for Li Fan to pass through Ganhua on the way to Huainan, but Shi was resenting the fact that the imperial government gave the post of Huainan's military governorship to Zhu and not to him despite his higher seniority.  When Li Fan reached Si Prefecture (泗州, in modern Chuzhou, Anhui), which was part of Ganhua, Shi laid an ambush for him, which Li Fan was only able to escape due to the fervent fighting by the officer escorting him, Guo Yan ().  From that point on, the rivalry between Xuanwu and Ganhua became open warfare.  (Zhu was ultimately unable to take control of Huainan due to Yang's resistance and Shi's interference.)

In spring 888, the imperial government replaced Shi as the overall commander against Qin Zongquan with Zhu.  After Qin Zongquan suffered repeated defeats, his general Shen Cong () arrested him in late 888 and surrendered to Zhu.  This led to a dispute between Zhu and Shi over whose accomplishment it was that Qin was destroyed, and their relationship deteriorated even more.

Campaign against Zhu Quanzhong
With Qin Zongquan destroyed, Zhu Quanzhong was able to act against Shi Pu.  In spring 889, Zhu's officer Pang Shigu captured Suqian (宿遷, in modern Suqian, Jiangsu), and advanced onto Lüliang (呂梁, in modern Xuzhou).  Shi tried to engage him, but was defeated and forced to flee back to Xu Prefecture.  Another Xuanwu officer, Zhu Zhen () then captured Xiao (蕭縣, in modern Suzhou).  Zhu Quanzhong himself soon arrived, killed Zhu Zhen for killing another officer Li Tangbin (), and then tried to attack Shi himself, but encountered torrential rains and withdrew.  When Shi asked for aid from Li Keyong, Li Keyong sent his officer Shi Junhe () to aid Shi Pu.

In summer 890, Zhang Yun (), an officer at Su Prefecture, which had apparently fallen to Zhu Quanzhong earlier, expelled the Zhu Quanzhong-commissioned prefect Zhang Shaoguang () and reverted the allegiance to Shi Pu.  Zhu Quanzhong, in response, attacked Su Prefecture himself.  When Shi Pu tried to aid Zhang Yun by pillaging Dangshan (碭山, in modern Suzhou), Zhu Quanzhong sent his son Zhu Youyu to engage Shi Pu.  Zhu Youyu defeated Shi Pu, capturing Shi Junhe in the battle.

In summer 891, Zhu Quanzhong's officer Ding Hui put Su Prefecture under siege.  Zhang Yun surrendered to Ding in winter 891, and Shi Pu's officer Liu Zhijun subsequently surrendered to Zhu Quanzhong as well.  It was said that Liu's surrender dealt a heavy blow to Shi Pu's army, which was not able to recover from it.

The protracted warfare between Xuanwu and Ganhua laid waste the three prefectures that Ganhua still controlled at that point — Xu, Si, and Hao (濠州, in modern Chuzhou), leaving the farmers unable to farm and the food supplies dwindling, particularly in light of major flooding in spring 892.  Forces that Li Keyong, Zhu Xuan the military governor of Tianping Circuit (天平, headquartered in modern Tai'an, Shandong), and Zhu Xuan's cousin Zhu Jin the military governor of Taining Circuit (泰寧, headquartered in modern Jining, Shandong) sent were all unable to help Shi fight Zhu's attack off.  In spring 892, Shi sought a peaceful resolution, and Zhu agreed, but required that as part of the resolution, Shi be recalled to the imperial government and that the imperial government send a replacement for Shi.  When Zhu reported this resolution to the imperial government, then-reigning Emperor Zhaozong (Emperor Xizong's brother and successor) commissioned the chancellor Liu Chongwang as Shi's replacement and recalled Shi to Chang'an to serve as a senior advisor to the Crown Prince — an honorary position.  Shi, however, became fearful that Zhu was only intending to trick him into leaving Xu Prefecture and then kill him once he left, and therefore refused to yield his post to Liu.  Liu thus returned to Chang'an.

Meanwhile, Shi had sent an army south to capture Chu Prefecture (楚州, in modern Huai'an, Jiangsu), which Zhu had taken over.  In summer 892, Yang Xingmi sent his officers Zhang Xun () and Li Decheng to contend for Chu as well, and they defeated Shi's army and then captured Chu Prefecture, capturing its Zhu-commissioned prefect Liu Zan ().  In winter 892, Zhang Sui () the prefect of Hao Prefecture and Zhang Jian () the prefect of Si Prefecture surrendered to Zhu, leaving Shi only in control of Xu.  Zhu Quanzhong had sent Zhu Youyu to attack Tianping's Pu Prefecture (濮州, in modern Heze) earlier, and after Zhu Youyu captured Pu Prefecture around the same time, Zhu Quanzhong sent him to Xu to command the siege against Shi Pu.

In spring 893, Shi counterattacked and killed Guo Yan at Su Prefecture.  With Zhu Jin arriving with an aid force from Taining, Zhu Youyu and another Xuanwu officer, Huo Cun (), engaged Shi and Zhu Jin, defeating them.  Zhu Jin fled back to Taining, although Shi subsequently killed Huo in battle.  Subsequently, Zhu Youyu again put Xu Prefecture under siege, refusing to engage Shi when Shi challenged him.  Zhu Quanzhong's adoptive son Zhu Yougong () thus falsely accused Zhu Youyu of being complicit with Shi and Zhu Jin.  Zhu Quanzhong nearly killed Zhu Youyu, but subsequently released him and replaced him with Pang.  Pang continued to siege Xu for months and finally captured it.  Shi took his family and ascended Swallow Tower (), and then set a fire to kill themselves in the fire.  Zhu Quanzhong took over Ganhua.

References

 Old Book of Tang, vol. 182.
 New Book of Tang, vol. 188.
 ''Zizhi Tongjian', vols. 254, 255, 256, 257, 258, 259.

9th-century births
893 deaths
Tang dynasty nonimperial princes
Tang dynasty jiedushi of Wuning Circuit
Suicides in the Tang dynasty
Suicides by self-immolation
Politicians from Xuzhou
Tang dynasty generals from Jiangsu

Shi Pu


Lexical tokenization is conversion of a text into (semantically or syntactically) meaningful lexical tokens belonging to categories defined by a "lexer" program. In case of a natural language, those categories include nouns, verbs, adjectives, punctuations etc. In case of a programming language, the categories include identifiers, operators, grouping symbols and data types. Lexical tokenization is not the same process as the probabilistic tokenization, used for large language model's data preprocessing, that encode text into numerical tokens, using byte pair encoding.

Rule-based programs
A rule-based program, performing lexical tokenization, is called tokenizer, or scanner, although scanner is also a term for the first stage of a lexer. A lexer forms the first phase of a compiler frontend in processing. Analysis generally occurs in one pass. Lexers and parsers are most often used for compilers, but can be used for other computer language tools, such as prettyprinters or linters. Lexing can be divided into two stages: the scanning, which segments the input string into syntactic units called lexemes and categorizes these into token classes; and the evaluating, which converts lexemes into processed values.

Lexers are generally quite simple, with most of the complexity deferred to the parser or semantic analysis phases, and can often be generated by a lexer generator, notably lex or derivatives. However, lexers can sometimes include some complexity, such as phrase structure processing to make input easier and simplify the parser, and may be written partly or fully by hand, either to support more features or for performance.

Disambiguation of "lexeme"

What is called "lexeme" in rule-based natural language processing is not equal to what is called lexeme in linguistics. What is called "lexeme" in rule-based natural language processing can be equal to the linguistic equivalent only in analytic languages, such as English, but not in highly synthetic languages, such as fusional languages. What is called a lexeme in rule-based natural language processing is more similar to what is called a word in linguistics (not to be confused with a word in computer architecture), although in some cases it may be more similar to a morpheme.

Lexical token and lexical tokenization

A lexical token is a string with an assigned and thus identified meaning, in contrast to the probabilistic token used in large language models. Lexical token consists of a token name and an optional token value. The token name is a category of a rule-based lexical unit. Common token names include:
 identifier: names the programmer chooses;
 keyword: names already in the programming language;
 separator (also known as punctuators): punctuation characters and paired-delimiters;
 operator: symbols that operate on arguments and produce results;
 literal: numeric, logical, textual, reference literals;
 comment: line, block (Depends on the compiler if compiler implements comments as tokens otherwise it will be stripped);
 whitespace: groups of non-printable characters. This kind of token is almost always discarded.

Consider this expression in the C programming language:

The lexical analysis of this expression yields the following sequence of tokens:
 [(identifier, x), (operator, =), (identifier, a), (operator, +), (identifier, b), (operator, *), (literal, 2), (separator, ;)]

A token name is what might be termed a part of speech in linguistics.

Lexical tokenization is conversion of a raw text into (semantically or syntactically) meaningful lexical tokens, belonging to categories defined by a "lexer" program, such as identifiers, operators, grouping symbols and data types. The resulting tokens are then passed on to some other form of processing. The process can be considered a sub-task of parsing input.

For example, in the text string:
 The quick brown fox jumps over the lazy dog

the string isn't implicitly segmented on spaces, as a natural language speaker would do. The raw input, the 43 characters, must be explicitly split into the 9 tokens with a given space delimiter (i.e., matching the string " " or regular expression /\s{1}/).

