text:
Chusquea

Chusquea is a genus of evergreen bamboos in the grass family. Most of them are native to mountain habitats in Latin America, from Mexico to southern Chile and Argentina.

They are sometimes referred to as South American mountain bamboos. Unlike most other grasses, the stems of these species are solid, not hollow. Some animals are, to various extents, associated with stands of Chusquea, for example the Inca wren, monito del monte, and the plushcap.

Notable species
Chusquea culeou, the Chilean feather bamboo or colihue cane, from southern Chile and adjacent western Argentina, is notable as the most frost-tolerant South American bamboo and the only one that has been grown successfully to any extent in the temperate Northern Hemisphere, with successful growth as an ornamental plant north to Scotland. The colihue cane was used by the Mapuches Indians to make instruments and as lances during the War of Arauco.

Chusquea quila (in Spanish quila), in contrast to Colihue, has a spreading or vining growth. It prefers wet places and does not grow above 500 m, where C. culeou becomes more dominant. Chusquea quila can form pure stands called quilantales. Very few plants can grow under this species.

In Chile, Chusquea species have been historically harvested for seed by indigenous peoples, but the flowering and seeds of the species, is associated to mice vermin.

Taxonomy
The genus Chusquea now includes species formerly classified in Dendragrostis, Rettbergia, Swallenochloa, and Neurolepis. The genus has been organized into three subgenera, subg. Rettbergia, subg. Swallenochloa and subg. Chusquea, although molecular evidence only supports a monophyletic subg. Rettbergia.

Species
193 species are accepted: • # Chusquea abietifolia – Caribbean

• # Chusquea acuminata – Brazil (Rio de Janeiro state)

• # Chusquea acuminatissima – Colombia and Venezuela

• # Chusquea albilanata – Colombia and Ecuador

• # Chusquea amistadensis – Costa Rica and Panama

• # Chusquea andina – central and southern Chile

• # Chusquea anelythra – eastern Brazil

• # Chusquea anelythroides – southeastern Brazil

• # Chusquea angusta – Colombia, Venezuela, and Guyana

• # Chusquea angustifolia – eastern Colombia to western Venezuela

• # Chusquea annagardneriae – Ecuador

• # Chusquea antioquensis – central Colombia

• # Chusquea aperta – Mexico (Veracruz and Oaxaca)

• # Chusquea arachniformis – north-central Colombia

• # Chusquea argentina – south-central and southern Chile to southwestern Argentina

• # Chusquea aristata – southwest Colombia to Peru

• # Chusquea aspera – Peru

• # Chusquea asymmetrica – Ecuador, Peru, and Bolivia

• # Chusquea attenuata – Brazil (Minas Gerais state)

• # Chusquea aurea – Venezuela

• # Chusquea baculifera – southeastern Brazil

• # Chusquea bahiana – eastern Brazil

• # Chusquea bambusoides – eastern and southern Brazil

• # Chusquea barbata – Peru

• # Chusquea bilimekii – Mexico (Mexico and Veracruz states)

• # Chusquea bradei – Brazil (Bahia and Espirito Santo states)

• # Chusquea caparaoensis – Brazil (Minas Gerais state)

• # Chusquea capitata – southeastern and southern Brazil

• # Chusquea capituliflora – southeastern and southern Brazil

• # Chusquea ciliata – central Chile

• # Chusquea ciliatifolia – Brazil (southeastern Bahia and northeastern Minas Gerais states)

• # Chusquea circinata – Mexico (Sinaloa to Chiapas states)

• # Chusquea clarkiae – Colombia

• # Chusquea clemirae – Brazil (Bahia state)

• # Chusquea contrerasii – Mexico (Jalisco)

• # Chusquea coronalis – Mexico (Chiapas) to Costa Rica

• # Chusquea cortesii – central and southern Mexico and Guatemala

• # Chusquea costaricensis – Costa Rica

• # Chusquea culeou – central and southern Chile, southwestern Argentina

• # Chusquea cumingii – central Chile

• # Chusquea cylindrica – Trinidad

• # Chusquea decolorata – Peru

• # Chusquea deficiens – central Bolivia to northwestern Argentina

• # Chusquea deflexa – El Salvador and Honduras

• # Chusquea delicatula – Peru and Bolivia

• # Chusquea depauperata – Peru and Bolivia

• # Chusquea diversiglumis – Venezuela and northern Brazil

• # Chusquea dombeyana – Colombia, Ecuador, and Peru

• # Chusquea egluma – Argentina (Salta Province)

• # Chusquea elata – southern Ecuador

• # Chusquea enigmatica – Mexico (San Luis Potosí and Veracruz states)

• # Chusquea erecta – Brazil (São Paulo state)

• # Chusquea exasperata – Ecuador and Peru

• # Chusquea falcata – Ecuador

• # Chusquea fasciculata – Brazil (Minas Gerais)

• # Chusquea fendleri – Venezuela

• # Chusquea fernandeziana – Juan Fernandez Islands and central Chile

• # Chusquea fimbriligulata – Colombia, Ecuador, and Peru

• # Chusquea floribunda – southern Bolivia and northwestern Argentina (Jujuy and Salta provinces)

• # Chusquea foliosa – Costa Rica and Panama

• # Chusquea fruticosa – Brazil (Minas Gerais state)

• # Chusquea galeottiana – Mexico (Guerrero and Oaxaca states)

• # Chusquea gamarrae – Peru

• # Chusquea gibcooperi – Mexico (Hidalgo, Veracruz, and Puebla states)

• # Chusquea gigantea – Chile (La Araucania)

• # Chusquea glauca – Mexico (Veracruz state)

• # Chusquea glomerata – Colombia and Venezuela

• # Chusquea gouveiensis – Brazil (Minas Gerais state)

• # Chusquea gracilis – Brazil (Santa Catarina state)

• # Chusquea grandiflora – Panama and Colombia

• # Chusquea guirigayensis – northwestern Valencia

• # Chusquea guzmanii – Mexico (Jalisco state)

• # Chusquea hatschbachii – Brazil (Santa Catarina state)

• # Chusquea heterophylla – southeastern Brazil

• # Chusquea huantensis – Peru

• # Chusquea ibiramae – southeastern Brazil

• # Chusquea imbricata – Brazil (Minas Gerais state)

• # Chusquea inamoena – Peru

• # Chusquea intipaqariy – Peru

• # Chusquea jorgemoranii – Ecuador

• # Chusquea juergensii – southeastern and southern Brazil, Argentina (Misiones province)

• # Chusquea kleinii – Brazil (Santa Catarina)

• # Chusquea laegaardii – Ecuador and Bolivia

• # Chusquea lanceolata – Mexico (Chiapas state) to Honduras

• # Chusquea latifolia – Colombia

• # Chusquea lehmannii – Colombia and Ecuador

• # Chusquea leonardiorum – Ecuador

• # Chusquea leptophylla – southeastern and southern Brazil

• # Chusquea liebmannii – western Mexico to Costa Rica

• # Chusquea ligulata – Colombia

• # Chusquea limensis – Peru

• # Chusquea linearis – Venezuela, Guyana, northern Brazil

• # Chusquea londoniae – Colombia and Ecuador

• # Chusquea longifolia – Mexico (Chiapas state) and Guatemala

• # Chusquea longiligulata – Costa Rica

• # Chusquea longipedicellata – Peru

• # Chusquea longipendula – Bolivia (Cochabamba)

• # Chusquea longiprophylla – Colombia

• # Chusquea longispiculata – Brazil (São Paulo and Rio de Janeiro states)

• # Chusquea lorentziana – Bolivia and northwestern Argentina

• # Chusquea loxensis – Ecuador

• # Chusquea maclurei – Ecuador

• # Chusquea macrostachya – southern Chile

• # Chusquea maculata – Colombia and Venezuela

• # Chusquea magnifolia – Costa Rica, Panama, Venezuela, and northern Brazil

• # Chusquea matlatzinca – Mexico (Michoacán state)

