title: Bobby Vinton

text: While appearing at Pittsburgh's Three Rivers Stadium prior to Game 4 of the 1990 National League Championship Series between the Pittsburgh Pirates and Cincinnati Reds, Vinton delivered a mixed-up rendition of "The Star-Spangled Banner" that left out many of the words and was off-key. Controversy ensued after CBS broadcaster Jack Buck said on air, "Well, when you're Polish and live in Pittsburgh, you can do anything you want with the words!"


title: Bobby Vinton

text: In the early 1990s, Vinton found himself booked as a guest star at the Roy Clark Theatre in Branson, Missouri. He was unsure of his ability to draw at what was then a country-western-themed resort, and was shocked at the massive turnout for his concerts there. He was so impressed with the Branson model that he invested millions in building the Bobby Vinton Blue Velvet Theatre and enjoyed ten successful years there. In 2002 the theatre was sold to David King, creator and producer of "Spirit of the Dance". Vinton returned to Branson periodically for limited engagements at the theatre.


title: Bobby Vinton

text: "Billboard Magazine" called Bobby Vinton "the all-time most successful love singer of the 'Rock-Era'". From 1962 to 1972, Vinton had had more Billboard number 1 hits than any other male vocalist, including Elvis Presley and Frank Sinatra. In recognition of his recording career, Vinton was awarded a star on the Hollywood Walk of Fame, located at 6916 Hollywood Blvd.


title: Bobby Vinton

text: In 2011, Grammy Award winner Jimmy Sturr and His Orchestra recorded the "Polish Prince" song, a tip of the hat to Vinton, and included it on their Grammy-nominated "Not Just Another Polka" CD. The song was written by Johnny Prill and was based on the 1978 autobiography "The Polish Prince – Bobby Vinton".


title: Bobby Vinton

text: Vinton appeared in seven acting roles during his singing career, commencing with the beach party movie "Surf Party" in 1964. In 1965, he played George Reynolds in the episode "Patty and the Newspaper Game" of ABC's sitcom "The Patty Duke Show". He was also cast as Jeff McCandles in the 1971 John Wayne film "Big Jake" and as Ben Young in another Wayne film, "The Train Robbers" (1973). His last role as a character was as Bobby Gaines in the 1983 episode "Chance of a Lifetime" of the NBC family drama television series "Boone", starring Tom Byrd, while his last scripted role as himself was in 1997, appearing in part one of the three part series finale of "Coach".


title: Bobby Vinton

text: Vinton and his wife, Dolores, have been married since December 17, 1962. They reside in Englewood, Florida, and have five children: Robert (who played Vinton in the 1990 film "Goodfellas"), Kristin, Christopher, Jennifer Hannah and Rebecca. In 2015, after contracting a serious case of shingles, Vinton retired from live performing and recording. He spoke to his fans and friends in February 2018 on "The Cousin Brucie Show" on Sirius XM radio, and encouraged all to get a shingles vaccination. He said that he was very happy living in Florida. Several Bobby Vinton Facebook sites are very active with his fans sharing memories and stories.


title: Just the Two of Us (Grover Washington Jr. song)

text: "Just the Two of Us" is a song written by Bill Withers, William Salter, and Ralph MacDonald, and recorded by Grover Washington Jr. with Withers on vocals. It was released in February 1981 through Elektra Records.


text: The song originally appeared on Washington's album "Winelight" (1980). An edited version reached number 2 on the US "Billboard" Hot 100, staying there for three weeks, behind "Morning Train (9 to 5)" by Sheena Easton and "Bette Davis Eyes" by Kim Carnes. It was Washington's only Top 40 hit. The song won a Grammy Award for Best R&B Song. Bill Withers included the edited version on the 1981 compilation "Bill Withers' Greatest Hits" and many subsequent greatest hits collections.


text: The Fender Rhodes electric piano, played in the introduction and throughout, is performed by Richard Tee.


text: The tuning of the song is set to around A=444 Hz, as opposed to the standard A=440 Hz tuning. The song is in the key of F minor. The main chord progression is D♭ major 7, C7, F minor, E♭ minor 7, A♭7. The song is played at around 96 beats per minute.


text: "Just the Two of Us" was covered by Japanese singer Toshinobu Kubota as a duet with Caron Wheeler in 1991, for his album "". The song was listed as "Just the 2 of Us", featuring a reggae-style beat. In 1995, Kubota re-recorded the song with a more R&B-style beat for his album "Sunshine, Moonlight". In 1996, he released the song as the second single from the album. The song charted at number 30 on the Oricon Weekly Singles chart and remained on the charts for five weeks. It was included in the setlist during the Oyeees! Tour. During the tour, Joi Cardwell, who sang backing vocals during the tour, performed the song as a duet with Kubota. In 2007, Double performed the song on the MTV Japan Icons Special; during the performance, Kubota walked onto the stage to complete the song with her. In 2012, Kubota performed the song with Japanese singer Yuri, who was also a background vocalist during his "Party Ain't A Party Tour". The performance was included on his concert DVD "Party Ain't A Party", which was released in May 2012.


text: In 1996, Toshi Kubota and Caron Wheeler shot a music video for the song. The video is set at night, at a party in Kubota's apartment. Wheeler watches the party from the fire escape of the next apartment building. The single version was used for the audio format of the video. There are also shots of other musicians playing their instruments during the party, a group of elderly men playing cards outside the apartment on the sidewalk, and a couple dancing in another room of the apartment.


text: In 2020, "Just the Two of Us" became viral on TikTok, also appearing on Spotify's "Viral Hits" playlist. Drac, and later Johnny, sing the song in the opening sequence of "". It has appeared in numerous TV commercials.


title: Hans-Ulrich Rudel

text: Hans-Ulrich Rudel (2 July 1916 – 18 December 1982) was a German ground-attack pilot during World War II and a post-war neo-Nazi activist.


title: Hans-Ulrich Rudel

text: The most decorated German pilot of the war and the only recipient of the Knight's Cross with Golden Oak Leaves, Swords, and Diamonds, Rudel was credited with the destruction of 519 tanks, one battleship, one cruiser, 70 landing craft and 150 artillery emplacements. He claimed 51 aerial victories and the destruction of more than 800 vehicles. He flew 2,530 ground-attack missions exclusively on the Eastern Front, usually flying the Junkers Ju 87 "Stuka" dive bomber.


title: Hans-Ulrich Rudel

text: Rudel surrendered to US forces in 1945 and emigrated to Argentina. An unrepentant Nazi, he helped fugitives escape to Latin America and the Middle East, and sheltered Josef Mengele, the former SS doctor at Auschwitz. He worked as an arms dealer to several right-wing regimes in South America, for which he was placed under observation by the US Central Intelligence Agency.


title: Hans-Ulrich Rudel

text: In the West German federal election of 1953, Rudel was the top candidate for the far-right German Reich Party but was not elected. Following the fall of Perón, Rudel moved to Paraguay, where he acted as a foreign representative for several German companies.


title: Hans-Ulrich Rudel

text: Rudel was born on 2 July 1916, in Konradswaldau, in Prussia. He was the third child of Lutheran minister Johannes Rudel. As a boy, Rudel was a poor scholar but a keen sportsman. Rudel attended the humanities oriented "Gymnasium", in Lauban. He joined the Hitler Youth in 1933. After graduating with Abitur in 1936, he participated in the compulsory Reich Labour Service (RAD). Following the labour service, Rudel joined the Luftwaffe in the same year and began his military career as an air reconnaissance pilot.


title: Hans-Ulrich Rudel

text: German forces invaded Poland in 1939 starting World War II in Europe. As an air observer, Rudel flew on long-range reconnaissance missions over Poland. During 1940, he served as a regimental adjutant for the 43rd Aviators Training Regiment, based at Vienna.


title: Hans-Ulrich Rudel

text: In early 1941, he underwent training as a "Stuka" pilot. He was posted to 1 "Staffel" Sturzkampfgeschwader 2 (StG 2), which was moved to occupied Poland in preparation for Operation Barbarossa, the invasion of the Soviet Union, in June 1941. On 21 September 1941, Rudel took part in an attack on the Soviet battleship "Marat" of the Baltic Fleet. "Marat" was sunk at her moorings on 23 September 1941 after being hit by one bomb near the forward superstructure. It caused the explosion of the forward magazine which demolished the superstructure and the forward part of the hull. 326 men were killed and the ship gradually settled to the bottom in of water. Her sinking is commonly credited to Rudel alone, but Rudel dropped only one of the two bombs that sank her. Rudel's unit then took part in Operation Typhoon, Army Group Center's attempt to capture the Soviet capital.


title: Hans-Ulrich Rudel

text: Rudel's gunner from October 1941 was Erwin Hentschel, who served with Rudel for the next two and a half years, both men earning the Knight's Cross of the Iron Cross during that period. Hentschel completed 1,400 sorties with Rudel and drowned on 21 March 1944 when they were making their way to the German lines following a forced landing.


title: Hans-Ulrich Rudel

text: In early 1942, Rudel got married while home on leave. Later in the year, he took part in the Battle of Stalingrad. From May 1941 to January 1942, Rudel flew 500 missions. In February 1943, Rudel flew his 1,000th combat mission, which made him into a national hero. He then participated in the experiments with using the Ju 87 G in the anti-tank role. The anti-tank unit took part in operations against the Soviet Kerch–Eltigen Operation. The footage from an onboard gun camera was used in "Die Deutsche Wochenschau", a Reich Ministry of Propaganda newsreel. In April 1943, Rudel was awarded the Knight's Cross of the Iron Cross with Oak Leaves, receiving the Oak Leaves from Hitler personally in Berlin. Rudel participated in the Battle of Kursk with the same unit. On 12 July 1943 Rudel claimed 12 Soviet tanks in one day. In October 1943, Rudel was credited with the destruction of his 100th tank and was awarded the Knight's Cross of the Iron Cross with Oak Leaves and Swords (one of only 160 awarded) on 25 November.


title: Hans-Ulrich Rudel

text: Rudel was appointed "Gruppenkommandeur" of III. "Gruppe" on 22 February 1944. On 20 March, Rudel performed a forced landing behind Soviet lines and he and Hentschel (his gunner, mentioned above) escaped to the German lines. The men attempted to swim across the Dniester River but Hentschel drowned in the attempt. Upon his return, Ernst Gadermann, previously the troop doctor of III. "Gruppe", joined Rudel as his new radio operator and air gunner. Rudel was awarded the Knight's Cross of the Iron Cross with Oak Leaves, Swords and Diamonds (one of only 27 awarded) on 29 March 1944, the tenth member of the Wehrmacht to receive this award. The presentation was made by Hitler personally.