When a token class represents more than one possible lexeme, the lexer often saves enough information to reproduce the original lexeme, so that it can be used in semantic analysis. The parser typically retrieves this information from the lexer and stores it in the abstract syntax tree. This is necessary in order to avoid information loss in the case where numbers may also be valid identifiers.

Tokens are identified based on the specific rules of the lexer. Some methods used to identify tokens include: regular expressions, specific sequences of characters termed a flag, specific separating characters called delimiters, and explicit definition by a dictionary. Special characters, including punctuation characters, are commonly used by lexers to identify tokens because of their natural use in written and programming languages.  A lexical analyzer generally does nothing with combinations of tokens, a task left for a parser. For example, a typical lexical analyzer recognizes parentheses as tokens, but does nothing to ensure that each "(" is matched with a ")".

When a lexer feeds tokens to the parser, the representation used is typically an enumerated list of number representations. For example, "Identifier" is represented with 0, "Assignment operator" with 1, "Addition operator" with 2, etc.

Tokens are defined often by regular expressions, which are understood by a lexical analyzer generator such as lex. The lexical analyzer (generated automatically by a tool like lex, or hand-crafted) reads in a stream of characters, identifies the lexemes in the stream, and categorizes them into tokens. This is termed tokenizing. If the lexer finds an invalid token, it will report an error.

Following tokenizing is parsing. From there, the interpreted data may be loaded into data structures for general use, interpretation, or compiling.

Lexical grammar

The specification of a programming language often includes a set of rules, the lexical grammar, which defines the lexical syntax. The lexical syntax is usually a regular language, with the grammar rules consisting of regular expressions; they define the set of possible character sequences (lexemes) of a token. A lexer recognizes strings, and for each kind of string found the lexical program takes an action, most simply producing a token.

Two important common lexical categories are white space and comments. These are also defined in the grammar and processed by the lexer, but may be discarded (not producing any tokens) and considered non-significant, at most separating two tokens (as in if x instead of ifx). There are two important exceptions to this. First, in off-side rule languages that delimit blocks with indenting, initial whitespace is significant, as it determines block structure, and is generally handled at the lexer level; see phrase structure, below. Secondly, in some uses of lexers, comments and whitespace must be preserved – for examples, a prettyprinter also needs to output the comments and some debugging tools may provide messages to the programmer showing the original source code. In the 1960s, notably for ALGOL, whitespace and comments were eliminated as part of the line reconstruction phase (the initial phase of the compiler frontend), but this separate phase has been eliminated and these are now handled by the lexer.

Details

Scanner
The first stage, the scanner, is usually based on a finite-state machine (FSM). It has encoded within it information on the possible sequences of characters that can be contained within any of the tokens it handles (individual instances of these character sequences are termed lexemes). For example, an integer lexeme may contain any sequence of numerical digit characters.  In many cases, the first non-whitespace character can be used to deduce the kind of token that follows and subsequent input characters are then processed one at a time until reaching a character that is not in the set of characters acceptable for that token (this is termed the maximal munch, or longest match, rule). In some languages, the lexeme creation rules are more complex and may involve backtracking over previously read characters. For example, in C, one 'L' character is not enough to distinguish between an identifier that begins with 'L' and a wide-character string literal.

Evaluator
A lexeme, however, is only a string of characters known to be of a certain kind (e.g., a string literal, a sequence of letters). In order to construct a token, the lexical analyzer needs a second stage, the evaluator, which goes over the characters of the lexeme to produce a value. The lexeme's type combined with its value is what properly constitutes a token, which can be given to a parser. Some tokens such as parentheses do not really have values, and so the evaluator function for these can return nothing: only the type is needed. Similarly, sometimes evaluators can suppress a lexeme entirely, concealing it from the parser, which is useful for whitespace and comments. The evaluators for identifiers are usually simple (literally representing the identifier), but may include some unstropping. The evaluators for integer literals may pass the string on (deferring evaluation to the semantic analysis phase), or may perform evaluation themselves, which can be involved for different bases or floating point numbers. For a simple quoted string literal, the evaluator needs to remove only the quotes, but the evaluator for an escaped string literal incorporates a lexer, which unescapes the escape sequences.

For example, in the source code of a computer program, the string

might be converted into the following lexical token stream; whitespace is suppressed and special characters have no value:
 IDENTIFIER net_worth_future
 EQUALS
 OPEN_PARENTHESIS
 IDENTIFIER assets
 MINUS
 IDENTIFIER liabilities
 CLOSE_PARENTHESIS
 SEMICOLON

Due to licensing restrictions of existing parsers, it may be necessary to write a lexer by hand. This is practical if the list of tokens is small, but in general, lexers are generated by automated tools. These tools generally accept regular expressions that describe the tokens allowed in the input stream. Each regular expression is associated with a production rule in the lexical grammar of the programming language that evaluates the lexemes matching the regular expression. These tools may generate source code that can be compiled and executed or construct a state transition table for a finite-state machine (which is plugged into template code for compiling and executing).

Regular expressions compactly represent patterns that the characters in lexemes might follow. For example, for an English-based language, an IDENTIFIER token might be any English alphabetic character or an underscore, followed by any number of instances of ASCII alphanumeric characters and/or underscores. This could be represented compactly by the string . This means "any character a-z, A-Z or _, followed by 0 or more of a-z, A-Z, _ or 0-9".

Regular expressions and the finite-state machines they generate are not powerful enough to handle recursive patterns, such as "n opening parentheses, followed by a statement, followed by n closing parentheses." They are unable to keep count, and verify that n is the same on both sides, unless a finite set of permissible values exists for n. It takes a full parser to recognize such patterns in their full generality. A parser can push parentheses on a stack and then try to pop them off and see if the stack is empty at the end (see example in the Structure and Interpretation of Computer Programs book).

Obstacles
Typically, lexical tokenization occurs at the word level. However, it is sometimes difficult to define what is meant by a "word". Often a tokenizer relies on simple heuristics, for example:
 Punctuation and whitespace may or may not be included in the resulting list of tokens.
 All contiguous strings of alphabetic characters are part of one token; likewise with numbers.
 Tokens are separated by whitespace characters, such as a space or line break, or by punctuation characters.

In languages that use inter-word spaces (such as most that use the Latin alphabet, and most programming languages), this approach is fairly straightforward. However, even here there are many edge cases such as contractions, hyphenated words, emoticons, and larger constructs such as URIs (which for some purposes may count as single tokens). A classic example is "New York-based", which a naive tokenizer may break at the space even though the better break is (arguably) at the hyphen.

Tokenization is particularly difficult for languages written in scriptio continua which exhibit no word boundaries such as Ancient Greek, Chinese, or Thai. Agglutinative languages, such as Korean, also make tokenization tasks complicated.

Some ways to address the more difficult problems include developing more complex heuristics, querying a table of common special-cases, or fitting the tokens to a language model that identifies collocations in a later processing step.

Lexer generator

Lexers are often generated by a lexer generator, analogous to parser generators, and such tools often come together. The most established is lex, paired with the yacc parser generator, or rather some of their many reimplementations, like flex (often paired with GNU Bison). These generators are a form of domain-specific language, taking in a lexical specification – generally regular expressions with some markup – and emitting a lexer.

These tools yield very fast development, which is very important in early development, both to get a working lexer and because a language specification may change often. Further, they often provide advanced features, such as pre- and post-conditions which are hard to program by hand. However, an automatically generated lexer may lack flexibility, and thus may require some manual modification, or an all-manually written lexer.

Lexer performance is a concern, and optimizing is worthwhile, more so in stable languages where the lexer is run very often (such as C or HTML). lex/flex-generated lexers are reasonably fast, but improvements of two to three times are possible using more tuned generators. Hand-written lexers are sometimes used, but modern lexer generators produce faster lexers than most hand-coded ones. The lex/flex family of generators uses a table-driven approach which is much less efficient than the directly coded approach. With the latter approach the generator produces an engine that directly jumps to follow-up states via goto statements. Tools like re2c have proven to produce engines that are between two and three times faster than flex produced engines. It is in general difficult to hand-write analyzers that perform better than engines generated by these latter tools.

Phrase structure
Lexical analysis mainly segments the input stream of characters into tokens, simply grouping the characters into pieces and categorizing them. However, the lexing may be significantly more complex; most simply, lexers may omit tokens or insert added tokens. Omitting tokens, notably whitespace and comments, is very common, when these are not needed by the compiler. Less commonly, added tokens may be inserted. This is done mainly to group tokens into statements, or statements into blocks, to simplify the parser.

Line continuation
Line continuation is a feature of some languages where a newline is normally a statement terminator. Most often, ending a line with a backslash (immediately followed by a newline) results in the line being continued – the following line is joined to the prior line. This is generally done in the lexer: the backslash and newline are discarded, rather than the newline being tokenized. Examples include bash, other shell scripts and Python.

Semicolon insertion
Many languages use the semicolon as a statement terminator. Most often this is mandatory, but in some languages the semicolon is optional in many contexts. This is mainly done at the lexer level, where the lexer outputs a semicolon into the token stream, despite one not being present in the input character stream, and is termed semicolon insertion or automatic semicolon insertion. In these cases, semicolons are part of the formal phrase grammar of the language, but may not be found in input text, as they can be inserted by the lexer. Optional semicolons or other terminators or separators are also sometimes handled at the parser level, notably in the case of trailing commas or semicolons.