• # Chusquea mayrae – Costa Rica

• # Chusquea meyeriana – southeastern and southern Brazil

• # Chusquea microphylla – Brazil (Rio de Janeiro and Minas Gerais states)

• # Chusquea mimosa – southern Brazil

• # Chusquea mirabilis – Brazil (Bahia state)

• # Chusquea mollis – Colombia and Venezuela

• # Chusquea montana – central and southern Chile to southwestern Argentina

• # Chusquea montisylvicola – Ecuador (Loja)

• # Chusquea mulleri – Mexico (Veracruz state)

• # Chusquea multiramea – Venezuela

• # Chusquea nana – Ecuador

• # Chusquea nedjaquithii – Mexico (Oaxaca state)

• # Chusquea nelsonii – Mexico (Michoacán and Guerrero states)

• # Chusquea neurophylla – Ecuador and Peru

• # Chusquea nobilis – Colombia and Ecuador

• # Chusquea nudiramea – Brazil (Santa Catarina state)

• # Chusquea nutans – Brazil (Bahia and Minas Gerais states)

• # Chusquea oligophylla – southeastern and southern Brazil

• # Chusquea ovatifolia – Bolivia

• # Chusquea oxylepis – eastern and southern Brazil

• # Chusquea pallida – northeastern Colombia to northern Venezuela

• # Chusquea paludicola – Costa Rica

• # Chusquea parodii – Bolivia

• # Chusquea parviligulata – Brazil (Bahia state)

• # Chusquea patens – Costa Rica and Panama

• # Chusquea paucispiculata – Peru and Bolivia

• # Chusquea perligulata – Ecuador

• # Chusquea perotensis – Mexico (Veracruz and Oaxaca states)

• # Chusquea peruviana – southern Peru to Bolivia

• # Chusquea petiolata – Colombia

• # Chusquea picta – Peru and Bolivia

• # Chusquea pinifolia – southeastern Brazil

• # Chusquea pittieri – Mexico (Chiapas state) to Panama

• # Chusquea pohlii – Cosa Rica and Panama

• # Chusquea polyclados – Peru

• # Chusquea pulchella – Brazil (Rio de Janeiro and São Paulo states)

• # Chusquea purdieana – Colombia and Venezuela

• # Chusquea quila – central and southern Chile

• # Chusquea ramosissima – Bolivia, Paraguay, eastern and southern Brazil, northern Uruguay, and northeastern Argentina

• # Chusquea renvoizei – Bolivia

• # Chusquea repens – Mexico (Chiapas and Oaxaca states)

• # Chusquea rigida – Ecuador

• # Chusquea riosaltensis – Brazil (Minas Gerais state)

• # Chusquea rugoloana – Peru

• # Chusquea scabra – Costa Rica and Panama

• # Chusquea scandens – Colombia, Ecuador, Peru, and Bolivia

• # Chusquea sclerophylla – Brazil (Serra do Órgãos of Rio de Janeiro state)

• # Chusquea sellowii – southeastern and southern Brazil

• # Chusquea septentrionalis – Mexico (Durango state)

• # Chusquea serpens – Costa Rica to Venezuela and Ecuador

• # Chusquea serrulata – Colombia and Ecuador

• # Chusquea silverstonei – northwestern Colombia

• # Chusquea simpliciflora – Mexico (Chiapas) to Ecuador and Venezuela

• # Chusquea simplicissima – central Peru

• # Chusquea smithii – Peru

• # Chusquea sneidernii – Colombia

• # Chusquea spadicea – Colombia

• # Chusquea spathacea – Colombia

• # Chusquea spectabilis – Colombia, Venezuela, and Ecuador

• # Chusquea spencei – Colombia and northern Venezuela

• # Chusquea spicata – Bolivia and south-central and southeastern Peru

• # Chusquea straminea – northern Peru

• # Chusquea stuebelii – Colombia and Ecuador

• # Chusquea subtessellata – Costa Rica and Panama

• # Chusquea subtilis – Costa Rica

• # Chusquea subulata – Colombia and Ecuador

• # Chusquea sulcata – Mexico (Veracruz, Oaxaca, and Chiapas), Guatemala, and Costa Rica

• # Chusquea talamancensis – Costa Rica

• # Chusquea tarmensis – Peru

• # Chusquea tenella – southeastern and southern Brazil and northeastern Argentina

• # Chusquea tenuiglumis – southeastern Brazil

• # Chusquea tessellata – Colombia, Ecuador, and Venezuela

• # Chusquea tomentosa – Costa Rica

• # Chusquea tonduzii – Costa Rica

• # Chusquea tovarii – Ecuador and northwestern Peru

• # Chusquea tuberculosa – northeastern Colombia

• # Chusquea uliginosa – south-central and southern Chile

• # Chusquea uniflora – Colombia, Ecuador, and Peru

• # Chusquea urelytra – eastern and southern Brazil

• # Chusquea valdiviensis – south-central and southern Chile and southern Argentina

• # Chusquea villosa – Ecuador

• # Chusquea virgata – Costa Rica and Panama

• # Chusquea vulcanalis – Costa Rica and Panama

• # Chusquea weberbaueri – northern Peru

• # Chusquea wilkesii – Brazil (Rio de Janeiro state)

• # Chusquea windischii – Brazil (Santa Catarina state)

• # Chusquea yungasensis – Bolivia

title: Chusquea


text:
Talk:ELIZA effect

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 20 January 2021 and 21 April 2021. Further details are available on the course page. Student editor(s): Kellychen927. Peer reviewers: Alexakapoor, Oliviaolcott.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 19:57, 16 January 2022 (UTC)

Cross purposes
"... there is nothing magic about the symbol "+" that makes it well-suited to indicate addition..."

Actually there is something, even if not magic; The cross is one of the most ancient symbols used by mankind, probably in use long before writing. It is associated with the idea of two things meeting, most notably earth (horizontal plane, -) and sky (veritcal, |) or the meeting of weapons in combat (x), so the meeting of numerical values is pretty close. A modified version of the symbol, the T cross (only associated with the letter t in the cultures that use it, before modern communications and the spread of english that is) implies one componenet supporting another, thus when the horizontal component is placed on the vertical the result is a structure that has a different identity than either of its parts. An example would be wooden beams in buildings, bridges or other constructs.

I should mention that i have no knowledge of the actual history of the cross as a mathematical symbol, so the above text is more an opinion than a report of facts. This opinion however does come from the study of other subjects (not related to mathematics) like history and anthropology.

 * It was made up in the Middle Ages, after words had been used. lysdexia 01:50, 13 Nov 2004 (UTC)

 * Worse, the + symbol is just a whittled-down P.

 * "A little learning is a dangerous thing."
 * — Alexander Pope, An Essay on Criticism

 * We are watching myth-making in action. The original poster has no knowledge of the subject (as he admits), but instead of feeling constrained by real-world facts, generates a story made up out of his own head. If lysdexia hadn't responded, how many readers would have taken this fairy tale as the truth? It's not as if the history of mathematical symbols is shrouded in darkest mystery; the poster just didn't bother to check before making his statements. B00P 16:12, 9 May 2006 (UTC)

I don't quite get how this is related to ELIZA, the chatbot. Is it because ELIZA just throws terms back at you without itself understanding what they mean? --AaronW 18:24, 17 Mar 2004 (UTC)

In my opinion, it is due to the fact that humans talking to ELIZA interpret what it says as intelligent. --Parmentier 08:33, 24 Jan 2005 (UTC)

Deletion?
I'd vote for rewriting or deleting this article. It is not clear from it that this is computer-slang. Rather, it seems to imply that this vaugely-defined 'effect' originated with ELIZA, which is completely untrue. The whole field of Semiotics is devoted to studying these relations, and it is quite old. This is just a (very rare) computer slang term which seems to encompass the whole field. This would be the wrong place to try to give a full description of semiotics and semiotic relationships.