title: Hans-Ulrich Rudel

text: Rudel was promoted to "Oberstleutnant" on 1 September 1944, and appointed leader of SG 2, replacing Stepp, on 1 October 1944. On 22 December 1944, Rudel completed his 2,400th combat mission, and the next day, he reported his 463rd tank destroyed. On 29 December 1944, Rudel was promoted to "Oberst" (colonel), and was awarded the Knight's Cross of the Iron Cross with Golden Oak Leaves, Swords, and Diamonds, the only person to receive this decoration. This award, intended as one of 12 to be given as a post-war victory award for Nazi Germany, was presented to him by Hitler on 1 January 1945, four months before Nazi Germany was defeated.


title: Hans-Ulrich Rudel

text: On 8 February 1945, Rudel was badly wounded in the right foot, and landed inside German lines as his radio operator shouted flight instructions. Rudel's leg was amputated below the knee. He returned to flying on 25 March 1945. He claimed 26 more tanks destroyed by the end of the war. On 19 April 1945, the day before Hitler's final birthday, Rudel met with Hitler in the "Führerbunker" at the Reich Chancellery in Berlin. On 8 May 1945, Rudel fled westward from an airfield near Prague, landing in US controlled territory, and surrendered. The Americans refused to hand him over to the Soviet Union.


title: Hans-Ulrich Rudel

text: While Rudel had been interned, his family fled from the advancing Red Army and had found refuge with Gadermann's parents in Wuppertal. Rudel was released in April 1946 and went into private business. In 1948, he emigrated to Argentina via the ratlines, travelling via the Austrian Zillertal to Italy. In Rome, with the help of South Tyrolean smugglers, and aided by the Austrian bishop Alois Hudal, he bought himself a fake Red Cross passport with the cover name "Emilio Meier", and took a flight from Rome to Buenos Aires, where he arrived on 8 June 1948. Rudel authored books on the war, supporting the regime and attacking the "Oberkommando der Wehrmacht" for "failing Hitler".


title: Hans-Ulrich Rudel

text: After Rudel moved to Argentina, he became a close friend and confidant of the President of Argentina Juan Perón, and Paraguay's dictator Alfredo Stroessner. In Argentina, he founded the ""Kameradenwerk"" (lit. "comrades work" or "comrades act"), a relief organization for Nazi war criminals. Prominent members of the ""Kameradenwerk"" included SS officer Ludwig Lienhardt, whose extradition from Sweden had been demanded by the Soviet Union on war crime charges, Kurt Christmann, a member of the Gestapo sentenced to 10 years for war crimes committed at Krasnodar, Austrian war criminal Fridolin Guth, and the German spy in Chile, August Siebrecht. The group maintained close contact with other internationally wanted fascists, such as Ante Pavelić, Carlo Scorza and Konstantin von Neurath. In addition to these war criminals that fled to Argentina, the ""Kameradenwerk"" also assisted Nazi criminals imprisoned in Europe, including Rudolf Hess and Karl Dönitz, with food parcels from Argentina and sometimes by paying their legal fees. In Argentina, Rudel became acquainted with notorious Nazi concentration camp doctor and war criminal Josef Mengele. Rudel, together with Willem Sassen, a former "Waffen-SS" and war correspondent for the "Wehrmacht", who initially worked as Rudel's driver, helped to relocate Mengele to Brazil by introducing him to Nazi supporter Wolfgang Gerhard. In 1957, Rudel and Mengele together travelled to Chile to meet with Walter Rauff, the inventor of the mobile gas chamber.


title: Hans-Ulrich Rudel

text: In Argentina, Rudel lived in Villa Carlos Paz, roughly from the populous Córdoba City, where he rented a house and operated a brickworks. There, Rudel wrote his wartime memoirs "Trotzdem" ("Nevertheless" or "In Spite of Everything"). The book was published in November 1949 by the Dürer-Verlag in Buenos Aires. Dürer-Verlag (1947–1958) issued a variety of apologia by former Nazis and their collaborators. Besides Rudel, among the early editors were Wilfred von Oven, the personal Press adjutant of Goebbels, and Naumann. Sassen convinced Adolf Eichmann to share his view on The Holocaust. Together with Eberhard Fritsch, a former Hitler Youth leader, Sassen began interviewing Eichmann in 1956 with the intent of publishing his views. The Dürer-Verlag went bankrupt in 1958.


title: Hans-Ulrich Rudel

text: Discussion ensued in West Germany on Rudel being allowed to publish the book, because he was a known Nazi. In the book, he supported Nazi policies. This book was later re-edited and published in the United States, as the Cold War intensified, under the title, "Stuka Pilot", which supported the German invasion of the Soviet Union. Pierre Clostermann, a French fighter pilot, had befriended Rudel and wrote the foreword to the French edition of his book "Stuka Pilot". In 1951, he published a pamphlet "Dolchstoß oder Legende?" ("Stab in the Back or Legend?"), in which he claimed that "Germany's war against the Soviet Union was a defensive war", moreover, "a crusade for the whole world". In the 1950s, Rudel befriended Savitri Devi, a writer and proponent of Hinduism and Nazism, and introduced her to a number of Nazi fugitives in Spain and the Middle East.


title: Hans-Ulrich Rudel

text: With the help of Perón, Rudel secured lucrative contracts with the Brazilian military. He was also active as a military adviser and arms dealer for the Bolivian regime, Augusto Pinochet in Chile and Stroessner in Paraguay. He was in contact with Werner Naumann, formerly a State Secretary in Goebbels' Ministry of Public Enlightenment and Propaganda in Nazi Germany. Following the Revolución Libertadora in 1955, a military and civilian uprising that ended the second presidential term of Perón, Rudel was forced to leave Argentina and move to Paraguay. During the following years in South America, Rudel frequently acted as a foreign representative for several German companies, including Salzgitter AG, Dornier Flugzeugwerke, Focke-Wulf, Messerschmitt, Siemens and Lahmeyer International, a German consulting engineering firm.


title: Hans-Ulrich Rudel

text: According to the historian Peter Hammerschmidt, based on files of the German Federal Intelligence Service and the US Central Intelligence Agency (CIA), the BND, under the cover-up company "Merex", was in close contact with former SS and Nazi Party members. In 1966, Merex, represented by Walter Drück, a former "Generalmajor" in the "Wehrmacht" and BND agent, helped by the contacts established by Rudel and Sassen, sold discarded equipment of the "Bundeswehr" (German Federal armed forces) to various dictators in Latin America. According to Hammerschmidt, Rudel assisted in establishing contact between Merex and Friedrich Schwend, a former member of the Reich Security Main Office and involved in Operation Bernhard. Schwend, according to Hammerschmidt, had close links with the military services of Peru and Bolivia. In the early sixties, Rudel, Schwend and Klaus Barbie, founded a company called "La Estrella", the star, which employed a number of former SS officers who had fled to Latin America. Rudel, through La Estrella, was also in contact with Otto Skorzeny, who had his own network of former SS and Wehrmacht officers.


title: Hans-Ulrich Rudel

text: Rudel returned to West Germany in 1953 and became a leading member of the Neo-Nazi nationalist political party, the German Reich Party ("Deutsche Reichspartei" or DRP). In the West German federal election of 1953, Rudel was the top candidate for the DRP, but was not elected to the "Bundestag". According to , editor-in-chief of "Die Zeit", Rudel had an egocentric character. In his political speeches, Rudel made generalizing statements, claiming that he was speaking on behalf of most, if not all, former German soldiers of World War II. Rudel heavily criticized the Western Allies during World War II for not having supported Germany in its war against the Soviet Union. Rudel's political demeanor subsequently alienated him from his former comrades, foremost Gadermann. Müller-Marein concluded his article with the statement: "Rudel no longer has a "Geschwader" (squadron)!" In 1977, he became a spokesman for the German People's Union, a nationalist political party founded by Gerhard Frey.


title: Hans-Ulrich Rudel

text: In October 1976, Rudel inadvertently triggered a chain of events, which were later dubbed the Rudel Scandal ("Rudel-Affäre"). The German 51st Reconnaissance Wing, the latest unit to hold the name "Immelmann", held a reunion for members of the unit, including those from World War II. The Secretary of State in the Federal Ministry of Defence, authorized the event. Fearing that Rudel would spread Nazi propaganda on the German Air Force airbase in Bremgarten near Freiburg, Schmidt ordered that the meeting could not be held at the airbase. News of this decision reached "Generalleutnant" Walter Krupinski, at the time commanding general of NATO's Second Allied Tactical Air Force, and a former World War II fighter pilot. Krupinski contacted Gerhard Limberg, Inspector of the Air Force, requesting that the meeting be allowed to be held at the airbase. Limberg later confirmed Krupinski's request, and the meeting was held on "Bundeswehr" premises, a decision to which Schmidt still had not agreed. Rudel attended the meeting, at which he signed his book and gave a few autographs but refrained from making any political statements.


title: Hans-Ulrich Rudel

text: During a routine press event, journalists, who had been briefed by Schmidt, questioned Krupinski and his deputy Karl Heinz Franke about Rudel's presence. In this interview, the generals compared Rudel's past as a Nazi and Neo-Nazi supporter to the career of prominent Social Democrat leader Herbert Wehner, who had been a member of the German Communist Party in the 1930s, and who had lived in Moscow during World War II, where he was allegedly involved in NKVD operations. Calling Wehner an extremist, they described Rudel as an honorable man, who "hadn't stolen the family silver or anything else". When these remarks became public, the Federal Minister of Defense Georg Leber, complying with §50 of the "" (Military law), ordered the generals into early retirement as of 1 November 1976. Leber, a member of the Social Democratic Party of Germany (SPD), was heavily criticized for his actions by the Christian Democratic Union (CDU) opposition, and the scandal contributed to the minister's subsequent retirement in early 1978. On 3 February 1977, the German "Bundestag" debated the scandal and its consequences. The Rudel Scandal subsequently triggered a military-tradition discussion, which the Federal Minister of Defense Hans Apel ended with the introduction of "Guidelines for Understanding and Cultivating Tradition" on 20 September 1982.


title: Hans-Ulrich Rudel

text: During the 1978 World Cup, held in Argentina, Rudel visited the German national football team in its training camp in Ascochinga. The German media criticized the German Football Association, and viewed Rudel's visit as being sympathetic to the military dictatorship that ruled Argentina following the 1976 Argentine coup d'état. During the 1958 FIFA World Cup in Sweden, he visited the German team at Malmö on 8 June 1958. There he was welcomed by team manager Sepp Herberger.


title: Hans-Ulrich Rudel

text: Rudel was married three times. His 1942 marriage to Ursula Bergmann, nicknamed "Hanne", produced two sons, Hans-Ulrich and Siegfried. They divorced in 1950. According to the news magazine "Der Spiegel", one reason for the divorce was that his wife had sold some of his decorations, including the Oak Leaves with Diamonds, to an American collector, but she also refused to move to Argentina. On 27 March 1951, "Der Spiegel" published Ursula Rudel's denial of selling his decorations, and further stated she had no intention of doing so. Rudel married his second wife, Ursula née Daemisch, in 1965. The marriage produced his third son, Christoph, born in 1969. Rudel survived a stroke on 26 April 1970. Following his divorce in 1977, he married Ursula née Bassfeld.