Semicolon insertion is a feature of BCPL and its distant descendant Go, though it is absent in B or C. Semicolon insertion is present in JavaScript, though the rules are somewhat complex and much-criticized; to avoid bugs, some recommend always using semicolons, while others use initial semicolons, termed defensive semicolons, at the start of potentially ambiguous statements.

Semicolon insertion (in languages with semicolon-terminated statements) and line continuation (in languages with newline-terminated statements) can be seen as complementary: semicolon insertion adds a token, even though newlines generally do not generate tokens, while line continuation prevents a token from being generated, even though newlines generally do generate tokens.

Off-side rule

The off-side rule (blocks determined by indenting) can be implemented in the lexer, as in Python, where increasing the indenting results in the lexer emitting an INDENT token, and decreasing the indenting results in the lexer emitting one or more DEDENT tokens. These tokens correspond to the opening brace { and closing brace } in languages that use braces for blocks, and means that the phrase grammar does not depend on whether braces or indenting are used. This requires that the lexer hold state, namely a stack of indent levels, and thus can detect changes in indenting when this changes, and thus the lexical grammar is not context-free: INDENT–DEDENT depend on the contextual information of prior indent levels.

Context-sensitive lexing
Generally lexical grammars are context-free, or almost so, and thus require no looking back or ahead, or backtracking, which allows a simple, clean, and efficient implementation. This also allows simple one-way communication from lexer to parser, without needing any information flowing back to the lexer.

There are exceptions, however. Simple examples include: semicolon insertion in Go, which requires looking back one token; concatenation of consecutive string literals in Python, which requires holding one token in a buffer before emitting it (to see if the next token is another string literal); and the off-side rule in Python, which requires maintaining a count of indent level (indeed, a stack of each indent level). These examples all only require lexical context, and while they complicate a lexer somewhat, they are invisible to the parser and later phases.

A more complex example is the lexer hack in C, where the token class of a sequence of characters cannot be determined until the semantic analysis phase, since typedef names and variable names are lexically identical but constitute different token classes. Thus in the hack, the lexer calls the semantic analyzer (say, symbol table) and checks if the sequence requires a typedef name. In this case, information must flow back not from the parser only, but from the semantic analyzer back to the lexer, which complicates design.

See also
 Lexicalization
 Lexical semantics
 List of parser generators

References

Sources

 Compiling with C# and Java, Pat Terry, 2005,
 Algorithms + Data Structures = Programs, Niklaus Wirth, 1975,
 Compiler Construction, Niklaus Wirth, 1996,
 Sebesta, R. W. (2006). Concepts of programming languages (Seventh edition) pp. 177. Boston: Pearson/Addison-Wesley.

External links

 Word Mention Segmentation Task, an analysis

Compiler construction
Programming language implementation
Parsing

Lexical analysis


Final Assembly Schedule, often abbreviated as FAS and sometimes referred to as finishing schedule, is a schedule of end items to finish the product for specific customer orders in a make to order (MTO) or assemble-to-order (ATO) environment.

Overview
Finishing schedule may involve assembly but also final mixing, cutting, packaging etc. The FAS is prepared after receipt of customer order. FAS schedules the operations required to complete the product from the level where it is stocked (or master-scheduled) to the end-item level.

Final assembly schedule (FAS) entries are needed when end products do not appear in the MPS. These end items are assembled to order or have several customer options that can be combined in various configurations. These products belong to the category of products with variants and options wherein many shippable end-item products are assembled from few standard components (in modular construction and modular design). For these products, two different schedules are required: master production schedule (MPS) for end-item components and final assembly schedules (FAS) for shippable products.

Assembly-to-order
FAS controls the portion of the business from fabricated components and sub-assemblies planned on the basis of forecast to customer-ordered shippable products in ATO environments.

Make-to-order
In MTO business, it states the specific schedule for satisfying customer orders.

Make-to-stock
In make-to-stock (MTS) final assembly schedule is not needed as the MPS itself plans the end item.

Activities included in FAS
The final assembly schedule serves to plan and control final assembly and test operations. The following activities are generally included in the FAS:
a) launching of final assembly orders,
b) picking of components parts,
c) sub-assembly,
d) painting or other finishing operations
e) scheduling   the fabrication or purchase of any components not under MPS control but
needed in final assembly
f) packing

Product characteristics
The final assembly schedule is usually used for products that
a) have relatively low volume
b) are highly customized
c) have short producrement or manufacturing lead-time

References
Khalid Sheikh (2003) 'Manufacturing resource planning (MRP II): with introduction to ERP, SCM and CRM'. New York: McGraw-Hill Companies.

Information technology management
Computer-aided engineering
Enterprise resource planning terminology
Business terms
Manufacturing

Final assembly schedule


Cliff Roquemore (28 September 1948 – 5 February 2002) was an American writer, producer and director. Principally active in Detroit theater, he was also involved with the production of several blaxploitation films, including The Human Tornado (1976), Petey Wheatstraw (1978) and Disco Godfather (1979).

Roquemore also wrote the musical, The Gospel Truth, which toured nationally, winning NAACP Image Awards. He also directed Eartha Kitt's one-woman show in 1990. He died of cancer in 2002.

References

External links

1948 births
2002 deaths
Writers from Detroit
African-American film directors
African-American dramatists and playwrights
African-American theater directors
American theatre directors
Blaxploitation film directors
20th-century African-American people
21st-century African-American people
Wayne State University alumni

Cliff Roquemore


In probability theory and statistics, the noncentral F-distribution is a continuous  probability distribution that is a noncentral generalization of the (ordinary) F-distribution. It describes the distribution of the quotient (X/n1)/(Y/n2), where the numerator X has a noncentral chi-squared distribution with n1 degrees of freedom and the denominator Y has a central chi-squared distribution with n2 degrees of freedom. It is also required that X and Y are statistically independent of each other.

It is the distribution of the test statistic in analysis of variance problems when the null hypothesis is false.  The noncentral F-distribution is used to find the power function of such a test.

Occurrence and specification
If  is a noncentral chi-squared random variable with noncentrality parameter  and  degrees of freedom, and  is a chi-squared random variable with  degrees of freedom that is statistically independent of , then

is a noncentral F-distributed random variable.
The probability density function (pdf) for the noncentral F-distribution is

when  and zero otherwise.
The degrees of freedom  and  are positive.
The term  is the beta function, where

The cumulative distribution function for the noncentral F-distribution is

where  is the regularized incomplete beta function.

The mean and variance of the noncentral F-distribution are

and

Special cases
When λ = 0, the noncentral F-distribution becomes the
F-distribution.

Related distributions
Z has a noncentral chi-squared distribution if

where F has a noncentral F-distribution.

See also noncentral t-distribution.

Implementations
The noncentral F-distribution is implemented in the R language (e.g., pf function), in MATLAB (ncfcdf, ncfinv, ncfpdf, ncfrnd and ncfstat functions in the statistics toolbox) in Mathematica (NoncentralFRatioDistribution function), in NumPy (random.noncentral_f), and in Boost C++ Libraries.

A collaborative wiki page implements an interactive online calculator, programmed in the R language, for the noncentral t, chi-squared, and F distributions, at the Institute of Statistics and Econometrics, School of Business and Economics, Humboldt-Universität zu Berlin.

Notes

References

Continuous distributions
F

Noncentral F-distribution


Hideout Chicago, also known as Hideout Inn, is a music venue and former factory bar located in an industrial area between the Lincoln Park and Bucktown neighborhoods of Chicago in the Elston Avenue Industrial Corridor. It has been a key Chicago live music venue since it was purchased by friends Tim and Katie Tuten and Mike and Jim Hinchsliff in 1996. When not hosting live music or other events, for some years the Hideout continued to operate as a local neighborhood bar, but as of 2018 is only open in the evenings.

History

The Hideout is a balloon-frame house built in 1881 as a boarding house for nearby factory workers. In 1916, the building became a public house, which began serving alcohol around 1919 as a prohibition-era neighborhood tavern and speakeasy. In 1934, after Prohibition ended, it became a legal bar with the name the "Hideout". Anecdotally, it came to be called the "Hideout" because of its remote location in an industrial, non-residential zone filled with factories and warehouses next to where the Chicago Department of Fleet Management stored snow plows until about 2016.

In 1947, Angelo "Sax" Favia took over the Hideout. His nephew Phil Favia and Phil's wife Eleanor "Chuckie" Favia helped Sax build the back room with their honeymoon money in 1954. The Favia family ran the Hideout as an unmarked bar until 1996, during which time it was frequented by locals employed in area warehouses and factories such as U.S. Steel and Procter & Gamble.

Phil Favia died in 1994; in 1996, Eleanor Favia sold the bar to Tim Tuten, a Chicago Public Schools teacher, his wife Katie Tuten, who worked for Catholic Charities, and identical twin brothers Mike Hinchsliff, a paper salesman, and Jim Hinchsliff, a financial analyst. Katie Tuten's father had been a regular at The Hideout when it was an unmarked bar whose location was not widely shared. Once she found the bar around 1986, she and Tim Tuten became regulars there. As of the end of 2019, the Tutens and Hinchsliffs continue to co-own and co-run the Hideout.  In 2020, Katie Tuten used her experience as co-chair of the Chicago Independent Venue League (CIVL) to help found the National Independent Venue Association (NIVA), which campaigns for public funding to help keep performance venues, such as the Hideout, solvent during the COVID-19 pandemic.