Yes, this article needs a rewrite. I don't wote for deletion, since the word is a part of the computers history.

It is hard to find any online information about the Eliza Effect, since the same definition found here has been copypasted all over the web. However, the book "Hamlet on the Holodeck" defines the Eliza Effect as "attributing greater intelligence or intentionally to a machine than it possesses".

I think this is much more exact than all the talk about symbols. --Kasper Hviid 10:22, 6 August 2005 (UTC)

Revamped ELIZA effect page
Alba recently rewrote the page from scratch and the result is clearly an improvement. However, I'm concerned about a few things: Thanks again, Alba, for the hard work on this article. I hope we can fix these remaining issues. Phiwum 18:47, 8 October 2006 (UTC)
 * There is a list of sources at the bottom of the page, but no references throughout the page. It's not at all clear which statements are well-sourced and which are original research.
 * In particular, the section on the effect as a logical fallacy seems nice, but is it original research or can it be found in one of the sources?
 * The article now stresses interpretations of computer behavior. I think that's good, but it makes the comments on operator overloading even less coherent.  When a user interprets the plus in a computer program, he is not interpreting computer behavior!

Non-interactive contexts?
Would it be incorrect to say that empathising with a fictional character (outside of interactive fiction) is an instance on the ELIZA effect? You know the character is not real, but you begin to ascribe human motivations to it. So, is the ELIZA effect any different than "the suspension of disbelief"? Somegeek 17:29, 18 October 2006 (UTC)

 * Also, if a character is programmed to *model* an emotion or opinion and act accordingly, is it still correct to describe empathy as the ELIZA effect? (The article notes that ELIZA did not simulate emotions such as "interest" since ELIZA doesn't really keep any state around.  But it doesn't really address the case of a chatterbot that DOES simulate emotions.) Somegeek 21:33, 26 October 2006 (UTC)

Operator overloading
I have removed the following paragraph on operator overloading.

 * The ELIZA effect is also used in the construction of programming languages. The symbol +, for example, is assumed by users to mean 'addition' regardless of context. The symbol + is sometimes also used to represent an algorithm for string concatenation. Program authors can use the + without knowing that it is an overloaded operator that implements two different algorithms. The ELIZA effect can cause users to assume that the program (or programmer) has the same assumptions about the meaning of + that they do.

These comments have nothing at all to do with the ELIZA effect. The ELIZA effect is said to be about misinterpreting computer behavior as intensional. Overloading operators is not about computer behavior, but the meaning of certain symbols in a language. (For that matter, the notion that programmers can use an overloaded operator without knowing it is overloaded is strange indeed! Why would I write "xxx" + "YYY" unless I know that "+" is overloaded to deal with string concatenation?)

If there is some reliable reference discussing the ELIZA effect and overloading, please feel free to cite it and replace this text. Phiwum 12:16, 14 April 2007 (UTC)

Dispute: The ELIZA effect as logical fallacy.
The article says the following:

 * The ELIZA effect is a special case of the logical fallacy of affirming the consequent:

 * If something is motivated by X, it behaves in manner Y.
 * This program behaves in manner Y.
 * Therefore, this program is motivated by X.

 * Even if the program is motivated by X, it does not follow that the observed behavior Y resulted from motivation X. Furthermore, it cannot even be demonstrated that the program is ever motivated by X. Indeed, in many cases, motivation by X is impossible (example: "The program thinks I am attractive".)

Whether the effect is really caused by such thinking is an empirical question. It is just as plausible that the effect is caused by the valid but unsound deduction:

 * If something behaves in manner Y, then it is motivated by X.
 * This program behaves in manner Y.
 * Therefore, this program is motivated by X.

I do not see any evidence that the effect is caused by the former syllogism rather than the latter, which is valid but has a false major premise.

Indeed, we may as well say that all non-solipsists are victims of a fallacy, too, since they apply some reasoning similar to the invalid argument above. It is not enough to notice that one obvious argument for a conclusion is fallacious. We need some evidence that people actually use that fallacious deduction. Phiwum 13:31, 14 April 2007 (UTC)

Deleted Section
The logical fallacy section has been in the article uncited since October (when I first mentioned that it looks like OR). I think that's long enough. I have deleted the section, which appears below.

==Logical fallacy==

The ELIZA effect is a special case of the logical fallacy of affirming the consequent:

If something is motivated by X, it behaves in manner Y.  This program behaves in manner Y.   Therefore, this program is motivated by X.

Even if the program is motivated by X, it does not follow that the observed behavior Y resulted from motivation X. Furthermore, it cannot even be demonstrated that the program is ever motivated by X. Indeed, in many cases, motivation by X is impossible (example: "The program thinks I am attractive".)

The ELIZA effect is a lesser formal fallacy than anthropomorphization, as the computer user knows that the computer is not a human or a complete artificial intelligence. The user nonetheless implicitly assumes the behavior has the same causes as the same behavior would have in a human. The assumption is a fallacy because the computer cannot experience human motives. While the programmer may have had the motivations the user assumes, this cannot be deduced solely from the program's response: the program's behavior may be an unintended side effect.

The ELIZA effect ends if the user consciously recognizes that the computer cannot be motivated in the assumed manner.

Please forgive my crappy formatting. I would appreciate it if someone with more Wiki skills fixed up the above. Phiwum 12:31, 17 April 2007 (UTC)

Contradictory claims.
It seems to me that the following two claims are contradictory. Either the apparent contradiction should be explained away or one of the two should be removed. Neither claim is sourced. Phiwum 13:17, 15 April 2007 (UTC)
 * Upon observation, researchers discovered users subconsciously assuming ELIZA's questions implied interest in the topics discussed, even when they consciously knew that ELIZA did not simulate emotion.
 * The ELIZA effect ends if the user consciously recognizes that the computer cannot be motivated in the assumed manner.

misnomer?
i have spent some hours speaking with various ELIZAs now, and she is the most awful chatterbot i know of. it's strange that this effect is named after her. --Harlequence 01:41, 17 June 2008 (UTC)

 * The ELIZA/Doctor script was written in the mid-1960s, and the term was coined soon after. Obviously, ELIZA is less complex than later implementations of similar concepts; however, the term of art remains "ELIZA effect". Best, -- 151.191.175.231 (talk) 16:52, 17 June 2008 (UTC)

Discussion of gender effects
Near the end of this article, there is a discussion of gender effects related to the ELIZA effect. That section as currently written gives the incorrect impression that Weizenbaum observed something gendered in the way that people respond emotionally to chatbots. However, the references in that section do not actually attribute this idea (or any ideas about gender) to Weizenbaum. The section should therefore be edited to make this more clear.