title: Hans-Ulrich Rudel

text: Rudel died after suffering another stroke in Rosenheim on 18 December 1982, and was buried in Dornhausen on 22 December 1982. During Rudel's burial ceremony, two "Bundeswehr" F-4 Phantoms appeared to make a low altitude flypast over his grave. Dornhausen was situated in the middle of a flightpath regularly flown by military aircraft, and Bundeswehr officers denied deliberately flying aircraft over the funeral. Four mourners were photographed giving Nazi salutes at the funeral, and were investigated under a law banning the display of Nazi symbols. The Federal Minister of Defence Manfred Wörner declared that the flight of the aircraft had been a normal training exercise.


title: Hans-Ulrich Rudel

text: Rudel flew 2,530 combat missions on the Eastern Front of World War II. The majority of these were undertaken while flying the Junkers Ju 87, although 430 were flown in ground-attack variants of the Focke-Wulf Fw 190. He was credited with the destruction of 519 tanks, severely damaging the battleship "Marat", as well as sinking a cruiser (incomplete and heavily damaged "Petropavlovsk"), a destroyer (the ) and 70 landing craft. Rudel also claimed to have destroyed more than 800 vehicles of all types, over 150 artillery, anti-tank or anti-aircraft positions, 4 armored trains, as well as numerous bridges and supply lines. Rudel was also credited with 9 aerial victories, 7 of which were fighter aircraft and 2 Ilyushin Il-2s. He was shot down or forced to land 30 times due to anti-aircraft artillery, was wounded five times and rescued six stranded aircrew from enemy-held territory.


title: Hans-Ulrich Rudel

text: Rudel remained popular with the German far-right after his death, especially with the German People's Union, the DVU, and its leader Gerhard Frey. Frey and the DVU established the "Ehrenbund Rudel – Gemeinschaft zum Schutz der Frontsoldaten" (Honour federation Rudel – Community for the protection of the front soldiers) in 1983 during a memorial service for Rudel. British holocaust denier David Irving was given the Hans-Ulrich Rudel Award by Frey in June 1985; he delivered a memorial speech on the death of Rudel.


title: Gautham Karthik

text: Gautham Karthik (born 12 September 1989) is an Indian actor who works in Tamil-language films. He made his acting debut in Mani Ratnam's "Kadal" (2013).


title: Gautham Karthik

text: Gautham Karthik was born to actor Karthik and his first wife, actress Ragini. He is the grandson of actor R. Muthuraman. He grew up in Udhagamandalam and graduated from Christ University, Bangalore, when film-maker Mani Ratnam approached him. Before that, Gautham was not connected with the film industry. He holds a bachelor's degree in Psychology, English & Media. In college he performed as a guitarist and vocalist in the band "Dead End Street". He married actress Manjima Mohan, his co-star in the movie Devarattam, on November 28, 2022.


title: Gautham Karthik

text: Reports as early as 2003 suggested that actor Karthik was interested in directing a film with his son in the lead role, though the project never took off. During a press conference in December 2009, Karthik revealed that his son, Gautham, would make his debut in Mani Ratnam's next venture after completion of Ratnam's bilingual films "Raavan" and "Raavanan". After a brief postponement and speculation, Mani Ratnam announced that Gautham would make his debut in "Kadal" in February 2012. Gautham revealed that he initially felt Ratnam had approached him to be a part of the technical crew and was surprised when he was handed the lead role. Gautham briefly took acting lessons from Kalairani and began to shoot for "Kadal" across regions in South India for close to a year. After the shootings were completed, he was introduced to the media at the music launch event for the Telugu version of the film in Hyderabad. The film opened in February 2013 to mixed reviews, though Gautham Karthik's performance of a deprived youngster caught between the characters played by Arvind Swamy and Arjun was unanimously praised. A critic noted "Gautham delivers in his very first film. He scores in action as well as dance department too", while a reviewer from "Rediff.com" wrote that the actor "pulled it off with elan", labelling him as "a natural performer and is surely here to stay".


title: Gautham Karthik

text: His second film, "Yennamo Yedho", a remake of the Telugu film, "Ala Modalaindi" released in April 2014 to mixed reviews and a lukewarm box office, while Gautham's performance was praised by the critics. His next release was director Aishwarya Dhanush's "Vai Raja Vai" on 1 May 2015, which opened to positive reviews and was a commercial success. In 2017, he has worked in five films simultaneously, including "Muthuramalingam", "Rangoon", "Ivan Thanthiran", "Hara Hara Mahadevaki" and "Indrajith".


title: Gautham Karthik

text: Following, he has signed "Oru Nalla Naal Paathu Solren" (2018) which is to be directed by Arumuga Kumar and he is sharing screen space with Vijay Sethupathi for first time. After the box office success of "Hara Hara Mahadevaki", Gautham Karthik and Santhosh P. Jayakumar are back with their next release, "Iruttu Araiyil Murattu Kuththu" (2018). The next one was with his father actor Karthik and his son come together on screen for the first time in "Mr. Chandramouli" (2018). Following, director M. Muthaiah known for his caste-based movies has joined with Gautham Karthik for a masala of violence coated with family sentiments in "Devarattam" (2019).


title: Detergent

text: A detergent is a surfactant or a mixture of surfactants with cleansing properties when in dilute solutions. There are a large variety of detergents, a common family being the alkylbenzene sulfonates, which are soap-like compounds that are more soluble in hard water, because the polar sulfonate (of detergents) is less likely than the polar carboxylate (of soap) to bind to calcium and other ions found in hard water.


title: Detergent

text: The word "detergent" is derived from the Latin adjective "detergens", from the verb "detergere", meaning to wipe or polish off. Detergent is a surfactant or a mixture of surfactants with cleansing properties when in dilute solutions. However, conventionally, detergent is used to mean synthetic cleaning compounds as opposed to "soap" (a salt of the natural fatty acid), even though soap is also a detergent in the true sense. In domestic contexts, the term "detergent" refers to household cleaning products such as "laundry detergent" or "dish detergent", which are in fact complex mixture of different compounds, not all of which are by themselves detergents.


title: Detergent

text: Detergency is the ability to remove unwanted substances termed 'soils' from a substrate (e.g clothing).


title: Detergent

text: Detergents are a group of compounds with an amphiphilic structure, where each molecule has a hydrophilic (polar) head and a long hydrophobic (non-polar) tail. The hydrophobic portion of these molecules may be straight- or branched-chain hydrocarbons, or it may have a steroid structure. The hydrophilic portion is more varied, they may be ionic or non-ionic, and can range from a simple or a relatively elaborate structure. Detergents are surfactants since they can decrease the surface tension of water. Their dual nature facilitates the mixture of hydrophobic compounds (like oil and grease) with water. Because air is not hydrophilic, detergents are also foaming agents to varying degrees.


title: Detergent

text: Detergent molecules aggregate to form micelles, which makes them soluble in water. The hydrophobic group of the detergent is the main driving force of micelle formation, its aggregation forms the hydrophobic core of the micelles. The micelle can remove grease, protein or soiling particles. The concentration at which micelles start to form is the critical micelle concentration (CMC), and the temperature at which the micelles further aggregate to separate the solution into two phases is the cloud point when the solution becomes cloudy and detergency is optimal.


title: Detergent

text: Detergents work better in an alkaline pH. The properties of detergents are dependent on the molecular structure of the monomer. The ability to foam may be determined by the head group, for example anionic surfactants are high-foaming, while nonionic surfactants may be non-foaming or low-foaming.


title: Detergent

text: Detergents are classified into four broad groupings, depending on the electrical charge of the surfactants.


title: Detergent

text: Typical anionic detergents are alkylbenzene sulfonates. The alkylbenzene portion of these anions is lipophilic and the sulfonate is hydrophilic. Two varieties have been popularized, those with branched alkyl groups and those with linear alkyl groups. The former were largely phased out in economically advanced societies because they are poorly biodegradable.


title: Detergent

text: Anionic detergents is the most common form of detergents, and an estimated 6 billion kilograms of anionic detergents are produced annually for the domestic markets.


title: Detergent

text: Bile acids, such as deoxycholic acid (DOC), are anionic detergents produced by the liver to aid in digestion and absorption of fats and oils.


title: Detergent

text: Cationic detergents are similar to anionic ones, but quaternary ammonium replaces the hydrophilic anionic sulfonate group. The ammonium sulfate center is positively charged. Cationic surfactants generally have poor detergency.


title: Detergent

text: Non-ionic detergents are characterized by their uncharged, hydrophilic headgroups. Typical non-ionic detergents are based on polyoxyethylene or a glycoside. Common examples of the former include Tween, Triton, and the Brij series. These materials are also known as ethoxylates or PEGylates and their metabolites, nonylphenol. Glycosides have a sugar as their uncharged hydrophilic headgroup. Examples include octyl thioglucoside and maltosides. HEGA and MEGA series detergents are similar, possessing a sugar alcohol as headgroup.


title: Detergent

text: Amphoteric or zwitterionic detergents have zwitterions within a particular pH range, and possess a net zero charge arising from the presence of equal numbers of +1 and −1 charged chemical groups. Examples include CHAPS.


title: Detergent

text: Soap is known to be have been used as a surfactant for washing clothes since the Sumerian time in 2,500 B.C. In ancient Egypt, soda was used as a wash additive. In the 19th century, synthetic surfactants began to be created, for example from olive oil. Sodium silicate (water glass) was used in soap-making in the United States in the 1860s, and in 1876, Henkel sold a sodium silicate-based product that can be used with soap and marketed as a "universal detergent" ("Universalwaschmittel") in Germany. Soda was then mixed with sodium silicate to produce Germany's first brand name detergent Bleichsoda. In 1907 Henkel also added a bleaching agent sodium perborate to launch the first 'self-acting' laundry detergent Persil to eliminate the laborious rubbing of laundry by hand.


title: Detergent

text: During the First World War, there was a shortage of oils and fats needed to make soap. In order find alternatives for soap, synthetic detergents were made in Germany by chemists using raw material derived from coal tar. These early products, however, did not provide sufficient detergency. In 1928, effective detergent was made through the sulfation of fatty alcohol, but large-scale production was not feasible until low-cost fatty alcohols become available in the early 1930s. The synthetic detergent created was more effective and less likely to form scum than soap in hard water, and can also eliminate acid and alkaline reactions and decompose dirt. Commercial detergent products with fatty alcohol sulphates began to be sold, initially in 1932 in Germany by Henkel. In the United States, detergents were sold in 1933 by Procter & Gamble (Dreft) primarily in areas with hard water. However, sales in the US grew slowly until the introduction of 'built' detergents with the addition of effective phosphate builder developed in the early 1940s. The builder improves the performance of the surfactants by softening the water through the chelation of calcium and magnesium ions, helping to maintain an alkaline pH, as well as dispersing and keeping the soiling particles in solution. The development of the petrochemical industry after the Second World War also yielded material for the production of a range of synthetic surfactants, and alkylbenzene sulfonates became the most important detergent surfactants used. By the 1950s, laundry detergents had become widespread, and largely replaced soap for cleaning clothes in developed countries.