As of 2018, the Hideout has a patio-like front porch with picnic table seating, a front bar located in the original building, and a back performance area inside the 1954 addition.

North Branch Industrial Corridor
Hideout Chicago is located in Chicago's North Branch Industrial Corridor, an area that had been zoned and used for manufacturing and other industrial purposes. In July 2017, the city of Chicago passed an ordinance allowing much of the North Branch Industrial Corridor to be zoned for mixed-use development. There are concerns that the Hideout could be impacted by proposed "Lincoln Yards" development of the area but, , the Hideout plans to stay in business.

Programming and events
Hideout Chicago is best known for its music performances. Regular performers include house band Devil in a Woodpile and Robbie Fulks, who was an artist-in-residence from 2011 until 2017.

The Hideout Block Party was a weekend-long music festival held almost every year between 1996 and 2017. The Hideout Block Party started as a small party with a few hundred attendees and later drew upwards of 7000 attendees.

Hideout Chicago also hosts a number of non-music events. Regular community events include Soup & Bread, started by Martha Bayne, which has since spread to other cities; First Tuesdays, hosted by Chicago Reader reporter Ben Joravsky and ProPublica reporter Mick Dumke; and The Interview Show hosted by Mark Bazer.

Awards and honors
In 2017, the Chicago Tribune compared spending time at the Hideout to being in a tavern that resembles the family living room, albeit with legendary music in the back lounge. Listing Hideout Chicago as one of the top 10 must-visit places in Chicago, The Guardian called it a beloved local bar that is both friendly and a musical institution. The Hideout has also been recognized nationally in several lists:
 2006: Esquire, Best Bars in America
 2011: Esquire, The Best Bars in America
 2015: USA Today, Top 10 Best Small Music Venues in America
 2016: Consequence of Sound, #20 in "The Greatest American Music Venues"

References

Further reading

External links

Buildings and structures in Chicago
Music venues in Chicago
Nightclubs in Chicago
Houses completed in 1890
Music venues completed in 1933

The Hideout Inn


Totaram Sanadhya (1876–1947) was deceitfully recruited as an indentured labourer from India and brought to Fiji in 1893. He spent five years working as a bonded labourer but was never afraid to fight for his rights. After completing his indenture he established himself as a small farmer and a Hindu priest but spent most of his time trying to assist the less fortunate still under the bondage of indenture. He sought the help of Indian freedom fighters and missionaries and encouraged the migration to Fiji of Indian teachers and lawyers who, he believed, could improve the plight of Indians in Fiji. After living in Fiji for twenty-one years, he returned to India, in 1914, and wrote about his experience in the book, "My Twenty-One Years in the Fiji Islands" (Hindi). This book was used as the main source of information in the campaign to end the Indian indenture system.

Early life
Sanadhya was born in Hirangaon in the district of Firozabad, Uttar Pradesh, India in 1876. In 1887, his father died and soon his father's assets were taken over by unscrupulous money lenders. His elder brother left home to earn money to support his brothers and mother. The family lived in poverty and Sanadhya saw himself as a burden to his mother so in 1893 he left home to look for work.

One day he was recruited from the local market with the promise an easy job with good pay. He was told to lie to the magistrate who registered him as an indentured labourer. Although a Brahmin, Sanadhya was registered as a Thakur to increase his chances of being recruited. He was taken to a depot in Calcutta, where he changed his mind about going to Fiji but was locked up until he accepted his fate. Sanadhya, together with 500 others, arrived in Fiji on 28 May 1893 abroad the Jumna. At the quarantine station on Nukulau Island, he again protested about his treatment but was thrown into a boat and taken to the Colonial Sugar Refining Company's Nausori Plantation.
Life on the plantation was tough for Sanadhya, who found that due to the hard work that he was doing, the weekly ration he was supplied with was exhausted in only four days. For the other three days he had to go hungry or ask free Indians for food. In his writings, he has not been ashamed to admit that he resorted to faking ill-health to avoid a full task and use his power of persuasion to get extra rations. Although he suffered abuse from overseers like the other labourers, he was not afraid to fight back and on at least one occasion assaulted an overseer.

Life as a free man in Fiji
After five years of indenture, when Sanadhya became a free man, he did not have any money but owed fifteen shillings. He then borrowed some money, leased some land and became a cane farmer. Eager to improve his skills, Sanadhya learned the Fijian language, acquired carpentry and metalwork skills and took up photography. His intention was to take actual photographs of atrocities being suffered by Indians and have them published in a newspaper, but his camera was stolen while on a trip to Suva (the capital of Fiji), under suspicious circumstances, and his suspicion was confirmed when he was barred from meeting with indentured labourers in most estates.

Sanadhya knew that farming alone would not provide him with enough income, so he decided to become a pundit (priest). He could read and write in Hindi but needed religious books to educate himself. There were very few such books available in Fiji at that time and he arranged, with a European merchant, to import these books. As commission, he received a set of religious books from the merchant. He educated himself and started working as a pundit and very soon had a following in the Rewa area. Sanadhya was responsible for the first Ram Lila organised in Navua in 1902.  When he had earned enough as a free person, he handed over the running of his farm to labourers and he toured the estates, trying to help the Indian labourers. He would sit outside the boundary of the estates singing religious songs and when people from the plantation came out to listen to him he would stop singing and discuss their problems.

Political activities
In 1910, a petition asking for political representation and education, written by Sanadhya in Hindi, and signed by 200 Suva and Rewa Indians, was submitted to the Governor. In 1911, following a severe hurricane that had brought much hardship to the Fiji Indians in the Central Division of Fiji, the British Indian Association of Fiji was formed. The Association discussed grievances such as the lack of educated leadership amongst the Indians and the dependence on European lawyers and authorised Sanadhya to write a letter to Gandhi to send an Indian barrister to Fiji.  Gandhi was moved by this appeal and published this request in the Indian Opinion, from where it came to the attention of Manilal Doctor in Mauritius. Manilal exchanged letters with Totaram Sanadhya, who organised for collection of money for Manilal's fare and law books and made arrangements for his stay in Fiji. In 1912 he sent a telegram to support Gokhale's resolution in the Legislative Council of India for an end to the Indenture system.

Later life
He left for India on 27 March 1914. His departure from Fiji was a major event, even gaining the attention of the European Press. On his return to India, he toured different parts of India and also made a speech at the Madras session of the Indian National Congress. He published his experiences in Fiji in the book, My twenty-One Years in the Fiji Islands (in Hindi) in 1914. The book was banned in Fiji but received wide publicity in India and was published in several Indian languages and even a drama was based on it. Several stories in the book, especially Kunti's experiences, aroused a lot of passion and the call for an end to indenture. Sanadhya joined Mahatma Gandhi at the Sabarmati Ashram in 1922, with other followers of Gandhi. After a long illness, he died in 1947.

See also
 Hermann Kallenbach
 Sarvodaya

References

Bibliography

1876 births
1947 deaths
Emigrants from British India
Immigrants to Fiji
Indo-Fijian writers
People from Firozabad district
Fijian Hindus

Totaram Sanadhya


A perennial stream or perennial river is a stream or river (channel) which always flows in some parts all year round during years of normal rainfall. Perennial streams are different to intermittent streams; which normally stop flowing for weeks or months each year. They are also different to ephemeral streams that flow only for hours or days after rainfall. During unusually dry years a perennial stream may stop flowing. In a drought, they may not flow for months. The differences between perennial, intermittent, and ephemeral streams are not exact and can change if different measures are used by different groups.

In dry weather it may not be possible to see the water flowing, or see any water at all. In streams with gravel, sandy or rock bottoms, the water may be flowing beneath or between the rocks. In biology, a stream is flowing if there is enough water to support aquatic life, including fish and gill-breathing amphibians, benthic insects, crustaceans, and mollusks. These can live in a shallow flow beneath rocks or logs. The flow may be so small that it can not be measured by stream flow measurement instruments.

References

Bodies of water
Rivers

Perennial stream


Daniel E. Gawthrop (born 1949 in Fort Wayne, Indiana) is an American composer, primarily of choral music. His output also includes a substantial body of works for the organ as well as orchestral and instrumental works. He has been the recipient of over one hundred commissions to write original music. His works have been published by Warner Brothers, Theodore Presser, Sacred Music Press, and others.

Biography

Gawthrop attended Michigan State University, and Brigham Young University.

He served for three years as Composer-in-Residence to the Fairfax Symphony Orchestra (of Fairfax, Virginia, a suburb of Washington, D.C.) and has been the recipient of four grants from the Barlow Endowment for Musical Composition. He has been commissioned by various institutions including the American Choral Directors Association through their Brock Commission, and has had works première in the Concert Hall of the John F. Kennedy Center for the Performing Arts, the Salt Lake City Mormon Tabernacle, and Washington National Cathedral. His choral pieces have been performed and recorded by such eminent ensembles as the United States Air Force Singing Sergeants, the Gregg Smith Singers, the Turtle Creek Chorale, the Paul Hill Chorale, the American Boychoir, the Mormon Tabernacle Choir, the Cathedral Choral Society (of Washington National Cathedral), Thomas Circle Singers, and hundreds of other groups in the U.S. and abroad. From 1985 to 1987 Gawthrop worked as a radio announcer for KBYU

In 1991, he established his own publishing company, Dunstan House.