I'm not convinced that gender needs to be discussed at all in this article. Obviously many things about conversations and emotions entail gender, but I don't know if any of those gender entailments are specific to the conversations that people have with chatbots. Sheldon Rampton (talk) 18:55, 13 June 2022 (UTC)

 * I just read the paper, and found that part of the article disturbingly misleading and confusing. You posted a year ago, maybe in the next few weeks I'll try to get around to fixing it up a little bit.  I would just remove it, but...
 * You know, I just checked to find out who put in this phrase: "In defining our proximity to digital assistants through their human attributes, chatbots become gendered entities." Clearly, that requires a citation, or it needs to be clearly marked as an expert opinion, not simply stated as a fact.  As it turns out, user Kellychen927 was apparently participating in a classroom project:
 * https://en.wikipedia.org/wiki/Wikipedia:Wiki_Ed/Northeastern_University/Digital_Feminisms_(Spring_2021)
 * The edits her account have made seem to support the idea that she was being forced to edit wikipedia. It looks like hundreds of edits in the span of 4 months, 0 outside of that timespan.  Hooray for school.
 * https://en.wikipedia.org/w/index.php?title=Special:Contributions/Kellychen927&target=Kellychen927&offset=&limit=500
 * Whatever - there are sources, and it's contemporary, so if I ever feel like fixing this page I'll surely leave all that "stuff," just make sure it's properly labeled... 37.48.237.26 (talk) 14:04, 6 July 2023 (UTC)

Broken Reference Link
Reference 4 to Computer Power and Human Reason by Weizenbaum is broken and doesn't go to anything. 2601:5C7:8302:A5F0:64BA:E1DE:C2E8:1EF (talk) 18:39, 19 December 2023 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:ELIZA effect


text:
Chimonobambusa

Chimonobambusa is a genus of East Asian bamboo in the grass family. They are native to China, Japan, Vietnam, Myanmar, and the Himalayas.

• # Chimonobambusa angustifolia
 * Species

• # Chimonobambusa armata – Burmese square bamboo

• # Chimonobambusa arunachalensis

• # Chimonobambusa brevinoda

• # Chimonobambusa callosa

• # Chimonobambusa communis

• # Chimonobambusa convoluta

• # Chimonobambusa damingshanensis

• # Chimonobambusa fansipanensis

• # Chimonobambusa gracilis

• # Chimonobambusa grandifolia

• # Chimonobambusa hejiangensis

• # Chimonobambusa hirtinoda

• # Chimonobambusa hookeriana

• # Chimonobambusa hsuehiana

• # Chimonobambusa intermedia

• # Chimonobambusa jainiana

• # Chimonobambusa jainii

• # Chimonobambusa lactistriata

• # Chimonobambusa leishanensis

• # Chimonobambusa luzhiensis

• # Chimonobambusa macrophylla – large-leaved Qiong bamboo

• # Chimonobambusa marmorea – marble bamboo

• # Chimonobambusa metuoensis

• # Chimonobambusa microfloscula

• # Chimonobambusa montigena

• # Chimonobambusa ningnanica

• # Chimonobambusa opienensis

• # Chimonobambusa pachystachys

• # Chimonobambusa paucispinosa

• # Chimonobambusa puberula

• # Chimonobambusa pubescens

• # Chimonobambusa purpurea

• # Chimonobambusa quadrangularis

• # Chimonobambusa rigidula

• # Chimonobambusa szechuanensis

• # Chimonobambusa tianquanensis

• # Chimonobambusa tuberculata

• # Chimonobambusa tumidissinoda – Chinese walking stick bamboo

• # Chimonobambusa unffolia

• # Chimonobambusa utilis

• # Chimonobambusa verruculosa see Ampelocalamus Bambusa Chimonocalamus Drepanostachyum Himalayacalamus Vietnamosasa Yushania • Chimonobambusa angulata – Bambusa tuldoides
 * formerly included

• Chimonobambusa baviensis – Chimonocalamus baviensis

• Chimonobambusa densifolia – Yushania densifolia

• Chimonobambusa falcata – Drepanostachyum falcatum

• Chimonobambusa gallatlyi – Chimonocalamus gallatlyi

• Chimonobambusa griffithiana – Chimonocalamus griffithianus

• Chimonobambusa hookeriana – Himalayacalamus hookerianus

• Chimonobambusa intermedia – Drepanostachyum intermedium

• Chimonobambusa jainiana – Ampelocalamus patellaris

• Chimonobambusa jaunsarensis – Yushania anceps

• Chimonobambusa khasiana – Drepanostachyum khasianum

• Chimonobambusa naibunensis – Ampelocalamus naibunensis

• Chimonobambusa polystachya – Drepanostachyum polystachyum

• Chimonobambusa pusilla – Vietnamosasa pusilla

title: Chimonobambusa


text:
Queer Nation

Queer Nation is an LGBTQ activist organization founded in March 1990 in New York City, by HIV/AIDS activists from ACT UP. The four founders were outraged at the escalation of anti-gay violence on the streets and prejudice in the arts and media. The group is known for its confrontational tactics, its slogans, and the practice of outing.

History
On March 20, 1990, sixty LGBTQ people gathered at the Lesbian, Gay, Bisexual and Transgender Community Services Center in New York's Greenwich Village to create a direct action organization. The goal of the unnamed organization was the elimination of homophobia, and the increase of gay, lesbian and bisexual visibility through a variety of tactics. The organization of Queer Nation, being non-hierarchical and decentralized, allowed anyone to become a member and have a voice.

The direct-action group's inaugural action took place at Flutie's Bar, a straight hangout at the South Street Sea Port on April 13, 1990. The goals included a desire to make it clear to (straight) patrons that queer people would not be restricted to gay bars for socializing and for public displays of affection, and to highlight their belief that most "public" space was in fact heterosexual space. Through parodying straight behavior (such as "spin the bottle") at these events, queer people refused to be invisible while publicly questioning the naturalized status of heterosexual coupling activity. Visibility actions like this one became known as "Queer Nights Out."

Another method for Queer Nation to grab attention was the use of banners at protests and rallies. One banner used read "Dykes and Fags Bash Back," another "Queer Nation…Get Used To It!" which referenced the organization's famous chant "We're here! We're Queer! Get used to it!"

Although the name "Queer Nation" had been used casually since the group's inception, it was officially approved at the group's general meeting on May 17, 1990.

The militant protest style of the group contrasted with more assimilationist gay rights organizations such as the Human Rights Campaign, Log Cabin Republicans, or National Gay and Lesbian Task Force. Queer Nation was most effective and powerful in the early 1990s in the US and used direct action to fight for gay rights. They also worked with AIDS organization ACT UP as well as WHAM! Even though never officially disbanded, many of the local groups did so in the mid-to-late 1990s.

The group's use of the word "queer" in its name and slogan was at first considered shocking, though the reclamation has been called a success, used in relatively mainstream television programs such as Queer Eye and Queer as Folk. The use of the word "queer" disarmed homophobes by reversing its derogatory nature.

Other slogans used by Queer Nation include "Two, Four, Six, Eight! How Do You Know Your Kids Are Straight?", "Out of the Closets and Into the Streets," and the widely imitated "We're Here! We're Queer! Get used to it!"'

Queer Nation Chicago was inducted into the Chicago Gay and Lesbian Hall of Fame in 1995.

Activism
At the time of Russia's recently approved anti-gay laws, Queer Nation protested the 2014 Winter Olympics in Sochi, Russia.

Early actions
Here are some of Queer Nation's first actions: Queer Nation members show up en masse at Macy's department store where Olympic gold medallist Greg Louganis is promoting a new swimsuit line. Queers arrive with WHEATIES cereal boxes with swimmer's picture pasted on front, to recall the time the cereal maker rejected Louganis as a spokesperson, ostensibly because he is gay. Responding to the 120% increase in violence against queers, Queer Nationals climb the billboard on the roof of Badlands, a Greenwich Village bar and hangs a 40-foot banner that reads: "Dykes and Fags Bash Back!" A pipe bomb explodes in Uncle Charlie's, a Greenwich Village gay bar, injuring three. In protest, Queer Nation mobilizes 1000 queers in a matter of hours. Angry marchers fill the streets, carrying the banner "Dykes and Fags Bash Back." The inauguration of "Queer Shopping Network." Members of Queer Nation travel from New York City to the Newport Mall in Jersey City with leaflets offering information about queers, safe sex tips, and a list of famous queers throughout history. The leaflets are titled "We're here, we're queer and we'd like to say hello!"
 * April 20, 1990
 * April 26, 1990
 * April 28, 1990
 * May 12, 1990
 * June 1990

Members of Queer Nation circulate the pamphlet "Queers Read This" at the New York Gay Pride Parade. A boycott of the music group Snap! was arranged by members of Queer Nation after the lead singer, Turbo Harris was accused of assaulting Boston club owner, Dennis Moreau.
 * August, 1990

San Francisco
Queer Nation/San Francisco was founded in June 1990 by Mark Duran, Steve Mehall and Daniel Paíz; they organized a meeting at the San Francisco Women's Building the following month where the group was launched publicly. In the fall of 1990 the group helped organize a protest against a visiting televangelist who vowed to "exorcise the demons" from San Francisco on Halloween. In another campaign, they distributed their trademark neon stickers that read "Trans Power/BI Power/Queer Nation". The organization was active through 1991; an attempt to revive the group in 1992 was unsuccessful. An offshoot, the San Francisco Street Patrol, was a neighborhood safety patrol in the Castro District; it outlived QN/SF itself by a year.