title: Detergent

text: Over the years, many types of detergents have been developed for a variety of purposes, for example, low-sudsing detergents for use in front-loading washing machines, heavy-duty detergents effective in removing grease and dirt, all-purpose detergents and specialty detergents. They become incorporated in various products outside of laundry use, for example in dishwasher detergents, shampoo, toothpaste, industrial cleaners, and in lubricants and fuels to reduce or prevent the formation of sludge or deposits. The formulation of detergent products may include bleach, fragrances, dyes and other additives. The use of phosphates in detergent, however, led to concerns over nutrient pollution and demand for changes to the formulation of the detergents. Concerns were also raised over the use of surfactants such as branched alkylbenzene sulfonate (tetrapropylenebenzene sulfonate) that lingers in the environment, which led to their replacement by surfactants that are more biodegradable, such as linear alkylbenzene sulfonate. Developments over the years have included the use of enzymes, substitutes for phosphates such as zeolite A and NTA, TAED as bleach activator, sugar-based surfactants which are biodegradable and milder to skin, and other green friendly products, as well as changes to the form of delivery such as tablets, gels and pods.


title: Detergent

text: One of the largest applications of detergents is for household and shop cleaning including dish washing and washing laundry. These detergents are commonly available as powders or concentrated solutions, and the formulations of these detergents are often complex mixtures of a variety of chemicals aside from surfactants, reflecting the diverse demands of the application and the highly competitive consumer market. These detergents may contain the following components:


title: Detergent

text: Both carburetors and fuel injector components of internal combustion engines benefit from detergents in the fuels to prevent fouling. Concentrations are about 300 ppm. Typical detergents are long-chain amines and amides such as polyisobuteneamine and polyisobuteneamide/succinimide.


title: Detergent

text: Reagent grade detergents are employed for the isolation and purification of integral membrane proteins found in biological cells. Solubilization of cell membrane bilayers requires a detergent that can enter the inner membrane monolayer. Advancements in the purity and sophistication of detergents have facilitated structural and biophysical characterization of important membrane proteins such as ion channels also the disrupt membrane by binding lipopolysaccharide, transporters, signaling receptors, and photosystem II.


title: DNA and RNA codon tables

text: A codon table can be used to translate a genetic code into a sequence of amino acids. The standard genetic code is traditionally represented as an RNA codon table, because when proteins are made in a cell by ribosomes, it is messenger RNA (mRNA) that directs protein synthesis. The mRNA sequence is determined by the sequence of genomic DNA. In this context, the standard genetic code is referred to as translation table 1. It can also be represented in a DNA codon table. The DNA codons in such tables occur on the sense DNA strand and are arranged in a 5′-to-3′ direction. Different tables with alternate codons are used depending on the source of the genetic code, such as from a cell nucleus, mitochondrion, plastid, or hydrogenosome.


title: DNA and RNA codon tables

text: There are 64 different codons in the genetic code and the below tables; most specify an amino acid. Three sequences, UAG, UGA, and UAA, known as stop codons, do not code for an amino acid but instead signal the release of the nascent polypeptide from the ribosome. In the standard code, the sequence AUG—read as methionine—can serve as a start codon and, along with sequences such as an initiation factor, initiates translation. In rare instances, start codons in the standard code may also include GUG or UUG; these codons normally represent valine and leucine, respectively, but as start codons they are translated as methionine or formylmethionine.


title: DNA and RNA codon tables

text: The first table—the standard table—can be used to translate nucleotide triplets into the corresponding amino acid or appropriate signal if it is a start or stop codon. The second table, appropriately called the inverse, does the opposite: it can be used to deduce a possible triplet code if the amino acid is known. As multiple codons can code for the same amino acid, the International Union of Pure and Applied Chemistry's (IUPAC) nucleic acid notation is given in some instances.


title: DNA and RNA codon tables

text: The genetic code was once believed to be universal: a codon would code for the same amino acid regardless of the organism or source. However, it is now agreed that the genetic code evolves, resulting in discrepancies in how a codon is translated depending on the genetic source. For example, in 1981, it was discovered that the use of codons AUA, UGA, AGA and AGG by the coding system in mammalian mitochondria differed from the universal code. Stop codons can also be affected: in ciliated protozoa, the universal stop codons UAA and UAG code for glutamine. The following table displays these alternative codons.


title: Quenya

text: Quenya () is a constructed language, one of those devised by J. R. R. Tolkien for the Elves in his Middle-earth fiction.


title: Quenya

text: Tolkien began devising the language around 1910, and restructured its grammar several times until it reached its final state. The vocabulary remained relatively stable throughout the creation process. He successively changed the language's name from "Elfin" and "Qenya" to the eventual "Quenya". Finnish had been a major source of inspiration, but Tolkien was also fluent in Latin and Old English, and was familiar with Greek, Welsh (the latter being the primary inspiration for Sindarin, Tolkien's other major Elvish language), and other ancient Germanic languages, particularly Gothic, during his development of Quenya.


title: Quenya

text: A notable feature of Tolkien's Elvish languages was his development of a complex internal history of characters to speak those tongues in their own fictional universe. He felt that his languages changed and developed over time, as with the historical languages which he studied professionally—not in a vacuum, but as a result of the migrations and interactions of the peoples who spoke them.


title: Quenya

text: Within Tolkien's legendarium, Quenya is one of the many Elvish languages spoken by the immortal Elves, called "Quendi" ('speakers') in Quenya. Quenya translates as simply "language" or, in contrast to other tongues that the Elves met later in their long history, "elf-language". After the Elves divided, Quenya originated as the speech of two clans of "High Elves" or Eldar, the Noldor and the Vanyar, who left Middle-earth to live in Eldamar ("Elvenhome"), in Valinor, the land of the immortal and God-like Valar. Of these two groups of Elves, most of the Noldor returned to Middle-earth where they met the Sindarin-speaking Grey-elves. The Noldor eventually adopted Sindarin and used Quenya primarily as a ritual or poetic language, whereas the Vanyar who stayed behind in Eldamar retained the use of Quenya.


title: Quenya

text: In this way, the Quenya language was symbolic of the high status of the Elves, the firstborn of the races of Middle-earth, because of their close connection to Valinor, and its decreasing use also became symbolic of the slowly declining Elven culture in Middle-earth. In the Second Age of Middle-earth's chronology the Men of Númenor learnt the Quenya tongue. In the Third Age, the time of the setting of "The Lord of the Rings", Quenya was learnt as a second language by all Elves of Noldorin origin, and it continued to be used in spoken and written form, but their mother-tongue was the Sindarin of the Grey-elves. As the Noldor remained in Middle-earth, their Noldorin dialect of Quenya also gradually diverged from the Vanyarin dialect spoken in Valinor, undergoing both sound changes and grammatical changes.


title: Quenya

text: The Quenya language featured prominently in Tolkien's "The Lord of the Rings", as well as in his posthumously published history of Middle-earth "The Silmarillion". The longest text in Quenya published by Tolkien during his lifetime is the poem "Namárië"; other published texts are no longer than a few sentences. At his death, Tolkien left behind a number of unpublished writings on Quenya, and later Tolkien scholars have prepared his notes and unpublished manuscripts for publication in the journals "Parma Eldalamberon" and "Vinyar Tengwar", also publishing scholarly and linguistic analyses of the language. Tolkien never created enough vocabulary to make it possible to converse in Quenya, although fans have been writing poetry and prose in Quenya since the 1970s. This has required conjecture and the need to devise new words, in effect developing a kind of neo-Quenya language.


title: Quenya

text: J. R. R. Tolkien began to construct his first Elven tongue c. 1910–1911 while he was at the King Edward's School, Birmingham. He later called it "Qenya" (c. 1915), and later changed the spelling to "Quenya". He was then already familiar with Latin, Greek, Spanish, and several ancient Germanic languages, such as Gothic, Old Norse, and Old English. He had invented several cryptographic codes, and two or three constructed languages. Tolkien took an interest in the Finnish mythology of the Kalevala, then became acquainted with Finnish, which he found to provide an aesthetically pleasing inspiration for his High-elven language. Many years later, he wrote: "It was like discovering a complete wine-cellar filled with bottles of an amazing wine of a kind and flavour never tasted before. It quite intoxicated me." Regarding the inspiration for Quenya, Tolkien wrote that:


title: Quenya

text: Tolkien never intended Quenya or any of his constructed languages to be used in everyday life as an international auxiliary language, although he was in favour of the idea of Esperanto as an auxiliary language within Europe. With his Quenya, Tolkien pursued a double aesthetic goal: "classical and inflected". This urge, in fact, was the motivation for his creation of a 'mythology'. While the language developed, Tolkien felt that it needed speakers, including their own history and mythology, which he thought would give a language its 'individual flavour'. "The Lord of the Rings", according to Tolkien, "was primarily linguistic in inspiration and was begun in order to provide the necessary background of 'history' for Elvish tongues". This process of first inventing a language and then creating a background setting for its fictional speakers has been described as unique. Dimitra Fimi, a Tolkien scholar, argues that Tolkien's invention of Qenya started as a quest for the ideal language, to match the moral and aesthetic objectives that were part of his project of creating "a mythology for England". Fimi argues that Tolkien deliberately used sound symbolism to unify sound and meaning and make the language appear as an ideal language, fit to be spoken in the utopian realm of the Elves and fairies of Valinor. Tolkien considered Quenya to be "the one language which has been designed to give play to my own most normal phonetic taste".


title: Quenya

text: From the onset, Tolkien used comparative philology and the tree model as his major tools in his constructed languages. He usually started with the phonological system of the proto-language and then proceeded by inventing for each daughter language the necessary sequence of sound changes. "I find the construction and the interrelation of the languages an aesthetic pleasure in itself, quite apart from "The Lord of the Rings", of which it was/is in fact independent."


title: Quenya

text: In his lifetime, Tolkien experimented ceaselessly with his constructed languages, and they were subjected to many revisions. Quenya had many grammars with substantial differences between the different stages of its development. During the first conceptual stage of "early Quenya" c. 1910 to c. 1920, the language was called "Elfin" in English and "Eldarissa" in Qenya proper. While its development was a continuous process, Quenya underwent a number of major revisions in its grammar, mostly in conjugation and the pronominal system. The vocabulary, however, was not subject to sudden or extreme change. Tolkien sometimes changed the meaning of a word, but he almost never discarded it once invented, and he kept on refining its meaning, and countlessly forged new synonyms. Moreover, Elvish etymology was in constant flux. Tolkien delighted in inventing new etymons for his Quenya vocabulary. But after the publication of "The Lord of the Rings" (finished c. 1949–1950, published in 1954–1955), the grammar rules of Quenya went through very few changes and this version was then defined as "late Quenya" (c. 1950–1973).