In addition to his work as a composer, Gawthrop has been active as a broadcaster, clinician and adjudicator, organist, conductor, teacher and writer, including a period as music critic for The Washington Post. Gawthrop is a Life Member of the American Choral Directors Association, a member of the American Guild of Organists, and a member of Phi Mu Alpha Sinfonia, the music fraternity, of which he is the 2018 Charles E. Lutton Man of Music Award recipient.

The bulk of his organ works have been recorded on two commercially available CDs. The first, Exultate, was performed by Mary Mozelle on the Princeton University Chapel organ. The second disc, Like a Fire, was performed by David Pickering on the Bales Recital Hall organ at the University of Kansas at Lawrence. The Utah State University Chamber Choir, conducted by Cory Evans, recorded a CD containing much of Gawthop's choral work, called Show Me Thy Ways.

From 2015 to 2019 Gawthrop was the Composer-In-Residence of Renaissance Men, New England's professional male vocal chamber ensemble. The ensemble has commissioned multiple works and has recorded and performed the majority of Gawthrop's men's ensemble repertoire.

Gawthrop resides in southern Idaho with his wife. The couple has five adult children.

References

External links
Dunstan House website

1949 births
Living people
Brigham Young University alumni
Brigham Young University staff
Latter Day Saints from Indiana
20th-century classical composers
American male classical composers
American classical composers
Musicians from Fort Wayne, Indiana
Michigan State University alumni
20th-century American composers
Latter Day Saints from Michigan
Latter Day Saints from Virginia
Latter Day Saints from Idaho
Latter Day Saints from Utah
Latter Day Saints from Tennessee

Daniel E. Gawthrop


Martin Ravallion (19 March 1952 – 24 December 2022) was an Australian economist. He was the inaugural Edmond D. Villani Professor of Economics at Georgetown University, and had previously been director of the research department at the World Bank. He held a PhD in economics from the London School of Economics.

Life and career
Ravallion researched extensively on poverty in developing countries and on policies for fighting poverty. In 1990 he proposed what has come to be known as the "$1 a day" poverty line, and since then he and his colleagues at the World Bank monitored progress against global poverty by this and other measures. A paper he wrote in 2012 became the basis of the World Bank, and subsequently United Nations, development goal of eliminating extreme poverty in the world by 2030. He advised numerous governments and international agencies, and wrote five books and 250 papers in scholarly journals, as well as editing several volumes. His book The Economics of Poverty: History, Measurement, and Policy was published by Oxford University Press in January 2016.

Based on publications and citations, Ravallion is regularly ranked in the top 10 development economists in the world and was ranked  number 1 globally in the field of Development Economics by RePEc/IDEAS. He is ranked in the top 100 economists in all fields.
He was a research associate of the National Bureau of Economic Research, a senior fellow of the Bureau for Research in Economic Analysis of Development, a non-resident fellow of the Center for Global Development, and ex-president of the society for the Study of Economic Inequality. In 2011 he received the John Kenneth Galbraith Award from the American Agricultural and Applied Economics Association. He won the 2015 BBVA Foundation Frontiers of Knowledge Award in Development Cooperation for his groundbreaking work on defining the extreme poverty threshold with internationally applicable standards that facilitate the establishment of specific development cooperation goals. In 2018 he was awarded an honorary doctorate in economics from the University of Fribourg, Switzerland.

Ravallion died on 24 December 2022, at the age of 70.

Selected bibliography

Books

Chapters in books

References

External links
Georgetown University profile
Economics & Poverty - Martin Ravallion's Website on the Economics of Poverty

1952 births
2022 deaths
Australian economists
Center for Global Development
Development economists
Georgetown University faculty
World Bank Chief Economists
World Bank people

Martin Ravallion


The Musée Maritime, Fluvial et Portuaire de Rouen (English: Maritime, Fluvial and Harbor Museum of Rouen) is a museum in France. It is about the history of the port of Rouen, which is one the greatest ports of France. The main themes are:
 the history of the port with photos
 the infrastructures of the port
 the greatest sail ships of Rouen
 the merchant navy
 river navigation
 ship building
 whale hunting
 the history of the submarines, with a reproduction of the interior of the Nautilus from Robert Fulton

It is possible to see a 38 meter long barge which can be visited, trawler and barge motors and a whale skeleton.

The museum is in a former hangar of the port, not far from the new bridge.

Other websites
 'Musée Maritime, Fluvial et Portuaire de Rouen  Official site.

Museums in France
Rouen


Julius Carlebach (28 December 1922 in Hamburg, died 16 April 2001 in Brighton, UK) was a German-British rabbi and professor of sociology and history.

Biography
He was the grandson of Rabbi Salomon Carlebach (1845–1919) and his wife Esther Carlebach, part of the Carlebach family of prominent German Jews.

Much of his family was imprisoned in the Jungfernhof concentration camp in Latvia. Julius and a sister escaped the concentration camps, being taken in by British foster families via the Kindertransport.

Carlebach went to school in London, and was a sailor in the Royal Navy for ten years and managed an orphanage for Jewish children in Norwood. At the orphanage, he met South African teacher Myrna Landau, whom he married. In 1959 he went to Kenya, where he worked until 1963 in Nairobi and also served as rabbi and wrote about the Jewish community in that nation. In Kenya, the couple's two sons were born, Joseph Zvi Carlebach and Ezriel Carlebach.

From 1964 he was a research student at the University of Cambridge and then taught at the University of Bristol. In 1968 he took over the job of Associate Professor of Sociology and Israel Studies at the University of Sussex in Brighton. There he also headed the Department of Sociology. In 1989 he worked at the College of Jewish Studies in Heidelberg; he was its rector until 1997.

Carlebach was a board member of the Leo Baeck Institute in 1992.

Honors
In 1994, Carlebach received the Order of Merit of the Federal Republic of Germany.

Selected works
Books
The Jews of Nairobi. Nairobi 1962nd
Caring for Children in Trouble. London 1970.
Judaism in the German environment. Tübingen 1977.
Karl Marx and the Radical Critique of Judaism. London, Routledge and Kegan Paul, 1978, .
Second Chance: Two Centuries Of German-speaking Jews in the United Kingdom edited by Werner E. Mosse, Julius Carlebach, Gerhard Hirschfeld, Aubrey Newman, Arnold Paucker, Peter Pulzer, J.C.B. Mohr, London, 1991.
Problems of the Jewish University life. London 1981.
Orthodox Jewry in Germany - the Final Stages of Tübingen 1986.
On the history of the Jewish woman in Germany. (Ed.), Berlin 1993.

Articles or Essays
  "Juvenile prostitutes in Nairobi". East Africa Studies, Vol 16 (1962)
 "Family relationships of deprived and non-deprived Kikuyu children from polygamous marriages." Journal of Tropical Pediatrics (1967) Vol. 13, no. 4, pp. 185–200.
 "The Forgotten Connection: Women and Jews in the Conflict between Enlightenment and Romanticism". Leo Baeck Institute Yearbook (1979) Vol. 24, no. 1, pp 107–138

References

Julius
Kindertransport refugees
Jewish sociologists
Commanders Crosses of the Order of Merit of the Federal Republic of Germany
1922 births
2001 deaths
Royal Navy sailors
Alumni of the University of Cambridge
British sociologists
20th-century British rabbis
20th-century British educators
Jungfernhof concentration camp survivors
Jewish emigrants from Nazi Germany to the United Kingdom

Julius Carlebach


Siue Moffat (born September 5, 1973) is a chocolatier,  cookbook author, filmmaker, zine maker, video activist and film archivist. She was very involved in the punk community (DIY ethic)- doing volunteer administrative work on the "Book Your Own Fucking Life" site (a free online resource for independent artists and promoters, once a hard copy zine published by Maximumrocknroll), and wrote columns about archiving media in the deceased magazine HeartattaCk. A longtime vegan, Siue published one of the first vegan dessert cookbooks in 2003. She also started the first vegan chocolate company in Canada - Boardwalk Chocolates.