In 1992, Transgender Nation was founded by members of Queer Nation as the "first explicitly queer transgender social change group in the United States."

Los Angeles
Queer Nation LA was active in the early 90s staging protests against Hollywood's perceived homophobia and disrupted the 64th Academy Awards by staging a "kiss-in", obstructing entrants from the event while members of the group kissed on the red carpet. Other more radical actions include a blockade of Ventura Blvd, confrontations with various church groups in the area, and the taking over of a political science class at Los Angeles City College.

Nebraska
According to the Woman's Journal-Advocate, Queer Nation Nebraska was founded in December 1990. To encourage détente between Nebraska's lesbian and gay groups, Queer Nation Nebraska meetings were co-facilitated by one woman and one man. Queer Nation Nebraska demonstrated in front of churches and protested a show by a comedian Sam Kinison. The organization demonstrated in front of the ROTC building at the University of Nebraska–Lincoln in April 1991 to protest the military's policy of excluding LGBT people. One ROTC cadet spit on queer protesters, then punched and kicked a protester until the cadet was removed by police. Later in 1991, Queer Nation Nebraska produced a TV show consisting of two men kissing in a bathtub and pouring milk onto each other. The activists broadcast this show on Lincoln's public access television. Angry citizens asked the Lincoln City Council to shut down the public access channel.

Houston
Queer Nation in Houston was active from the beginning of 1991 through late 1994. On July 13, 1991, the group held a major demonstration to protest police response to the July 4 gay-bashing murder of Paul Broussard; that demonstration involved between 1200 and 2000 individuals who seized the intersection of Montrose Boulevard and Westheimer Street at the heart of Houston's gay neighborhood. Other actions by the group included a march in the suburban town that was the home of Broussard's killers, seizing the rotunda of Houston City Hall after another murder, protesting the Houston Post's firing of columnist Juan Palomo after he came out, and protesting discrimination against HIV-positive nurse Brian Bradley. The group also took the lead in organizing LGBT and HIV/AIDS protests at the 1992 Republican National Convention in Houston.

Denver
Queer Nation/Denver began in November 2012 by Todd Alan Haley II, using the original Pink Panthers Patrol insignia of the pink triangle with the "clawed" panther's paw in the center. Going by the name: The Pink Panthers Movement /PPM, Haley wanted to ensure that the original message the Pink Panthers Patrol created was never lost, either by apathy or legal pressure brought on by MGM Pictures/Studios. What began with just 3 party members in June 2010, now their growth exceeds over 1200 active and supporting party members. Teaming up with various feminist groups along the US, The Pink Panthers Movement vows to remain a non-profit group dedicated to helping other LGBT non-profits and the Women's Liberation Front. The PPM's slogan: "Our Rights, Our Community!" and "Curb your homophobia, we bite back!"

Utah
Queer Nation Utah was founded in January 1991 by Curtis Jensen, Melanie Bailey, and Connell O'Donovan. O'Donovan went to San Francisco in December 1990 to attend Queer Nation meetings there in order to learn about the organization and gather materials and ideas to share back in Utah. The group consisted of about 100 people with a core group of about a dozen people, about half women, half men, mostly white (with some Latinx, Polynesian, and Jewish) people, and several University of Utah students and one professor. Weekly planning meetings were held as well as regular focus group sessions. One of the focus groups produced four issues of the 'zine Queer Fuckers Magazine (QFM). Two major protests against the Church of Jesus Christ of Latter-day Saints were held at their semi-annual General Conferences. Kiss-ins were held at two predominantly heterosexual venues (Denny's diner and a Gay-owned dance club) where homophobic incidents had occurred. They were physically attacked by a large crowd outside of an Andrew Dice Clay comedy concert that Queer Nation Utah was protesting.

Southeast
The Queer Nation chapters in Atlanta, Georgia; Columbia, South Carolina; Berea and Lexington, Kentucky; and Nashville, Tennessee founded by Kelvin Lynn Cothren and Cheryl Lynn Summerville were active in protesting known homophobic policies of the Cracker Barrel a restaurant chain in 1992.

title: Queer Nation


text:
Indocalamus

Indocalamus is a genus of about 35 species of flowering plants in the grass family (Poaceae), native to China, Vietnam and Japan. They are quite small evergreen bamboos normally up to 2 m in height, initially forming clumps and then spreading to form larger thickets. They have thick, glossy leaves. Ruo leaves use to wrap foods like rice during dragon boat festival, originate in fujian refer to Indocalamus longiauritus originally but now are nonspecific to just about any leaf wrap.

Some species were formerly included in Sasa and Sasamorpha.

Indocalamus latifolius, I. solidus and I. tessellatus are found in cultivation in temperate regions, being very hardy down to -15 C.

• #Indocalamus amplexicaulis – Guangdong
 * Species

• # Indocalamus barbatus – Guangxi

• # Indocalamus bashanensis – Sichuan

• #Indocalamus chebalingensis – Guangdong

• # Indocalamus chishuiensis – Guizhou

• # Indocalamus confertus – Sichuan

• # Indocalamus cordatus – Jiangxi

• # Indocalamus decorus – Guangxi

• # Indocalamus emeiensis – Sichuan

• # Indocalamus guangdongensis – Guangdong, Guangxi, Guizhou, Hubei, Hunan

• # Indocalamus herklotsii – Hong Kong

• # Indocalamus hirsutissimus – Guizhou

• # Indocalamus hirtivaginatus – Jiangxi

• # Indocalamus hispidus – Sichuan

• # Indocalamus hunanensis – Chongqing, Hunan, Sichuan

• # Indocalamus inaequilaterus – Guangdong

• #Indocalamus jinpingensis – Yunnan

• # Indocalamus latifolius – Anhui, Henan, Hubei, Jiangsu, Shaanxi, Shanxi

• # Indocalamus longiauritus – Fujian, Guangdong, Guangxi, Guizhou, Henan, Hunan, Jiangxi, Sichuan, Zhejiang

• # Indocalamus macrophyllus – Fujian

• # Indocalamus multinervis – Guangdong

• # Indocalamus pedalis – Sichuan

• # Indocalamus petelotii – Laos, Vietnam

• # Indocalamus pseudosinicus – Guangdong, Guangxi, Hainan

• # Indocalamus pumilus – Guangxi

• # Indocalamus quadratus – Guizhou, Hunan

• # Indocalamus sinicus – Guangdong, Hainan

• # Indocalamus suichuanensis – Jiangxi

• # Indocalamus tessellatus – Hunan, Zhejiang

• # Indocalamus tongchuensis – Fujian

• # Indocalamus victorialis – Sichuan

• # Indocalamus wilsonii – Guizhou, Hubei, Sichuan

• # Indocalamus youxiuensis – Sichuan

see Acidosasa Ampelocalamus Arundinaria Bashania Bonia Fargesia Pleioblastus Pseudosasa Sinobambusa Yushania • Indocalamus actinotrichus – Ampelocalamus actinotrichus
 * Formerly included