title: Quenya

text: The spelling "Qenya" is sometimes used to distinguish "early Quenya" from later versions. Qenya differs from late Quenya by having different internal history, vocabulary, and grammar rules as described in the "Qenyaqetsa". Examples include a different accusative or the abolition of final consonant clusters in later Quenya. Fimi suggests that Qenya as it appears in the "Qenyaqetsa" was supposed to be a mystic language, as the Lexicon contains a number of words with clear Christian religious connotations, such as "anatarwesta" "crucifixion" and "evandilyon" "gospel" – these words were not part of late Quenya.


title: Quenya

text: In the early 1930s, Tolkien decided that the proto-language of the Elves was Valarin, the tongue of the gods or Valar as he called them: "The language of the Elves derived in the beginning from the Valar, but they changed it even in the learning, and moreover modified and enriched it constantly at all times by their own invention." In the "Comparative Tables" the mechanisms of sound change were described by Tolkien for the following daughter languages: "Qenya, Lindarin" (a dialect of Qenya), "Telerin, Old Noldorin" (or "Fëanorian"), "Noldorin" (or "Gondolinian"), "Ilkorin" (especially of Doriath), "Danian of Ossiriand, East Danian, Taliska, West Lemberin, North Lemberin, and East Lemberin". For this proto-language of the Elves, Tolkien appears to have borrowed the five-part plosive system of Proto-Indo-European, the ancestor of Sanskrit, Greek, Latin, and others; namely, one labial, one coronal, and three velar plosives (palatal, plain, and labial). The first table below provides some of the "Primary Initial Combinations" from the "Comparative Tables".


title: Quenya

text: Another characteristic of Quenya reminiscent of ancient natural languages like Old Greek, Old English or Sanskrit is the dual grammatical number which is used in addition to singular and plural. It has been suggested that Tolkien used the dual to give Quenya an "archaic feel" in its role as an ancient language of the Elves.


title: Quenya

text: About ten years later, Tolkien changed his mind about the origin of the Elvish proto-language. Instead of learning from the Valar, the Elves had created an original language Quenderin which had become the proto-language of the Elven language family. For this new language, Tolkien kept the many roots he had invented for Valarin in the 1930s, which then became "Quenderin roots". The Eldarin family of languages comprises Quenya, Telerin, Sindarin and Nandorin. The evolution in Quenya and Telerin of the nasalised initial groups of Quenderin is described thus in Tolkien's "Outline of Phonology":


title: Quenya

text: In contrast to early Qenya, the grammar of Quenya was influenced by Finnish, an agglutinative language, but much more by Latin, a synthetic and fusional language, and also Greek, from which he probably took the idea of the diglossia of Quenya with its highly codified variety: the Parmaquesta, used only in certain situations such as literature. The phonology of Quenya was also inspired by certain aspects of Finnish, but this is not easily recognised.


title: Quenya

text: Tolkien almost never borrowed words directly from real languages into Quenya. The major exception is the name Earendel/Eärendil, which he found in an Old English poem by Cynewulf. Yet the Finnish influence extended sometimes also to the vocabulary. A few Quenya words, such as "tul-" "come" and "anta-" "give", clearly have a Finnish origin. Other forms that appear to have been borrowed are actually coincidental, such as Finnish "kirja" "book", and Quenya "cirya" "ship". Tolkien invented the Valarin/Quenderin root "kir-" from which sprang his Quenya word "cirya". The Latin "aure" "dawn", and Quenya "aure" "moment of special meaning, special day, festival day" are unrelated. Instead, Quenya "aurë" comes from the Valarin/Quenderin root ur-. Germanic influence can more be seen in grammar (the -r nominative plural ending is reminiscent of the Scandinavian languages) or phonology, than in words: "Arda", the Quenya name for "region", just happened to resemble Germanic "Erde" "earth", while it actually comes from the Valarin/Quenderin root "gar-". According to Tom DuBois and Scott Mellor, the name of Quenya itself may have been influenced by the name Kven, a language closely related to Finnish, but Tolkien never mentioned this.


title: Quenya

text: Some linguists have argued that Quenya can be understood as an example of a particular kind of artificial language that helps to create a fictional world. Other such languages would include Robert Jordan's Old Tongue and the Klingon language of the "Star Trek" series invented by Marc Okrand. It was observed that they form "a sociolinguistic context within which group and individual identities can be created."


title: Quenya

text: Two journals, "Vinyar Tengwar" from issue No. 39 (July 1998), and "Parma Eldalamberon" from issue No. 11 (1995), are today exclusively devoted to the editing and publishing of Tolkien's mass of unpublished linguistic papers. Important grammatical texts, alluded to in the "History of Middle-earth" series and described as almost unreadable or quite incomprehensible, have been published in these two journals. The "Early Qenya Grammar", written by Tolkien c. 1925, was edited and published in "Parma Eldalamberon" No. 14.


title: Quenya

text: Attempts by fans to write in Quenya began in the 1970s, when the total corpus of published Elvish comprised only a few hundred words. Since then, the use of Elvish has flourished in poems and texts, phrases and names, and even tattoos. But Tolkien himself never made his languages complete enough for conversation. As a result, newly invented Elvish texts require conjecture and sometimes the coinage of new words. The use of Quenya has expanded over the years as new words have been created, forming a Neo-Quenya language that is based on Tolkien's original Quenya but incorporates many new elements.


title: Quenya

text: The Elvish languages are a family of several related languages and dialects. The following is a brief overview of the fictional internal history of late Quenya as conceived by Tolkien. Tolkien imagined an Elven society with a vernacular language for every-day use, "Tarquesta", and a more educated language for use in ceremonies and lore, "Parmaquesta".


title: Quenya

text: The Tolkien scholar Verlyn Flieger observed that the "degree of proximity" to the light of the Valar affected the development of both languages in terms of phonology, morphology and semantics. The division between Light Elves and Dark Elves that took place during the Sundering of the Elves is reflected in their respective languages.


title: Quenya

text: The Elves at first shared a common language, Primitive Quendian, called "Quenderin" in Quenya. Among the Eldar, i.e. those Elves who undertook the Great March to Valinor and Eldamar, Primitive Quendian developed into Common Eldarin. Some of the Eldar remained in Beleriand and became the Grey Elves; their language developed into Sindarin. Most of the other Eldar continued to Eldamar ('Elvenhome') in Aman and founded the great city of Tirion, where they developed Quenya.


title: Quenya

text: Quenya's older form, first recorded in the sarati of Rúmil, is called Old or Ancient Quenya ("Yára-Quenya" in Quenya). In Eldamar, the Noldor and Vanyar spoke two slightly different though mutually intelligible dialects of Tarquesta: "Noldorin Quenya" and "Vanyarin Quenya". Later Noldorin Quenya became "Exilic Quenya", when most of the Noldor Elves followed their leader Fëanor into exile from Eldamar and back to Middle-earth, where the immortal Elves first awoke.


title: Quenya

text: Quenya was used by the godlike Valar. The Elves derived some loanwords from the Valar's language, which was called Valarin in Quenya, although these were more numerous in the Vanyarin dialect than in Noldorin. This was probably because of the enduringly close relationship the Vanyarin Elves had with the Valar. The Quenya as used by the Vanyar also incorporated several words from Valarin that were not found in the Noldorin dialect, such as "tulka" ("yellow", from Valarin "tulukha(n)"), "ulban" ("blue", presumably from the same root as Valarin "ul(l)u" meaning "water"), and "nasar" ("red", original Valarin not given).


title: Quenya

text: According to "Quendi and Eldar: Essekenta Eldarinwa", "Quendya" was the usual Vanyarin name given to the Quenya language, since in Vanyarin, the consonant groups "ndy" and "ny" remained quite distinct. In Noldorin, "ndy" eventually became "ny". Tolkien explained that "the word "Quenya" itself has been cited as an exempla (e.g. by Ælfwine), but this is a mistake due to supposition that "kwenya" was properly "kwendya" and directly derived from the name "Quendi" 'Elves'. This appears not to be the case. The word is "Quenya" in Vanyarin, and always so in Parmaquesta."


title: Quenya

text: The Elves of the Third Clan, or Teleri, who reached Eldamar later than the Noldor and the Vanyar, spoke a different but closely related tongue, usually called Telerin. It was seen by some Elves to be just another dialect of Quenya. This was not the case with the Teleri for whom their tongue was distinct from Quenya. After the Vanyar left the city of Túna, Telerin and Noldorin Quenya grew closer.


title: Quenya

text: The rebellious Noldor, who followed their leader Fëanor to Middle-earth, spoke only Quenya. But Elu Thingol, King of the Sindar of Beleriand, forbade the use of Quenya in his realm when he learned of the slaying of Telerin Elves by the Noldor. By doing so, he both restricted the possibility of the Sindar to enhance and brighten their language with influences from Quenya and accelerated the "dimininution and spiritual impoverishment" of the Noldorin culture. The Noldor at this time had fully mastered Sindarin, while the Sindar were slow to learn Quenya. Quenya in Middle-earth became known as "Exilic Quenya" when the Noldor eventually adopted the Sindarin language as their native speech after Thingol's ruling. It differed from Amanian Quenya mostly in vocabulary, having some loanwords from Sindarin. It differed also in pronunciation, representing the recognition of sound-changes which had begun among the Noldor before the exile and had caused Noldorin Quenya to diverge from Vanyarin Quenya. The change of "z" (< old intervocalic "s") to "r" was the latest in Noldorin, belonging to early Exilic Quenya. The grammatical changes were only small though since the features of their "old language" were carefully taught.


title: Quenya

text: From the Second Age on, Quenya was used ceremonially by the Men of Númenor and their descendants in Gondor and Arnor for the official names of kings and queens; this practice was resumed by Aragorn when he took the crown as Elessar Telcontar. Quenya in the Third Age had almost the same status as the Latin language had in medieval Europe, and was called "Elven-latin" by Tolkien.


title: Quenya

text: Tolkien described the pronunciation of the Elvish languages by Elves, Men and Hobbits has been described in a variety of sources. The documentation about late Quenya phonology is contained in the Appendix E of the "Lord of the Rings" and the "Outline of Phonology", one of Tolkien's texts, published in "Parma Eldalamberon" No. 19.


title: Quenya

text: Tolkien based Quenya pronunciation more on Latin than on Finnish. Thus, Quenya lacks the vowel harmony and consonant gradation present in Finnish, and accent is not always on the first syllable of a word. Typical Finnish elements like the front vowels "ö", "ä" and "y" are lacking in Quenya, but phonological similarities include the absence of aspirated unvoiced stops or the development of the syllables "ti" > "si" in both languages. The combination of a Latin basis with Finnish phonological rules resulted in a product that resembles Italian in many respects, which was Tolkien's favourite modern Romance language.