Bibliography
 Fascinating Folks #1 (2012) with Antoine (Pumpkin Pie Press)
 The Day I Stopped Being Punk (2011) with illustrations by Antoine (Pumpkin Pie Press)
 Lickin' the Beaters 2: Vegan Chocolate and Candy, PM Press (2010)
 Lickin' the Beaters: Low Fat Vegan Desserts Illustrated by 8 Fantastic Artists (Mr. Pither Cycling Tour Concoctions, 2003) , 2008 Reprint PM Press
 Punk is Like a Box of Candy (2003)
 Gross Food (2003)
 Sick Punks (2001)
 Marcie's Book of Vegan Recipes for Non Picky People #2 (1998)
 Marcie's Book of Vegan Recipes for Non Picky People #1 (1996)
 Punk Rock Film Guide (1996)

Filmography
Rotchester (2017)
 Niagara.Falls (2017)
 Totally Kid Carousel (2006/2009)
 The End of The Year (Directed by Ben Kukkee, 2005. Sound recordist and sound editor)
 Grilled Cheese Sandwich (Directed by Jonathan Culp, 2005. Sound recordist, stills, etc.)
 Train to New York (2003)
 Become the Media (2003)
 P-Grrrl (2002)
 Patti Helps Out (2002)
 Various films with the Toronto Video Activist Collective (1998-2003)

Other

 Book indexer for AK Press, Between the Lines, etc. (present)
 Vegan chocolatier/owner Boardwalk Chocolates (2008-2012)
 Presenter and Panelist on "Archiving the Action" at the 2005 Association of Moving Image Archivists Conference in Austin TX
 Guest on CBC's Here And Now 28/8/03
 Print Trafficker for the True/False documentary film festival in Columbia, Missouri (2005-2007)
 Microcosm Publishing worker (2005-2006)
 Volunteer on Oregon Historical Society's film collection  (2005-2007)
 Distribution coordinator in Satan Macnuggit Popular Arts, an activist/DIY film producer and distributor (1999-2003)

References

1973 births
21st-century Canadian women writers
21st-century Canadian non-fiction writers
Living people
Canadian food writers
Canadian film directors
Canadian veganism activists
Canadian women film directors
Canadian women non-fiction writers
Vegan cookbook writers
Women food writers
Women cookbook writers

Siue Moffat


Vani Jairam (born Kalaivani; 30 November 1945 – 4 February 2023) was an Indian playback singer in Indian cinema. She is fondly referred to as the "Meera of modern India" Vani's career started in 1971 and has spanned over five decades. She did playback for over one thousand Indian movies recording over 10,000 songs. In addition, she recorded thousands of devotionals and private albums and also participated in numerous solo concerts in India and abroad.

Renowned for her vocal range and easy adaptability to any difficult composition, Vani has often been the choice for several composers across India from the 1970s until the late 1990s. She has sung in several Indian languages (19 languages excluding Sanskrit), such as Kannada, Tamil, Hindi, Telugu, Malayalam, Marathi, Odia, Gujarati, Haryanvi, Assamese, Tulu, Kashmiri, Bhojpuri, Marwari, Urdu, Konkani, Punjabi and Bengali languages.

Vani is the youngest artist to be awarded the "Sangeet Peet Samman". She won the National Film Awards for Best Female Playback Singer three times and also has won State Government awards from the states of Odisha, Andhra Pradesh, Tamil Nadu and Gujarat. In 2012, she was honored with the Filmfare Lifetime Achievement Award – South for her achievements in South Indian film music. In July 2017 she was honored with the Best Female Singer at the NAFA 2017 event at New York City.

She was well versed in various forms of music, including Carnatic, Hindustani, thumri, ghazal, and bhajan. Apart from singing, she was also a songwriter, composer, and painter.

Early life and education
Vani was born as Kalaivani in Vellore in Tamil Nadu, in a Brahmin family of classically trained musicians as a fifth daughter in a family of six daughters and three sons. Her parents Duraisamy Iyer–Padmavathi, trained under Ranga Ramunaja Iyengar, enrolled her in his classes where he taught her a few Muthuswami Dikshitar kritis. Later she was given a formal Carnatic training under the guidance of Kadalur Srinivas Iyengar, T. R. Balasubramanian and R. S. Mani. Vani was glued to the Radio Ceylon channel and was attracted to Hindi film songs to the extent that she used to memorize and reproduce the entire orchestration of the songs that used to repeatedly play on the Radio. At the age of 8, she gave her first public performance at the All India Radio, Madras.

Vani did her schooling at Lady Sivasamy High School, Chennai. She then graduated from the Queen Mary's College, Chennai. Post her studies, Vani was employed with the State Bank of India, Madras and later in 1967, she was transferred to the Hyderabad branch.

Early career in Mumbai
After her marriage to Jairam in 1969, she moved to Mumbai to set up her family. Upon her request, she was transferred to the Mumbai branch of her bank. Knowing her singing skills, Jairam persuaded Vani to get trained in the Hindustani classical music and she enrolled under Ustad Abdul Rehman Khan of the Patiala gharana. Her rigorous training under him made her quit her bank job and take up music as her profession. She learned the nuances of various vocal forms such as Thumri, Ghazal and Bhajan under Khan's tutelage and gave her first public concert in 1969. In the same year, she was introduced to the composer Vasant Desai who was recording a Marathi album with singer Kumar Gandharva. Upon listening to her voice, Desai chose her to sing the song "Runanubandhacha" for the same album along with Kumar Gandharva. The album released to much popularity among the Marathi audience and the duet song was well received. She sang with the veteran vocalist Agra Charan Pt. Dinkar Kaikini in the 1979 film Meera. The music was given by Pt. Ravi Shankar.

Career

Tamil cinema
While Vani's popularity continued to soar in Bollywood cinema, she started getting offers from the South Indian film industry. In 1973, she recorded her first Tamil song for the film Thayum Seiyum under the music direction of S. M. Subbaiah Naidu. However, the film remains unreleased to date and the song remained in the cans. Her first released song was a duet romantic song with T. M. Soundararajan for the film Veettukku Vandha Marumagal (1973). The song "Or Idam Unnidam" was composed by the duo Shankar–Ganesh, with whom, Vani went on to record maximum songs in Tamil cinema. Immediately after this, she was employed by one of the most successful director-composer duos, K. Balachander and M. S. Viswanathan, for their successful film Sollathaan Ninaikkiren for a solo song "Malarpol Sirippathu Pathinaaru". Thus began her long association with the top-rated music directors in Tamil cinema. Her biggest break came through the song "Malligai En Mannan Mayangum" from the film Dheerga Sumangali (1974), again composed by M. S. Viswanathan. Vani recalled that it was a challenging song and "he (Viswanathan) trusted me with it".She sung many songs composed by M.S.Viswanathan and Shankar–Ganesh . M.S.Viswanathan by seeing her amazing grasping power and ability to write swaras immediately mentioned her as 'Blotting paper'.  When Vani was in Madras (now Chennai) for two music concerts at a Bhajan Sammelan, Viswanathan, who was the chief guest, was impressed by her performance and gave her the opportunity to sing the song. The song received laurels and accolades for both its composition and vocal rendition. It was in the same year, she recorded a duet song with S. P. Balasubrahmanyam for music director Vijaya Bhaskar for the film Engamma Sapatham. It was later reported that Vani's voice featured in all the films which had Vijaya Bhaskar as the composer in both Tamil and Kannada film industries.

The year 1975 turned out to be the first most eventful year for Vani since she won her first National Film Award for Best Female Playback Singer for the songs she rendered in the film Apoorva Raagangal. The songs "Ezhu Swarangalukkul" and "Kelviyin Nayagane" made her popularity soar to heights and she became known as the singer who would always get selected to sing difficult compositions. She was flooded with singing offers from all the top-rated music composers, including M. S. Viswanathan, Kunnakkudi Vaidyanathan, Sankar Ganesh, V. Kumar, K. V. Mahadevan, G. K. Venkatesh and Vijaya Bhaskar. In 1977, she first recorded her voice for Ilaiyaraaja's composition in the film Bhuvana Oru Kelvi Kuri. She won her first Tamil Nadu State Film Award for Best Female Playback for the song "Naane Naana" composed by Ilaiyaraaja for the film Azhage Unnai Aarathikkiren (1979). With Ilaiyaraaja, Vani went on to record many popular songs in the 1980s for the films such as  Mullum Malarum (1978), Rosappo Ravikaikaari (1979), Anbulla Rajinikanth (1984),   Nooravathu Naal (1984), Vaidehi Kathirunthal (1984), Oru Kaidhiyin Diary (1985) and Punnagai Mannan (1986). In 1994, composer A. R. Rahman recorded her voice for the film Vandicholai Chinraasu for a duet song with S. P. Balasubrahmanyam. Later in 2014, she recorded a portion of the Thiruppugazh composed by Rahman, for the period film Kaaviyathalaivan and followed it with the song "Narayana" in the film Ramanujan.

Jairam recorded thousands of Tamil songs both in solo and duet formats. Many of her duet songs have been recorded along with T. M. Soundararajan, P. B. Srinivas, K. J. Yesudas, S. P. Balasubrahmanyam and Jayachandran. Songs like "Ezhu Swarangalukkul", "Keliviyin Nayagane", "Ennulil Engo", "Yaaradhu Sollamal", "Megamae Megamae", "Kavidhai Kelungal", "Nadhamenum Kovililae", "Aana Kana" and "Sugamana Raagangale" are considered amongst the best compositions to be recorded in Vani's voice. The first Ghazal type song in tamil movies was "Megame magame" written by vairamuthu was sung by Vani jayaram.