• Indocalamus andropogonoides – Yushania andropogonoides

• Indocalamus basihirsutus – Yushania basihirsuta

• Indocalamus confusus – Yushania confusa

• Indocalamus debilis – Arundinaria debilis

• Indocalamus dumetosus – Bashania fargesii

• Indocalamus fargesii – Bashania fargesii

• Indocalamus floribundus – Yushania floribunda

• Indocalamus humilis – Sinobambusa humila

• Indocalamus mairei – Fargesia mairei

• Indocalamus megalothyrsus – Yushania megalothyrsa

• Indocalamus nanunicus – Acidosasa nanunica

• Indocalamus niitakayamensis – Yushania niitakayamensis

• Indocalamus oiwakensis – Yushania niitakayamensis

• Indocalamus pallidiflorus – Pseudosasa pubiflora

• Indocalamus parvifolius – Fargesia hackelii

• Indocalamus pubiflorus – Pseudosasa pubiflora

• Indocalamus rigidulus – Yushania rigidula

• Indocalamus scariosus – Bashania fargesii

• Indocalamus solidus – Bonia saxatilis

• Indocalamus varius – Pleioblastus amarus

• Indocalamus walkerianus – Yushania walkeriana

• Indocalamus wightianus – Yushania wightiana

title: Indocalamus


text:
Pseudosasa

Pseudosasa is a genus of East Asian bamboo in the grass family.

These species are small to medium running plants, usually with one branch at a node. Its name comes from its resemblance to the genus Sasa. The species are native to China, Japan, Korea, and Vietnam, with a few species sparingly naturalized in various other regions (western Europe, North Africa, North America, New Zealand, etc.

• # Pseudosasa aeria
 * Species

• # Pseudosasa amabilis

• # Pseudosasa brevivaginata

• # Pseudosasa cantorii

• # Pseudosasa disticha

• # Pseudosasa gracilis

• # Pseudosasa hindsii

• # Pseudosasa humilis

• # Pseudosasa japonica

• # Pseudosasa jiangleensis

• # Pseudosasa longiligula

• # Pseudosasa maculifera

• # Pseudosasa membraniligulata

• # Pseudosasa nabeshimana

• # Pseudosasa orthotropa

• # Pseudosasa owatarii

• # Pseudosasa pallidiflora

• # Pseudosasa pubiflora

• # Pseudosasa subsolida

• # Pseudosasa viridula

• # Pseudosasa wuyiensis see Acidosasa Fargesia Gelidocalamus Indocalamus Oligostachyum Pleioblastus Sasa] Sasaella Sasamorpha Sinobambusa Yushania • # Pseudosasa acutivagina – Acidosasa nanunica
 * formerly included

• # Pseudosasa altiligulata – Acidosasa nanunica

• # Pseudosasa auricoma – Pleioblastus viridistriatus

• # Pseudosasa flexuosa – Oligostachyum scabriflorum

• # Pseudosasa guanxianensis – Indocalamus longiauritus

• # Pseudosasa hamadae – Indocalamus tessellatus

• # Pseudosasa hirta – Indocalamus latifolius

• # Pseudosasa hisauchii – Sasaella hisauchii

• # Pseudosasa kunishii – Gelidocalamus kunishii

• # Pseudosasa kurilensis – Sasa kurilensis

• # Pseudosasa longiligulata – Sasa longiligulata

• # Pseudosasa longivaginata – Indocalamus tessellatus

• # Pseudosasa naibunensis – Ampelocalamus naibunensis

• # Pseudosasa nanningensis – Sinobambusa intermedia

• # Pseudosasa nanunica – Acidosasa nanunica

• # Pseudosasa notata – Acidosasa notata

• # Pseudosasa oiwakensis – Yushania niitakayamensis

• # Pseudosasa projecta – Acidosasa nanunica

• # Pseudosasa purpurascens – Sasamorpha borealis

• # Pseudosasa spiculosa – Sasamorpha borealis

• # Pseudosasa taiwanensis – Gelidocalamus kunishii

• # Pseudosasa tessellata – Indocalamus tessellatus

• # Pseudosasa togashiana – Sasa shimidzuana

• # Pseudosasa truncatula – Indocalamus latifolius

• # Pseudosasa uchidae – Sasa kurilensis

• # Pseudosasa vicinia – Fargesia vicina

• # Pseudosasa victorialis – Indocalamus victorialis

• # Pseudosasa vittata – Indocalamus longiauritus

title: Pseudosasa


text:
Sasa

Sasa may refer to:

People

 * Saša, a given name
 * Genjū Sasa (1900–1959), Japanese film director and critic
 * Sa'sa'a bin Sohan (598–666), a companion of Imam Ali revered by Shia Muslims
 * Sasa (politician), special envoy to the United Nations for the national legislative body (CRPH) of Myanmar
 * Chung Hsin-yu (also known as Sasa), Taiwanese host and actress

Places

 * Sa'sa', a Palestinian village depopulated during the 1948 Arab–Israeli War
 * Sasa, Israel, a kibbutz in Galilee, Israel
 * Sasa, North Macedonia, a village in the Makedonska Kamenica Municipality
 * Sa'sa', Syria, a town in the Rif Dimashq Governorate

Other uses

 * Sasa (dance), a Samoan dance
 * Sasa (plant), a genus of bamboo
 * Sasa (video game), an arcade video game released for the MSX1
 * Solvent-accessible surface area, the surface area of a biomolecule that is accessible to a solvent
 * Sa Sa International Holdings, a Hong Kong chainstore
 * Shekere, a musical instrument also known as "sasa" or "saasaa"

title: Sasa


text:
Neneh Cherry

Neneh Mariann Karlsson ; born 10 March 1964), better known as Neneh Cherry, is a Swedish singer, songwriter, rapper, occasional disc jockey and broadcaster. Her musical career started in London in the early 1980s, where she performed in a number of punk and post-punk bands in her youth, including the Slits and Rip Rig + Panic.

Cherry has released six studio albums under her own name. Her first, Raw Like Sushi, was released in 1989 and peaked at number three on the UK Album Chart, thanks in large part to the worldwide hit single "Buffalo Stance". Her second studio album was 1992's Homebrew. Four years later she released Man, with her next studio album, Blank Project, coming in 2014. Her most recent album, The Versions, was released in 2022. In addition to releasing these studio albums, she formed the band cirKus in 2006 and has collaborated with the Thing, releasing an album entitled The Cherry Thing in 2012. Cherry has won two Brit Awards and an MTV Europe Music Award (with Youssou N'Dour). She has also been nominated for a Grammy Award.

Early life and family
Cherry was born as Neneh Mariann Karlsson in Stockholm, Sweden, the daughter of Monika "Moki" Karlsson (1943–2009), a Swedish painter and textile artist, and the musician Ahmadu Jah (1936–2018). Jah was born in Sierra Leone, West Africa, the son of a tribal chief, and went to Stockholm to study engineering at university.

Cherry's parents separated early and her mother married the American jazz musician Don Cherry, who helped raise Cherry since birth. Cherry took her stepfather's surname. From her mother's side, Cherry also has a half-brother, musician Eagle-Eye Cherry. From stepfather Don Cherry's side, she has a stepsister, violinist Jan Cherry, and a stepbrother, jazz musician David Ornette Cherry. Through her father Ahmadu Jah's marriage to Maylen Jah (née Bergström), Cherry is the half-sister of singer Titiyo and record producer Cherno Jah.

In 1970, Cherry's parents, Moki and Don Cherry, bought and converted an old Swedish schoolhouse in rural Tågarp in Svalöv Municipality. In the early 1970s, the family moved to the United States, when Don Cherry taught at Dartmouth College. In 1977 the family bought a loft in New York City in the same building as Talking Heads members Chris Frantz and Tina Weymouth, whom they befriended.