title: Quenya

text: The tables below list the consonants (Q. "ólamar") and vowels of late colloquial Noldorin Quenya, i.e. Quenya as spoken among the Exiled Noldor in Middle-earth. They are written using the International Phonetic Alphabet, unless otherwise noted.


title: Quenya

text: The Quenya consonant system has 6 major places of articulation: labial (involving the lips), dental (involving the tongue and the back of the teeth), alveolar (involving the tongue and the alveolar ridge of the jaw), palatal (involving the tongue and the middle part of the roof of the mouth), velar (involving the back of the tongue and the back part of the roof of the mouth), and glottal (involving the vocal folds). The dental fricative () and the voiced alveolar fricative () occur in the Vanyarin varieties, but were gradually replaced with and respectively in Noldorin Quenya. Notably, voiced plosives only occur after nasals and liquids, i.e. there is no simple but only the clusters , and these occur only between vowels. (This may not be true in Vanyarin Quenya, given the word "Aldudénië", the name of a lament for the death of the Two Trees of Valinor composed by Elemmírë of the Vanyar.) Prenasalised consonants are prominent in Quenya, and include their own "tengwar". The following table presents the inventory of classic Noldorin consonants. Grouping of consonants occurs only in the central parts of a word, except for combinations with the semivowels and .


title: Quenya

text: Quenya orthography (using the Latin script) follows the IPA, but uses as an alternative to , writes not followed by another velar as (in early Quenya when this still can occur, as in "Ñoldor"; otherwise it is written ), and represents the consonants using the digraphs . Similarly, the digraphs may represent palatal stop allophones of , namely , although they are not independent phonemes. In addition, in the cluster represents after or and after other vowels. In some instances was used for the combination as in "Helcaraxë".


title: Quenya

text: Some consonants are realised differently when they occur in clusters with certain other consonants. This particularly concerns clusters that involve the approximants or the glottal fricative . Clusters where the second consonant was are realised as palatalised consonants, and clusters where the second consonant was are realised as labialised. Consonant clusters where the initial consonant is are realised as preaspirated and devoiced.


title: Quenya

text: The pronunciation of the consonant cluster is in Noldorin Quenya, which is a "strong voiceless y, similar to, but more frictional than the initial sound in English "huge"". In Vanyarin Quenya, is pronounced .


title: Quenya

text: According to Tolkien, the cluster is pronounced as "a 'front explosive' [c], as e.g. Hungarian "ty", but it is followed by an appreciable partly unvoiced y-offglide".


title: Quenya

text: Tolkien stated that the cluster is pronounced as in English "new" . In the Vanyarin dialect, , , and were realised as , , and respectively. Tolkien wrote about : "In Vanyarin Quenya and among some Ñoldor the cluster was sounded with voiceless "y", sc. as , which later in Vanyarin became "; cf. Hungarian "lopj" 'steal'.


title: Quenya

text: The cluster is realised as , a "spirantal voiceless "w". It has more tense with closer lip-aperture and more friction than the voiceless "wh" of English". According to Tolkien, the graph or is pronounced as "a lip-rounded 'k' followed by a partly unvoiced w-offglide", that is .


title: Quenya

text: The clusters and are realised as and , the same as and in Sindarin. These, like their Sindarin equivalents, derived from Primitive Elvish "sl-" and "sr-". The primitive consonant clusters "sm-" and "sn-" came out in Quenya as and ; it has been suggested that there was an intermediate stage of and , the voiceless versions and , in Common Eldarin; these soon merged with the voiced and . Voiceless "hl" and "hr" have a complex history which Tolkien describes thus: "Among the Noldor hr, hl became voiced to r, l before the Exile, and the use of r, l in these cases was normal in Tarquesta, as spoken, tho' the spelling was usually maintained. Since later the Exiles were familiar with voiceless "hr", "hl" in their Sindarin speech many of them restored this sound in Tarquesta, according to the traditional spelling. The learned had, of course, at all times retained hr, hl in reading or reciting Parmaquesta."


title: Quenya

text: In the late Ancient Quenya period, when vowels were lost in long compound words, the clusters thus created, or the consonants that became final, were as a rule changed or reduced:


title: Quenya

text: Quenya has five vowels (Quenya "ómar"), and a distinction of length. The short vowels are/a, e, i, o, u/ and the long ones are written with an acute accent as/á, é, í, ó, ú/. The precise quality of the vowels is not known, but their pronunciation is likely closer to the "pure" vowels of Italian and Spanish than to the diphthongised English ones. According to Pesch, for the vowels /a, i, u/ the short and long forms have the same vowel quality, similar to the vowels of Finnish or Polish. But for the vowels/e, o/, the short vowels are pronounced slightly lower and closer to and , respectively, whereas the long ones are pronounced as high-mid vowels and . This interpretation is based on a statement by Tolkien, saying that é and ó, when correctly pronounced by Elves, were just a little "tenser and 'closer'" than their short counterparts: "neither very tense and close, nor very slack and open". This interpretation results in a vowel system with 7 different vowel qualities and a length distinction in the high and low vowels only; this system is depicted in table 3.


title: Quenya

text: Late Noldorin Quenya has 6 diphthongs (Quenya "ohloni"):/iu, eu, ai, au, oi, ui/. All of these are falling, except for/iu/ () which is rising. In Old Quenya, all diphthongs were falling. Tolkien wrote: "It is probable that before the Exile Vanyarin and Noldorin [Quenya] in common shifted "iu, ui" to rising diphthongs, (...) but only is reported as a rising diphthong similar to the beginning of English "yule" . On the other hand, "ui" remained in Exilic Quenya a falling diphthong as reported".


title: Quenya

text: In Quenya, the stressing of a syllable is predictable and non-phonemic (i.e. the meaning of a word never changes depending on the stress), but it is partly determined by syllable weight. Words of two syllables are stressed on the first syllable. In words of three or more syllables, the stress is on the penultimate syllable if this is heavy, otherwise on the antepenultimate syllable, i.e. the third-to-last syllable. This stress rule is the same as the stress-pattern found in Latin. In Quenya, heavy syllables are syllables that contain either a long vowel, a diphthong, or a final consonant (thus an intervocalic consonant cluster: "ll, ld, mm, ss," "ny", "ry", etc.). Medially "hy" and "hw" close a syllable in Parmaquesta, but not colloquially in Tarquesta. Quenya has also a secondary accent. The placement of stress and the distinction between heavy and light syllables is important in Quenya verse.


title: Quenya

text: Tolkien also devised phonotactical rules for late Quenya, governing the way in which the sounds could be combined to form words:


title: Quenya

text: The grammar of Quenya is agglutinative and mostly suffixing, i.e. different word particles are joined by appending them. It has basic word classes of verbs, nouns and pronouns/determiners, adjectives and prepositions. Nouns are inflected for case and number. Verbs are inflected for tense and aspect, and for agreement with subject and object. In early Quenya, adjectives agree with the noun they modify in case and number, but not in later Quenya, where this agreement disappears. The basic word order is subject–verb–object. Unless otherwise noted, samples in this section refer to Late Quenya as conceived by Tolkien after 1951.


title: Quenya

text: Quenya nouns can have up to four numbers: singular, general plural ("plural 1"), particular/partitive plural ("plural 2"), and dual. In late Quenya Tarquesta, the plural is formed by a suffix to the subjective form of the noun: for "plural 1" the suffix is "-i" or "-r"; for "plural 2" the suffix is "-li". Quenya nouns are declined for case. Parmaquesta Quenya has ten cases. These include the four primary cases: nominative, accusative, genitive, and instrumental; three adverbial cases: allative (of which the dative is a shortened form), locative (also with a shortened form), and ablative; and a possessive or adjectival case. The accusative was however only used for Parmaquesta and had been replaced by nominative in late colloquial Quenya.


title: Quenya

text: In late Quenya, the singular endings are "-a, -ë, -ëa", and a rare form "-in" that may be seen as a shortened form of "-ina". The corresponding plural forms are "-ë, ,-i, ië", and possibly "-inë". The latter version is however not attested. Quenya adjectives may be freely used as nouns, in which case they are also inflected like a noun: e.g. "vinya", "new", may be used as "vinyar", "news".


title: Quenya

text: In Quenya, there are many similarities in form between prepositions and adverbs since the grammatical case already determines the relation of verb and object. Thus:


title: Quenya

text: As with all parts of Quenya grammar, the pronominal system was subject to many revisions throughout Tolkien's life, and the available corpus was not systematic until a list of endings was published in "Vinyar Tengwar" No. 49 in 2007. In late Quenya, pronouns have both separate or independent forms, and suffix forms.


title: Quenya

text: The separate pronouns have both a short and long form that are used for emphatic and normal pronouns respectively. Examples of the emphatic form include: , , (1st to 3rd person plural). Such emphatic disjunctive pronouns, were already present in early Quenya but differed from the later versions (e.g. plural: , , ).


title: Quenya

text: "I love him" (or "her") can be expressed in Quenya as or . "I love them" would be then or (these two forms are reconstructed).


title: Quenya

text: If a pronoun is the subject of a sentence, it becomes tied to the verb either as separate word directly before the verb, or as a suffix after the inflected verb. In the suffixed form, an (singular) and a (plural and dual) may be added to the long subjective pronouns as objectives of the 3rd person:


title: Quenya

text: It is debated whether certain attested special male and female pronouns that were exclusively used for the description of persons are still applicable to late Quenya as found in "The Lord of the Rings".


title: Quenya

text: The possessive determiners (analogous to English "my", "his", etc.) are used to indicate the possessor of the noun they determine. They mark the person and number of the possessor, and are inflected to agree with the noun they are attached in number and case. While the English language distinguishes between masculine and feminine singular possessors ("his" vs. "her"), late Quenya generally does not.


title: Quenya

text: "Since by Quenya idiom in describing the parts of body of several persons the number proper to each individual is used, the plural of parts existing in pairs (as hands, eyes, ears, feet) is seldom required. Thus "their hand" would be used, (they raised) their hands (one each), , (they raised) their hands (each both), and could not occur".


title: Quenya

text: According to Tolkien, "the inflections of [Qenya] verbs are always pretty regular", and Quenya verbs are either in a "personal form" or an "impersonal form". Usually in linguistics, an "impersonal verb" is a verb that cannot take a true subject, because it does not represent an action, occurrence, or state-of-being of any specific person, place, or thing. This is not how Tolkien intended the use of "impersonal." An "impersonal verb" form is a verb to which no pronoun has been attached, as () or (); , "I do (habitually)", is a personal form (with , a short suffix for "I, me"). As explained by Tolkien, verbs in Quenya are negated by using a "negative verb" in front of the proper verb in the impersonal tense form.


title: Quenya

text: Tolkien noted that "when the emphatic pronoun is used separately the verb has no inflexion (save for number)."


title: Quenya

text: In the imperative mood, plurality and duality are not expressed. "There is no agreement." The verb stays singular.