Telugu cinema
Vani's contribution towards Telugu cinema and devotional songs have been extensive and widespread. She recorded her first Telugu song for the film Abhimanavanthulu (1973). The song "Eppativalekaadura Naa Swami", composed by S. P. Kodandapani, was a classical dance-based song. Her songs for the film Pooja (1975) brought her to the forefront of Telugu cinema. The songs "Poojalu Cheya" and "Ennenno Janmala Bandham" became household hits and cemented her position. It was for the K. Viswanath's musical film Sankarabharanam (1979), Vani increased her popularity by singing five songs and winning her second National Film award for all the songs collectively. She was also awarded the Andhra Pradesh government's Nandi Award for Best Female Playback Singer for the same songs. She went on to collaborate with director Viswanath and music director K. V. Mahadevan for many films like Seetamalakshmi (1978), Sruthilayalu (1987), Sankarabharanam and Swathi Kiranam. Later in 1990, the same team produced the film Swathi Kiranam which was again musically noted; all the songs sung by Vani were received well. She received her third National Film Award for the film.

Apart from K. V. Mahadevan, Vani recorded many Telugu songs for Rajan–Nagendra, Satyam, Chakravarthy, M. S. Viswanathan and Ilaiyaraaja. She recorded most of the dubbed songs from Tamil composed by Ilaiyaraaja.

Hindi cinema
Vani's good professional association with Vasant Desai resulted in her breakthrough with the film Guddi (1971) directed by Hrishikesh Mukherjee. Desai offered Vani to record three songs in the film amongst which the song "Bole Re Papihara", featuring Jaya Bachchan in the lead role, became a talk-of-the-town song and gave her instant recognition. Composed in Miyan Ki Malhar raag, the song showcased her classical prowess and subsequently fetching her many laurels and awards including the Tansen Samman (for best classical-based song in a Hindi film), the Lions International Best Promising Singer award, the All India Cinegoers Association award, and the All India Film-goers Association award for the Best Playback Singer in 1971. Her other song Humko Mann Ki Shakti Dena became a school prayer since the release of the song in 1971 and continues to be even now. She toured the entire Maharashtra state, accompanying her mentor, Desai, and taught many Marathi songs to school children.

Jairam went on to sing a few songs each for music directors of Hindi cinema, which remain popular, including the Chitragupta song, classical Naushad compositions More Saajan Souten Ghar from Pakeezah (1972) and Dulhan Badi Jadugarni, a duet with Asha Bhosle in Aaina (1977), Madan Mohan composition Pyar Kabhi Kam Na Karna Sanam, a duet with Kishore Kumar in the film Ek Mutthi Aasmaan (1973), R. D. Burman song Zindagi Mein Aap Aaye, a duet with Mukesh in Chhalia (1973), Shyamji Ghanshyamji composition Teri Jheel Si Gehri from film Dhuan Ki Lakeer, a duet with Nitin Mukesh, and the solo song Aa Balam composed by Kalyanji-Anandji in the film Dharm Aur Qanoon.

Jairam sang several songs composed by O.P. Nayyar from the film Khoon Ka Badla Khoon (1978) including duets with Mohammed Rafi and also with Uttara Kelkar and Pushpa Pagdhare. She sang the duet song Maine Tumhe Paa Liya with Rafi composed by Laxmikant-Pyarelal in Jurm Aur Sazaa, and a duet with Manna Dey in Parinay (1974) composed by Jaidev and the solo song Pee Kahan in Solva Sawan (1979) by Jaidev.

The song "Mere To Giridhar Gopal" in Meera (1979), composed by Pandit Ravi Shankar, won her first Filmfare Award for Best Female Playback Singer. She recorded as many as 12 bhajans for the film Meera which became highly popular.

Malayalam cinema
Vani Jairam made her Malayalam debut in 1973 by recording the solo song "Sourayudhathil Vidarnnoru" composed by Salil Chowdhary for the film Swapnam. The song became hugely popular, giving good credibility to Vani and gave her career a breakthrough. She went on to record over 600 songs in Malayalam cinema. Vani collaborated with all the popular Malayalam composers such as M. K. Arjunan, G. Devarajan, M. S. Viswanathan, R. K. Shekhar, V. Dakshinamoorthy, M. S. Baburaj, Shyam, A. T. Ummer, M. B. Sreenivasan, K. Raghavan, Jerry Amaldev, Kannur Rajan, Johnson, Raveendran and Ilaiyaraaja. Her rendition of the song "Aashada Maasam", composed by R. K. Shekhar for the film Yudhabhoomi (1976) met with wide appreciation and further increased her popularity. In 1981, she sang "Kanana Poikayil Kalabham" along with K. J. Yesudas in the composition of M. K. Arjunan for the film Ariyapedatha Rahasyam directed by P. Venu. After a long hiatus, Vani returned to Malayalam cinema in 2014 by recording a duet song for the film 1983, and followed it up with a duet song in Action Hero Biju (2016).

Some of Vani's Malayalam songs including "Olanjali Kuruvi", "Pookkal Panineer", "Etho janma kalpanayil", "Poo kondu poo moodi" (Palangal), "Manjil chekkerum" (Raktham), "Onnanam Kunninmel" (Airhostess), "nanam nin kannil" (kelkatha sabdham),"Manju pozhiyunnu" (Uthradarathri)   "Thiruvonapularithan" (Thiruvonam), "Dhoomthana" (Thomasleeha), "Seemantha Rekhayil" (Aasheervaadam), "Naadan Paatile", "manjani kombil",  "Nimishangal", "Thedi Thedi", "Moodal Manjumai Yamini", "Ee Raagadeepam", "Mandhaarapoo", "Taarake", "Hrudayathin Madhura", "Neelambarathile", "Navaneetha Chandrike", "Oru Raaga Nimishatil", "Thechi Pootha", "Yamini Nin Choodayil" amongst others are widely popular and considered among the best hits. Most of Vani's duets in Malayalam are recorded with K. J. Yesudas and P. Jayachandran.

The title song "Marathe Marikurumbe" in the film "Puli Murugan", rendered by Jairam, was short-listed in 70 songs which were considered eligible for nomination to the 2018 Oscar Award, under the category of "Original Song".

Kannada cinema

Music director Vijaya Bhaskar who worked with Vani in Tamil films introduced her to Kannada cinema in 1973 for the film Kesarina Kamala. She recorded two songs in the film, which was immediately followed by her breakthrough song "Bhaavavemba Hoovu Arali" from the film Upasane (1974). This song cemented her position in Kannada films which lasted for three decades. After Vijaya Bhaskar gave her a career break, she was employed immediately by top-running composers such as G. K. Venkatesh, M. Ranga Rao, Rajan–Nagendra, Satyam, Upendra Kumar, T. G. Lingappa, L. Vaidyanathan and Hamsalekha. The combination of Puttanna Kanagal (director) - Vijaya Bhaskar - Vani Jairam produced many popular songs backed by strong female-centric themes. She modulated her voice and accent for the song "Happiest Moment" from the film Bili Hendthi (1975).

With her contemporary singer S. Janaki, Vani recorded few female duets, notably "Madhumasa Chandrama" (Vijaya Vani 1976) and "Teredide Mane O Baa Athithi" (Hosa Belaku 1982). She recorded many popular songs in the 1980s with the legendary actor-singer Dr. Rajkumar. Most of her duet songs in Kannada have been with Rajkumar, P. B. Srinivas, S. P. Balasubrahmanyam, P. Jayachandran and K. J. Yesudas. Some of her most memorable songs include "Ee Shatamanada Madari Hennu", "Besuge Besuge", "Belli Modave Elli Oduve", "Jeevana Sanjeevana", "Deva Mandiradalli", "Haadu Haleyadaadarenu", "Kannada Naadina Karavali", "Priyathama Karuneya Thoreya", "Sada Kannali Pranayada", "Endendu Ninnanu Marethu", "Hodeya Doora O Jothegara".

Odia  cinema
Vani Jairam sang in many Odia films of 1970's and 1980's and  became household name in Odisha. She recorded most songs with the films of music composer Prafulla Kar as well as in the films of Odia and Kannada composer Upendra Kumar. Some of her works in Odia cinema include mega hits like "Chhota E Ghara E Sansara" in Krushna Sudama (1975)," Mukunda Murari Hey Chakradhari"and "Jogire Khoju Kahin" in Mukti (1977),"Keun Nama Dhari" ,"Tuma Sadhira Ranga" and "Adine Malli Mahaka" in Sindura Bindu (1976)," Megha Barasila Tupuru Tupuru" and "Hayere Haye Garaje Megha" in Sesha Shrabana (1976), "Maa Go Mamatamayee Mata" and"Na Jaa Sajani" in Bandhu Mohanty (1977), "Mo Bhaina Bhaina" in Punarmilan (1977), "Ei Gaanra Maudamani", "Paichhi E Jibane"  and "Ki Sundara Aha Ki Anandamaya" in Gouri (1978), "Aahe Dayamaya Biswa Bihari" ,"Holi Holi Re Holi " and "Chikilika Bambalika" in Balidana (1978),"Bhagya Mora Sate Ki", "Ei Jhiatira Pada Talamala" ,"Kuhu Kuhu Bane Kuhu "and "Hey Nagadeva" in  Sati Anasuya (1978)," Aliali Kain Sunagori" and "Pirati Chori Chori" in Jay Maa Mangala (1980),"Dhali Dia Saraa" and Jhuli Jhuli Khele Doli" in Tapasya(1980), "Akhila Brahmanda Pati" and "Mo Manara Chadhei" in Ram Balaram (1980), "Aaha Sita" in Ramayan (1980),   "Jhumi Jhumi Nupura Baje" in Hira Moti Manika (1980), "Nadire Nadire" ,"Tui Malmali" ,"Emiti Bi Nadi Achhi" and" Hip Hip Hurray Gadi Jae Gadire" in Pooja (1981),  "Aha Ki Badhia"  in Alibha Daga (1980).  Her other films include Patipatni(1978),  Pipasa(1978), Sita LavaKusha(1981), Debjani(1981) Astaraga (1982), Pratidhwani (1984) , Para Jhia Ghara Bhangena (1985),Palataka(1985),Gruhalaxmi(1986) etc. For Devajani she has won Odisha State Film  Award for Best Female  Playback singer.