Cherry dropped out of school at age 14 and moved to London. At the age of 16, she was raped by a teenager while walking home at night.

Early career
Cherry moved to the United Kingdom when she was 15, in the midst of the punk era, and she remembers finding "her people" there. Cherry had met Tessa Pollitt, Viv Albertine and Ari Up from the Slits earlier as her stepfather, Don Cherry, was touring with them and took the 15-year-old Neneh along. She and Ari lived in a squat in Battersea. She felt at home, after ending up there because The Slits invited Don Cherry to go on tour with them with Prince Hammer and Creation Rebel.

In London, Cherry joined the punk rock band The Cherries. She moved through several bands, including the Slits, New Age Steppers, Rip Rig + Panic, and Float Up CP. She also DJ'd, playing early rap music on the reggae pirate Dread Broadcasting Corporation. Cherry has stated that she found her voice singing along with Poly Styrene from X-Ray Spex. She grew up in a musical family; she remembers singing with her father at the piano.

Raw Like Sushi
Cherry began a solo career in 1982 with "Stop the War", a protest song about the Falklands War. She worked with Jonny Dollar, The The and Cameron McVey (aka Booga Bear), who co-wrote most of her 1989 debut album Raw Like Sushi, and whom she later married. She was intimately involved in the Bristol Urban Culture scene, working as an arranger on Massive Attack's Blue Lines album, through which she met Dollar. Both Robert Del Naja and Andrew Vowles of Massive Attack contributed to Raw Like Sushi.

The single "Buffalo Stance" eventually peaked at number 3 in the UK Singles Chart and the US Billboard Hot 100, and number 1 on the US Dance chart. More singles released between 1988 and 1990 included "Manchild", "Kisses on the Wind", "Heart", and "Inna City Mama". She also found success with "I've Got You Under My Skin", a reworking of the Cole Porter song, which appeared on the Red Hot + Blue AIDS fundraising album. The single reached number 25 in the UK. Cherry was nominated for a Grammy Award in 1990 in the Best New Artist category (but lost to Milli Vanilli who eventually had their award revoked). She won a Brit Award in 1990 for Raw Like Sushi.

Cherry caused a press furore when she performed "Buffalo Stance" on Top of the Pops while pregnant (with her second child, Tyson).

Homebrew
Cherry's second album was 1992's Homebrew. Homebrew was not as commercially successful as its predecessor. The album had some success on various Billboard charts with songs "Buddy X" and "Trout".

"Buddy X" reached number 4 on the Billboard Dance Club Music Charts where it spent a total of 11 weeks. The track also spent some time on Billboard′s Pop Songs Charts as well as the Hot 100 Charts, where it peaked at number 22 during its 8-week run and peaked at number 43 in its 12-week run, respectively.

The music video for "Buddy X" earned Neneh Cherry an MTV VMA nomination at the ceremony in 1993 for the Best Female Video category, alongside Janet Jackson, Annie Lennox, and k.d. lang, with lang winning the moonman.

"Trout" features additional vocals by R.E.M. singer Michael Stipe who helped to co-write the track along with Cherry, McVey, and Jonathan Sharp and contains samples of a guitar riff from Steppenwolf as well as drums by John Bonham. With airplay on college radio and increased popularity, "Trout" spent a total of 14 weeks on Billboard′s Alternative Music Charts where it reached number 2.

Homebrew also included the work of Geoff Barrow (on "Somedays"), who later became part of Portishead.

Additional recognition was attributed to remixes of track "Buddy X". First was the 1993 remix by The Notorious BIG, which is considered by some to be "one of the great Biggie rarities in the world." Cherry stated that she and McVey picked up Biggie for the studio where they remained for the session. The song was completed in one take. "Buddy X" found success yet again in the 1999 UK garage remix by Dreem Teem.

"Move with Me" was co-written by Cherry, McVey and Lenny Kravitz.

Man
1996's Man is a solo record produced by McVey, Jonny Dollar and Christian Falk. The lead track is "Woman", her take on James Brown's 1966 track "It's a Man's Man's Man's World." It featured the worldwide hit single, "7 Seconds", featuring Youssou N'Dour; and "Trouble Man" a cover of a Marvin Gaye track. Another track, "Together Now", featured Tricky.

In France, "7 Seconds" made number one for a record 16 weeks in 1994. The song earned Cherry her second Grammy nomination and an MTV Europe Music Award for Best Song. Remixes, a French remix album of Man songs, was released in 1997.

Blank Project
Blank Project was written by Cherry and her husband McVey. Paul Simm co-wrote six tracks on the record. The record was deeply influenced by the death of her mother.

To promote the album, she toured Europe in February and March 2014. In January 2015, Cherry performed as a solo artist in New York City. Cherry is very connected to New York, as she has visited or lived there off and on since 1966.

Broken Politics
Broken Politics, her second album to be produced by Four Tet, was released on 19 October 2018, and has been called "quieter and more reflective" than Blank Project by Cherry. The lead single, "Kong", was released earlier in August. Writing in The Guardian, Laura Snapes labeled the album "revelatory" and gave it a 5-star review.

To support the album, Cherry toured across North America, Australia and Europe in late 2018 and early 2019.

The Versions
On June 10, 2022, Cherry released her next studio album, The Versions. The album features reworked and reimagined versions of her previous singles. It features vocals from Robyn and Sia.

Bands/collaborations
The Cherry Bear Collective, Cherry's former company with McVey, is now called Nomad Productions and is based in west London.

CirKus
In 2006, Cherry formed a new band, cirKus, with Cameron McVey, Lolita Moon (Neneh and Cameron's daughter) and Karmil. CirKus toured Europe, with a single North American performance at the Montreal Jazz Festival in July 2006 plus a few dates in Brazil in 2008. The band's first album, Laylow, was released in France in 2006. A remixed/recorded version was released in 2007. A second CirKus album, Medicine, was released in France in March 2009.

The Cherry Thing
In March 2011, Cherry collaborated with the experimental jazz group The Thing, to release the record The Cherry Thing. The Thing is a Norwegian/Swedish jazz trio, consisting of Mats Gustafsson (saxophones), Ingebrigt Håker Flaten (double bass), and Paal Nilssen-Love (drums). The Thing took their name from the third track on stepfather Don Cherry's album Where Is Brooklyn?. The album The Cherry Thing was released in June 2012 and was recorded at Harder Sound Studios in London, England and Atlantis Studios in Stockholm, Sweden.

During a 1 June 2012 interview with Kirsty Lang, broadcast as part of the BBC Radio 4's Front Row daily podcast, Cherry discussed the jazz-inspired album, saying that The Thing were inspired by Cherry's stepfather's work, but that the band makes this inspiration their own. "I think that we're taking it on, to another place. I think that's really important," Cherry said. One of the songs from the album, "Golden Heart", was written by Don Cherry; Christer Bothén, a musician who played with Don Cherry, was invited to play on the album, and brought the song to their attention.

The album includes tracks originally performed by an eclectic mix of artists, including hip-hop artist MF Doom, Martina Topley-Bird Suicide, and The Stooges. Most of the tracks were recorded together live.

Other music projects
Although Cherry has released only a handful of albums, she has frequently collaborated with other artists.

In 1987, she was featured on the song "Slow Train To Dawn" by The The, in a duet with Matt Johnson. She also appeared in the music video.

In 2005, she collaborated with Gorillaz on the track "Kids with Guns" from the album Demon Days.

RocketNumberNine
In 2013, Cherry collaborated with London duo RocketNumberNine (named after a Sun Ra track), aka the Page Brothers – Ben and Tom Page – to record an album called MeYouWeYou. She also joined them to perform the entire album live at the Manchester International Festival in July 2013. The record is an album of 10 tracks that Cherry wrote with McVey, which they took with only vocals to RocketNumberNine, who then did their musical interpretation to all the tracks. They recorded the album live in Woodstock, New York, with Vortex. The 10 tracks were recorded in five days. Cherry calls it fearless and hardcore.