title: Quenya

text: The copula in late Quenya is the verb . Tolkien stated that it was used only in joining adjectives, nouns, and pronouns in statements (or wishes) asserting (or desiring) a thing to have certain quality, or to be same as another, and also that the copula was not used when the meaning was clear. Otherwise, the copula is left out, which may provide for ambiguous tenses when there is no further context:


title: Quenya

text: Quenya allows for a flexible word order because it is an inflectional language like Latin. Nevertheless, it has word order rules. The usual syntax structure is subject-verb-object. The adjective can be placed before or after the noun that it modifies.


title: Quenya

text: Because many of Tolkien's writings on the Elvish languages remain unpublished it is difficult to know how large a vocabulary he devised. By 2008, about 25,000 Elvish words had been published.


title: Quenya

text: The word used as a form of polite address to an Elf (male or female) is: Tar. Among the Númenoreans it became "King/Queen" and used as a form of address for a superior, especially a King or a Queen; cf. "Tarinya", used by Prince Aldarion to address his father, King Tar-Meneldur.


title: Quenya

text: According to Christopher Tolkien, "the Eldar used two systems of numerals one of sixes (or twelves), and one of fives. (or tens)." That is a duodecimal counting (base 12), and a decimal system. The Quenya word made by J. R. R. Tolkien for the 'decimal system of counting' is "maquanotië" - "hand counting".


title: Quenya

text: The known numbers for 1–20 are presented below; those from early Quenya ("Early Qenya Grammar") are in bold.


title: Quenya

text: Other attested number words include "esta" and "inga" for 'first'. Tolkien was dissatisfied with "esta", the definition is marked with a query in the "Etymologies". "Maqua" means specifically a "group of five" objects, like the English word "pentad"; similarly "maquat" "pair of fives" refers to a group of ten objects. The word "yunquenta" for thirteen literally means "12 and one more".


title: Quenya

text: "Qenya" numerals above twenty show that the smaller units come first, "21" being "one-twenty", and also reflects in how it's written in Tengwar.


title: Quenya

text: Most of the time, Tolkien wrote his invented languages using the Latin script, but he devised his own writing systems to match the internal histories of his languages.


title: Quenya

text: Tolkien imagined many writing systems for his Elves. The best-known is the "Tengwar of Fëanor" but the first one he created c. 1919 was the "Tengwar of Rumil", also called the sarati. He decided that, prior to their Exile, the Noldorin Elves first used the sarati of Rúmil to record Ancient Quenya. In Middle-earth, Quenya appears to have been rarely written using the "Elvish runes" or cirth, named "certar" in Quenya.


title: Quenya

text: Tolkien's spelling in Latin script of Quenya was largely phonemic, with each letter corresponding to a specific phoneme in the language. However, the vowels varied in pronunciation depending upon their length. Specific rules for consonants were provided in Appendix E of "The Lord of the Rings," e.g. the letter "c" is always pronounced "k", "qu" stands for "kw", "Orqui" is "Orkwi". Tolkien's standard orthography for Quenya uses all the letters of the Latin script except "j", "k", and "z", together with the acute and diaeresis marks on vowels; the letters "ñ", "þ" and "z" only appear in early Quenya. Occasionally, Tolkien wrote Quenya with a "Finnish-style" orthography (rather than the standard Latin-Romance version), in which "c" is replaced by "k", "y" with "j", and long vowels written double. The acute accent marks long vowels, while the diaeresis indicates that a vowel is not part of a diphthong, for example in "ëa" or "ëo", while final "e" is marked with a diaeresis to remind English-speakers that it is not silent.


title: Quenya

text: The poem "" is the longest piece of Quenya found in "The Lord of the Rings", yet the first sentence in Quenya is uttered by a Hobbit; namely Frodo's greeting to the Elves: . Other examples include Elendil's words spoken upon reaching Middle-earth, and repeated by Aragorn at his coronation: "Out of the Great Sea to Middle-earth I am come. In this place I will abide, and my heirs, unto the ending of the world!" Treebeard's greeting to Celeborn and Galadriel is also spoken in Quenya: "O beautiful ones, parents of beautiful children". Another fragment is Sam's cry when he uses Galadriel's phial against Shelob: "Hail Eärendil, brightest of stars!" And in "The Silmarillion", the phrase "The day has come! Behold, people of the Eldar and Fathers of Men, the day has come!", is cried by Fingon before the Battle of Unnumbered Tears.


title: Quenya

text: Other Quenya poems spoken by Tolkien in public but never published in his lifetime are ("The Last Ark"), , and in his lecture "A Secret Vice", and published in 1983 in "The Monsters and the Critics". A faulty fragment of the poem "Narqelion", written in early Quenya or Elfin between November 1915 and March 1916, was published by Humphrey Carpenter in his "Biography". A facsimile of the entire poem was published only in 1999.


title: Rakhee Gulzar

text: Raakhee Gulzar (born Rakhee Majumdar on 15 August 1947 and known as Raakhee) is an Indian actress who has appeared in many Hindi films and Bengali films as well. In four decades of acting, she has won three Filmfare Awards and one National Film Award, apart from many other awards. At Filmfare, Raakhee has been nominated 16 times in all (8 times for Best Actress and 8 times for Best Supporting Actress).She debuted in the Bengali film "Bodhu Boron" in 1967 with Geeta Dutta in the lead role. Her first Hindi film was "Jeevan Mrityu" in 1970.


title: Rakhee Gulzar

text: Rakhee was born in a Bengali family at Ranaghat in the Nadia district of West Bengal in the early hours of 15 August 1947, just hours after the independence of India. She received her early education in a local girls' school. Her father had a flourishing shoe business in his native village in East Bengal, modern-day Bangladesh, before the partition of India, and thereafter he settled in West Bengal. While still a teenager, Raakhee had an arranged marriage to Bengali journalist/film director Ajay Biswas, which ended shortly afterwards.


title: Rakhee Gulzar

text: At the start of her film career, she dropped her surname and was mentioned in film credits only as "Rakhee," by which name she attained stardom, but upon marrying lyricist-director Gulzar, she took that as her surname and is credited thereafter as Rakhee Gulzar.


title: Rakhee Gulzar

text: In 1967, the 20-year-old Rakhee acted in her first Bengali film "Bodhu Boron", after which she was offered the lead role in Rajshri Productions' "Jeevan Mrityu" (1970) opposite Dharmendra.


title: Rakhee Gulzar

text: In 1971, Rakhee played a double role opposite Shashi Kapoor in "Sharmilee", and also starred in "Lal Patthar" and "Paras"; all three films became hits and she established herself as a leading actress of Hindi Cinema. "Shehzada" (1972) opposite Rajesh Khanna and "Aankhon Aankhon Mein" (1972) opposite a relative newcomer Rakesh Roshan showcased her comic abilities though their box office performance was unsatisfactory. She continued to display versatility even in relatively small roles in "Lal Patthar," "Heera Panna" (1973) and "" (1973), with her strong performances. The phenomenal success of Rajshri Productions' "Tapasya" (1976) a heroine-dominated movie where she played the sacrificing sister opposite Parikshit Sahni established her as a box-office name to reckon with. Rakhee regards her performances in "Blackmail" (1973), "Tapasya" (1976) and "Aanchal" as her best.


title: Rakhee Gulzar

text: She acted with Dev Anand in "Heera Panna", "Banarasi Babu" (1973), "Joshila" (1973) and "Lootmaar" (1980). Rakhee starred opposite Shashi Kapoor in 10 released films: "Sharmilee", "Jaanwar Aur Insaan" (1972), "Kabhie Kabhie" (1976), "Doosra Aadmi" (1977), the critically acclaimed "Trishna" (1978), "Baseraa" (1981), "Bandhan Kuchchey Dhaagon Ka" (1983), "Zameen Aasmaan" (1984), and "Pighalta Aasman" (1985) and the unreleased "Ek Do Teen Chaar." Her exemplary chemistry with Amitabh Bachchan was showcased in eight films: "Kabhie Kabhie" (1976), "Muqaddar Ka Sikander" (1978), "Kasme Vaade" (1978), "Trishul" (1978), "Kaala Patthar" (1979), "Jurmana" (1979), "Barsaat Ki Ek Raat" (1981), and "Bemisal" (1982). In some films such as "Jurmana", her name is even credited ahead of the hero. She also formed a popular pair with Sanjeev Kumar with films like "Hamare Tumhare" (1979) and "Shriman Shrimati" (1982).


title: Rakhee Gulzar

text: In 1981, a 23-year-old aspiring director Anil Sharma asked her to star in an out and out female oriented role in his debut film "Shradhanjali". After the success of the film Raakhee was flooded by strong heroine-dominated roles. At the peak of her career as a popular heroine, she surprised everyone by accepting strong character roles as sister-in-law to Rajesh Khanna in "Aanchal" (1980), Shashi Kapoor and Amitabh in "Shaan" (1980), Mithun Chakraborty in "Dhuan," and mother to Amitabh in "Shakti" (1982) and Rishi Kapoor in "Yeh Vaada Raha" (1982).


title: Rakhee Gulzar

text: Towards the late 1980s and 1990s she played strong character roles as the elderly mother or a woman of principles in commercially successful films such as "Ram Lakhan" (1989), "Anari" (1993), "Baazigar" (1993), "Khalnayak" (1993), "Karan Arjun" (1995), "Border" (1997), "Soldier" (1998), "" (2001) and "Dil Ka Rishta" (2002).


title: Rakhee Gulzar

text: In 2003 she appeared in Rituparno Ghosh directed film "Shubho Mahurat" for which she won the National Film Award for Best Supporting Actress.


title: Rakhee Gulzar

text: In one of her interviews, she said in 2012 that her favourite heroes were Rajesh Khanna and Shashi Kapoor.


title: Rakhee Gulzar

text: In 2019 Kolkata International Film Festival the film "Nirbon" directed by Goutam Halder was premiered, where Rakhee portrayed the role of Bijolibala, a seventy years old lady with a strong conviction. "Doing films is not on my agenda right now, but the story fascinated me" Rakhee said about the adaptation of Moti Nandi's novel "Bijolibalar Mukti".


title: Rakhee Gulzar

text: Rakhee Gulzar has diverse experiences in a wide range of activities she has been associated with in the film industry. In many occasions she extended her contributions beyond acting and delved into various other field of activities, some of which are listed below:


title: Rakhee Gulzar

text: 1998 – "Pyaar To Hona Hi Tha" – Costume Designer1999 – "Dil Kya Kare" – Dress AssistantIn 1982 she lent her voice for the film "Taaqat" in the song "Teri nindiya ko lag jaye aag re" sung in duet with Kishore Kumar.


title: Rakhee Gulzar

text: In her second marriage, Raakhee married film director, poet and lyricist Gulzar. The couple have a daughter, Meghna Gulzar. When their daughter was only one year old, they separated. After completing her graduation in films from New York University, Meghna went on to become a director of films including "Filhaal...", "Just Married" and "Dus Kahaniyaan", and authored a biography of her father in 2004.