Other languages
Besides Hindi and South Indian languages, Vani Jairam has made recordings in Gujarati, Marathi, Marwari, Haryanvi, Bengali,
Odia, English, Bhojpuri, Rajasthani, Badaga, Urdu, Sanskrit, Punjabi and Tulu 19 languages totally. She has been awarded many prestigious awards, among them Best Female Playback Singer for the states of Gujarat (1975), Tamil Nadu (1980) and Odisha (1984). One of her most famous Marathi songs, "Runanubandhachya", is a duet with the classical Hindustani singer Kumar Gandharva. This song was composed by Vani's mentor Vasant Desai for a Marathi drama called Dev Deenaghari Dhaavlaa. The lyrics were written by Bal Kolhatkar. .

Jairam recorded "Holi Songs" and "Thumri Dadra & Bhajans" with Pandit Birju Maharaj. She also recorded "Gita Govindam" composed by Prafulla Kar with Odissi Guru Kelucharan Mohapatra playing the Pakhawaj. Jairam released "Murugan Songs" with songs written by her with music composed by her.

Personal life
Vani was married into a family which supported music. Her mother-in-law, Padma Swaminathan, a social activist and Carnatic music singer, was the last surviving daughter of F. G. Natesa Iyer. N. Rajam is her sister-in-law.
Her husband Jairam was a student of Pandit Ravi Shankar

Popularity
Jairam made her debut in hindi film "Guddi" ,from which 'Bole re papihara' was a very big hit all over India.Within overnight she became very popular.Previously her first song with Kumar Gandharva in Marathi also became hugely popular. Similarly, In Tamil her first song with msv 'malligai en mannan mayangum',in Malayalam 'Sourayudhathil' followed by Telugu,Kannada,Odia,Gujarati all became very big numbers. Her first song itself in all languages became very popular making her recognized by the state people as their own state singer.

Jairam specially recognised for unique voice and versality in singing all languages and all types of songs as the own language people. She is always opted specially for any kind of difficult compositions, some examples are "aanathineeyara" from Swathi Kiranam,"brochevarevarura"from Sankarabharanam, "yezhu Swarangalukkul" and "Kelviyin nayagane"  from Apoorva Ragangal, "Kavithai  kelungal","kanchi kamachi" etc.

Death

Vani died following a fall on 4 February 2023, at the age of 77. Taking note of late Vani Jairam's contribution and influence on the music industry, political leaders and music industry icons expressed their condolences.

The Governor R. N. Ravi  arrived at Jairam's residence and paid his last tribute.

Awards

The P. Suseela Trust honoured Vani Jairam at a function in Hyderabad, with a citation and a purse of one lakh. The event was widely covered on television. On 28 May 2014, Vani was felicitated in Bhubaneshwar for her contribution to Odia cinema. Preceding it was the PBS Puraskar Award in Hyderabad, instituted in memory of the inimitable P.B. Srinivas. On 30 July 2014, Yuva Kala Vahini, an organisation in Hyderabad, presented her with the 'Pride of Indian Music' Award.

National Honours
 2023 - Padma Bhushan Award, Government of India

National Film Awards
 1975 – Best Female Playback Singer Tamil– Various songs (Apoorva Raagangal)
 1980 – Best Female Playback Singer Telugu– Various songs (Sankarabharanam)
 1991 – Best Female Playback Singer Telugu – "Anathineeyara Hara" (Swathi Kiranam)

Filmfare Award
 2015- Nominated for Filmfare Award for Best Female Playback Singer Malayalam – "Olanajali Kuruvi" - 1983 (2014 Malayalam Film)
 2013– The 60th South Indian Filmfare Award for Lifetime Achievements
 1980 – Filmfare Award for Best Female Playback Singer – "Mere Toh Giridhar Gopal" (Meera)

State awards
 1972 – Gujarat State Film Award for Best Female Playback Singer – Ghoongat
 1979 – Tamil Nadu State Film Award for Best Female Playback – Azhagae Unnai Aradhikkiren
 1979 – Nandi Award for Best Female Playback Singer – Sankarabharanam
 1982 – Odisha State Film Award for Best Singer – Debjani

Other awards
 1972 –  Mian Tansen Award Best Film Playback Singer of 'Classical Song' in Films for "Bol Re Papi Hara" given by Sur Singar Samsad, Mumbai.
 1979 –  Her songs in the Pandit Ravi Shankar scored film Meera brought her the Film World (1979) Cine Herald (1979) for "Mere To Giridhar Gopal".
 1991 – Kalaimamani Award from Tamil Nadu State for her contribution to Tamil film music.
 1992 –  The youngest artist to be awarded the "Sangeet Peet Samman"
 2004 – M.K. Thyagarajar Bhagavathar – Life Time Achievement Award from Tamil Nadu Government
 2005 – Kamukara Award for her outstanding contribution to film music in general and in all the four South Indian languages in particular.
 2006 – Mudhra Award of Excellence from Mudhra Academy, Chennai.
 2012 – Subramanya Bharathi award for her contribution to music.
 2014 - Life Time Achievement Award of Radio Mirchi given at Hyderabad on 16 August 2014
 2014 - Asiavision Awards - Best Playback Singer Award for the song 'Olanjali Kuruvi' from the Film "1983'
 2014 - Kannadasan Award by Kannadasan Kazagam, Coimbatore
 2015 - Life Time Achievement Award from Raindropss on Women Achievers Award Ceremony Chennai.
 2016 - Red fm Music awards 2016 for Best Duet with Yesudas
 2017 - Vanitha Film Awards -Best singer
 2017 - Ghantasala National Award
 2017 -  North American Film Awards - New York- 22 July 2017 - Best Female Playback Singer -  Malayalam
 2018 -  M.S. Subbulakshmi Award given by Sankara Nethralya - Chennai - 27 January 2018
 2018 - Pravasi Express Awards Singapore, Life Time Achievement Award - 14 July 2018.

Other titles
 2004: Kamukara Award
 2007: South Indian Meera

References

External links

Family Photos

1945 births
2023 deaths
Bollywood playback singers
Filmfare Awards winners
Filmfare Awards South winners
Singers from Tamil Nadu
Indian women playback singers
Hindi-language singers
Tamil playback singers
Telugu playback singers
Kannada playback singers
Malayalam playback singers
Odia playback singers
Bengali-language singers
Marathi-language singers
Gujarati-language singers
People from Vellore
Tamil Nadu State Film Awards winners
Nandi Award winners
Best Female Playback Singer National Film Award winners
Women musicians from Tamil Nadu
20th-century Indian singers
20th-century Indian women singers
21st-century Indian singers
21st-century Indian women singers
Recipients of the Padma Bhushan in arts

Vani Jairam


Benjamin Ribot, Seigneur du Caila et Du Plan (13 March 1688 – July 1763) was a leader of the French Huguenots.

He was born into a Protestant family at the Château de la Favède, northwest of Alès. Receiving a military education, he became an officer under the name of Du Caila, but abandoned this profession in 1710 in order to promote the Protestant faith.

In 1715, the same year that Louis XIV died, he met Antoine Court; they became friends and worked together, occasionally clashing on the subject of the inspirés, whom Du Plan admired. At the Synod of Nîmes in 1725 he was named Deputy General of the Reformed Churches of France. He spent four years at Geneva and one in Lausanne, where he helped Court found a seminary in 1729. He then travelled through Protestant Europe, pleading the Huguenots' cause and arranging financial support for the exiles. His efforts were often ineffective, and he was wounded by criticisms he received on this account.

In 1738 he settled in England, where he continued to help French refugees. His integrity was called into question, and he was attacked for his support of the inspirés. He fell into destitution in 1744, only re-establishing himself in 1749, and achieving a certain amount of rehabilitation in 1751.He married Mrs Elizabeth Denman ( née de Voutron)in 1751 and had two children, Andre 1755 (died 1781)and Mary Francoise 1753 who married John Lloyd in 1793.

Benjamin died at Kentish Town, London in July 1763.

Bibliography
 Daniel Bonnefon. Benjamin Du Plan, gentilhomme d'Alais. Député-Général des Eglises Réformées de France, 1688-1763. France: Sandoz et Fischbacher, 1876.
 E. Clot. Benjamin du Plan et la fondation du séminaire de Lausanne. 1909
 C. Lasserre. Le séminaire de Lausanne (1726-1812). 1997, 183-224
 H. Bost, C. Lauriol, ed. Entre Désert et Europe, le pasteur Antoine Court (1695-1760). 1998

Huguenots
1688 births
1763 deaths

Benjamin Du Plan