title: Rakhee Gulzar

text: At one point, Raakhee stayed in her bungalow, "Muktangan" (bought from the Marathi playwright P. L. Deshpande), on Sarojini Road in Khar, Mumbai. Later, she sold the property and moved to an apartment two buildings away, though the new high rise is still called by the same name, as she had wished. she mostly stays in the Panvel farmhouse on the Mumbai outskirts.


title: Rakhee Gulzar

text: "My mother has lived her professional and personal life with tremendous dignity and grace". said Meghna Gulzar, daughter of Rakhee, in an interview. Presently she lives in recluse in her farmhouse at Panvel, spending time in tending to a huge flock of animals, growing vegetables and reading books.


title: Work breakdown structure

text: A work-breakdown structure (WBS) in project management and systems engineering is a deliverable-oriented breakdown of a project into smaller components. A work breakdown structure is a key project deliverable that organizes the team's work into manageable sections. The Project Management Body of Knowledge (PMBOK 5) defines the work-breakdown structure as a "hierarchical decomposition of the total scope of work to be carried out by the project team to accomplish the project objectives and create the required deliverables."


title: Work breakdown structure

text: A work-breakdown structure element may be a product, data, service, or any combination of these. A WBS also provides the necessary framework for detailed cost estimation and control while providing guidance for schedule development and control.


title: Work breakdown structure

text: WBS is a hierarchical and incremental decomposition of the project into phases, deliverables, and work packages. It is a tree structure, which shows a subdivision of effort required to achieve an objective, for example, a program, project, and contract. In a project or contract, the WBS is developed by starting with the end objective and successively subdividing it into manageable components in terms of size, duration, and responsibility (e.g., systems, subsystems, components, tasks, subtasks, and work packages) which include all steps necessary to achieve the objective.


title: Work breakdown structure

text: The work breakdown structure provides a common framework for the natural development of the overall planning and control of a contract and is the basis for dividing work into definable increments from which the statement of work can be developed and technical, schedule, cost, and labor hour reporting can be established.


title: Work breakdown structure

text: A work breakdown structure permits the summing of subordinate costs for tasks, materials, etc., into their successively higher level "parent" tasks, materials, etc. For each element of the work breakdown structure, a description of the task to be performed is generated. This technique (sometimes called a "system breakdown structure") is used to define and organize the total scope of a project.


title: Work breakdown structure

text: The WBS is organized around the primary products of the project (or planned outcomes) instead of the work needed to produce the products (planned actions). Since the planned outcomes are the desired ends of the project, they form a relatively stable set of categories in which the costs of the planned actions needed to achieve them can be collected. A well-designed WBS makes it easy to assign each project activity to one and only one terminal element of the WBS. In addition to its function in cost accounting, the WBS also helps map requirements from one level of system specification to another, for example, a cross-reference matrix mapping functional requirements to high level or low-level design documents.


title: Work breakdown structure

text: The WBS may be displayed horizontally in outline form or vertically as a tree structure (like an organization chart).


title: Work breakdown structure

text: The development of the WBS normally occurs at the start of a project and precedes detailed project and task planning.


title: Work breakdown structure

text: The concept of work breakdown structure was developed with the Program Evaluation and Review Technique (PERT) by the United States Department of Defense (DoD). PERT was introduced by the U.S. Navy in 1957 to support the development of its Polaris missile program. While the term "work breakdown structure" was not used, this first implementation of PERT did organize the tasks into product-oriented categories.


title: Work breakdown structure

text: By June 1962, DoD, NASA, and the aerospace industry published a document for the PERT/COST system, which described the WBS approach. This guide was endorsed by the Secretary of Defense for adoption by all services. In 1968, the DoD issued "Work Breakdown Structures for Defense Materiel Items" (MIL-STD-881), a military standard requiring the use of work breakdown structures across the DoD.


title: Work breakdown structure

text: The document has been revised several times, most recently in 2018. The current version of this document can be found in "Work Breakdown Structures for Defense Materiel Items" (MIL-STD-881E). It includes WBS definitions for specific defense materiel commodity systems and addresses WBS elements that are common to all systems.


title: Work breakdown structure

text: The common elements identified in MIL-STD-881E, Appendix K are: Integration, assembly, test, and checkout; Systems engineering; Program management; System test and evaluation; Data; Peculiar support equipment; Common support equipment; Operational/Site activation; Contractor Logistics Support; Industrial facilities; Initial spares and repair parts. The standard also includes additional common elements unique to Space Systems, Launch Vehicle Systems, and Strategic Missile Systems.


title: Work breakdown structure

text: In 1987, the Project Management Institute (PMI) documented expanding these techniques across non-defense organizations. The "Project Management Body of Knowledge" (PMBOK) Guide provides an overview of the WBS concept, while the "Practice Standard for Work Breakdown Structures" is comparable to the DoD standard but is intended for more general application.


title: Work breakdown structure

text: An important design principle for work breakdown structures is called the 100% rule. It has been defined as follows:


title: Work breakdown structure

text: Mutually exclusive: In addition to the 100% rule, there must be no overlap in scope definition between different elements of a work breakdown structure. This ambiguity could result in duplicated work or miscommunications about responsibility and authority. Such overlap could also confuse project cost accounting. If the WBS element names are ambiguous, a WBS dictionary can help clarify the distinctions between WBS elements. The WBS Dictionary describes each component of the WBS with milestones, deliverables, activities, scope, and sometimes dates, resources, costs, quality.


title: Work breakdown structure

text: If the work breakdown structure designer attempts to capture any action-oriented details in the WBS, the designer will likely include either too many actions or too few actions. Too many actions will exceed 100% of the parent's scope, and too few will fall short of 100% of the parent's scope. The best way to adhere to the 100% rule is to define WBS elements in terms of outcomes or results, not actions. This also ensures that the WBS is not overly prescriptive of methods, allowing for greater ingenuity and creative thinking on the part of the project participants. For new product development projects, the most common technique to ensure an outcome-oriented WBS is to use a product breakdown structure. Feature-driven software projects may use a similar technique which is to employ a feature breakdown structure. When a project provides professional services, a common technique is to capture all planned deliverables to create a deliverable-oriented WBS. Work breakdown structures that subdivide work by project phases (e.g. preliminary design phase, critical design phase) must ensure that phases are clearly separated by a deliverable also used in defining entry and exit criteria (e.g., an approved preliminary or critical design review).


title: Work breakdown structure

text: One must decide when to stop dividing work into smaller elements. For most projects, a hierarchy of two to four levels will suffice. This will assist in determining the duration of activities necessary to produce a deliverable defined by the WBS. There are several heuristics or "rules of thumb" used when determining the appropriate duration of an activity or group of activities necessary to produce a specific deliverable defined by the WBS.


title: Work breakdown structure

text: It is common for work breakdown structure elements to be numbered sequentially to reveal the hierarchical structure. The purpose of the numbering is to provide a consistent approach to identifying and managing the WBS across like systems regardless of vendor or service. For example, 1.1.2 Propulsion (in the example below) identifies this item as a Level 3 WBS element, since there are three numbers separated by two decimal points. A coding scheme also helps WBS elements to be recognized in any written context and allows for mapping to the WBS Dictionary.


title: Work breakdown structure

text: The lowest element in a tree structure, a terminal element, is one that is not further subdivided. In a Work Breakdown Structure such elements (activity or deliverable), also known as work packages, are the items that are estimated in terms of resource requirements, budget and duration; linked by dependencies; and schedule. At the juncture of the WBS element and organization unit, control accounts and work packages are established, and performance is planned, measured, recorded, and controlled. A WBS can be expressed down to any level of interest. Three levels are the minimum recommended, with additional levels for and only for items of high cost or high risk, and two levels of detail at cases such as systems engineering or program management, with the standard showing examples of WBS with varying depth such as software development at points going to 5 levels or fire-control system to 7 levels.


title: Work breakdown structure

text: The higher WBS structure should be consistent with whatever norms or template mandates exist within the organization or domain. For example, shipbuilding for the U.S. Navy must respect that the nautical terms and their hierarchy structure put into MIL-STD are embedded in Naval Architecture and that matching Navy offices and procedures have been built to match this naval architecture structure, so any significant change of WBS element numbering or naming in the hierarchy would be unacceptable.


title: Work breakdown structure

text: The adjacent figure shows a work breakdown structure construction technique that demonstrates the 100% rule and the "progressive elaboration" technique. At WBS Level 1 it shows 100 units of work as the total scope of a project to design and build a custom bicycle. At WBS Level 2, the 100 units are divided into seven elements. The number of units allocated to each element of work can be based on effort or cost; it is not an estimate of task duration.


title: Work breakdown structure

text: The three largest elements of WBS Level 2 are further subdivided at Level 3. The two largest elements at Level 3 each represent only 17% of the total scope of the project. These larger elements could be further subdivided using the "progressive elaboration" technique described above.


title: Work breakdown structure

text: This is an example of the product-based approach (which might be end-product or deliverable or work-based), as compared to phased approach (which might be gated stages in a formal Systems development life cycle, or forced events (e.g. quarterly updates or a fiscal year rebudgeting), or a skills/roles based approach.


title: Work breakdown structure

text: WBS design can be supported by software (e.g. a spreadsheet) to allow automatic rolling up of point values. Estimates of effort or cost can be developed through discussions among project team members. This collaborative technique builds greater insight into scope definitions, underlying assumptions, and consensus regarding the level of granularity required to manage the projects.


title: Suits (season 2)

text: The second season of the American legal comedy-drama "Suits" was ordered on August 11, 2011. The season originally aired on USA Network in the United States between June 14, 2012 and February 21, 2013. The season was produced by Hypnotic Films & Television and Universal Cable Productions, and the executive producers were Doug Liman, David Bartis and series creator Aaron Korsh. The season had six series regulars playing employees at the fictional Pearson Hardman law firm in Manhattan: Gabriel Macht, Patrick J. Adams, Rick Hoffman, Meghan Markle, Sarah Rafferty, and Gina Torres.


title: Suits (season 2)

text: The series revolves around corporate lawyer Harvey Specter and his associate attorney Mike Ross, the latter practicing without a law degree.


title: Suits (season 2)

text: Six actors received star billing in the show's first season. Each character works at the fictional Pearson Hardman law firm in Manhattan. Gabriel Macht plays corporate lawyer Harvey Specter, who is promoted to senior partner and is forced to hire an associate attorney. Patrick J. Adams plays college dropout Mike Ross, who wins the associate position with his eidetic memory and genuine desire to be a good lawyer. Rick Hoffman plays Louis Litt, Harvey's jealous rival and the direct supervisor of the firm's first-year associates. Meghan Markle plays Rachel Zane, a paralegal who aspires to be an attorney but her test anxiety prevents her from attending Harvard Law School. Sarah Rafferty plays Donna Paulsen, Harvey's long-time legal secretary, confidant, and initially the only one at the firm who knows Mike never attended law school. Gina Torres plays Jessica Pearson, the co-founder and managing partner of the firm.