Musical style
Cherry said she has never really thought of herself as a rapper. She sees herself as a "singer that does a bit of rapping."

Breaking into the U.S. music industry was not a positive experience for Cherry. She said that while "Buffalo Stance" gave her a mainstream crossover moment in the U.S., she found the American music industry stiflingly attached to labels and genre identities.

Other work
In the early 1980s, Cherry was a DJ on DBC radio, Dread Broadcasting Corporation, a pirate radio station.

Cherry appeared in a non-singing capacity in Big Audio Dynamite's videos for "Medicine Show" (1985), and "C'mon Every Beatbox" (1986), dancing onstage with others during the band's performance. In the late 1980s, she helped bankroll the band Massive Attack

In early 2004, Cherry presented Neneh Cherry's World of Music, a six-part series broadcast on BBC Radio 2. In April 2007, she presented a six-part cookery show Neneh and Andi – Dish It Up with her friend Andrea Oliver for BBC Two. Neneh and Andi appeared on Gordon Ramsay's The F-Word as part of the amateur brigade.

In November 2013, Cherry contributed to the art project/audio book Ällp written by Lars Yngve. Singer Peps Persson contributed music, while Cherry, Björn Ranelid and a few other celebrities, all with their roots in Sweden's most southern county Skåne, recorded the book in Skånska/Scanian dialect (not "standard Swedish", aka Rikssvenska)

In 2016 she starred in ‘’Stockholm, My Love’’ a drama film and musical film Set in Stockholm, it features music by the likes of Benny Andersson from ABBA.

Cherry, a short documentary about Neneh Cherry, was released by The Face magazine on YouTube on 23 March 2022.

Personal life
In 1983, Cherry married drummer Bruce Smith and had a daughter, Naima. They divorced in 1984. Naima is a London photographer, who had a son named Louis Clyde Flynn Love (who goes by Flynn) in 2004.

In 1986, Cherry met producer and Morgan-McVey member Cameron "Booga Bear" McVey at Heathrow Airport. Cherry and McVey were en route to Japan as fashion models as part of London designer Ray Petri's Buffalo Posse. Cherry proposed, and the couple married in 1990. Cherry and McVey have two daughters: singers Tyson,  born in 1989 (also known as Lolita Moon), and Mabel McVey, born in 1996. The former (who releases singles with her name stylised as TYSON) was the daughter whom Cherry was pregnant with on Top of the Pops in 1988 and is featured in the "Manchild" video, while the latter is the singer who has collaborated on singles with Clean Bandit, Tiësto and Joel Corry.

Cherry and Cameron McVey have a collaborative work relationship: McVey produced and co-wrote Raw Like Sushi. Together they have supported a variety of British acts and they were in the group cirKus together, with Cameron McVey known as Burt Ford and Tyson as Lolita Moon during this time. Cherry has a stepson, Marlon Roudette (former frontman of Mattafix), via McVey's prior relationship with Vonnie Roudette.

The family has a country house near Birmingham and Wolverhampton, apartments in London and Stockholm, plus the family home in the old schoolhouse in Skåne County that she and her half-brother inherited when their mother died in 2009. In 2014, Cherry said she was commuting between London and Stockholm.

Style
Since the late 1980s, Cherry has frequently worked with the stylist and jewelry designer Judy Blame.

On her street style, Cherry cites LL Cool J as an influence, as well as the photographer Jean-Baptiste Mondino, Judy Blame, and designer Ray Petri.

Discography

 * Raw Like Sushi (1989)
 * Homebrew (1992)
 * Man (1996)
 * Blank Project (2014)
 * Broken Politics (2018)
 * The Versions (2022)

Brit Awards

 * style="text-align:left;" rowspan="3"|1990
 * rowspan="2" | Herself
 * Best International Breakthrough
 * rowspan="2" Won
 * Best International Solo Artist
 * "Manchild"
 * Best Video
 * rowspan="3" Nominated
 * style="text-align:left;"|1991
 * rowspan="2" | Herself
 * rowspan="2" | Best International Female
 * style="text-align:left;"|1997
 * style="text-align:left;"|1991
 * rowspan="2" | Herself
 * rowspan="2" | Best International Female
 * style="text-align:left;"|1997
 * style="text-align:left;"|1997

D&AD Awards
!Ref.
 * rowspan=2|1991
 * rowspan=2|"I've Got You Under My Skin"
 * Direction
 * Wood Pencil
 * Photography
 * Wood Pencil
 * Photography
 * Wood Pencil
 * Wood Pencil

Danish Music Awards

 * style="text-align:left;"|1995
 * "7 Seconds"
 * Best International Single
 * Won
 * Won

Grammy Awards

 * style="text-align:left;"|1990
 * Herself
 * Best New Artist
 * Nominated
 * Nominated

Grammis

 * 1990
 * rowspan=2|Herself
 * Best Female Pop/Rock Artist
 * Nominated
 * 1993
 * Best Modern Dance
 * Nominated
 * style="text-align:left;"|2013
 * The Cherry Thing
 * Jazz Recording of the Year
 * Won
 * 2019
 * Broken Politics
 * Best Electronic/Dance
 * Won
 * 2019
 * Broken Politics
 * Best Electronic/Dance
 * Won

Ivor Novello Awards

 * style="text-align:left;"|1990
 * "Buffalo Stance"
 * International Hit of the Year
 * Nominated
 * 1995
 * "7 Seconds"
 * International Hit of the Year
 * Nominated
 * International Hit of the Year
 * Nominated

MTV Europe Music Awards

 * style="text-align:left;" rowspan="2"|1994
 * "7 Seconds"
 * Best Song
 * Won
 * rowspan="2"|Herself
 * rowspan="2"| Best Female
 * Nominated
 * 1996
 * Nominated
 * 1996
 * Nominated
 * Nominated

MTV Video Music Awards

 * style="text-align:left;"|1989
 * "Buffalo Stance"
 * Best New Artist
 * Nominated
 * rowspan="2" | 1991
 * rowspan="2" | "I've Got You Under My Skin"
 * Best Special Effects
 * Nominated
 * rowspan="2" | Best Female Video
 * Nominated
 * style="text-align:left;"|1993
 * "Buddy X"
 * Nominated
 * style="text-align:left;"|1993
 * "Buddy X"
 * Nominated
 * Nominated

Music & Media Year-End Awards
!Ref.
 * 1989
 * Raw Like Sushi
 * Debut Album of the Year
 * 3rd place
 * 3rd place

NME Awards
!Ref.
 * 2022
 * Herself
 * Icon Award
 * Won
 * Won

Nordic Music Prize

 * style="text-align:left;"|2014
 * Blank Project
 * Album of the Year
 * Nominated
 * Nominated

Rober Awards Music poll

 * 2012
 * "Dream Baby Dream" (with The Thing)
 * Best Cover Version
 * Nominated
 * 2014
 * Herself
 * Best R&B
 * Nominated
 * Best R&B
 * Nominated

Silver Clef Awards
!Ref.
 * 2023
 * Herself
 * Outstanding Achievement Award
 * Won
 * Won

Smash Hits Poll Winners Party

 * 1989
 * Herself
 * Most Promising New Solo Artist
 * Nominated
 * Nominated

UK Video Music Awards

 * rowspan="2"|2018
 * rowspan="2"|"Kong"
 * Best Styling in a Video
 * Nominated
 * Best Color Grading in a Video
 * Nominated
 * Best Color Grading in a Video
 * Nominated

title: Neneh Cherry


text:
Talk:Hindi literature

Hindi literature today
'''Shailendra is well known contemporary Hindi poet and a powerful critic. His poetry is not only passionate and touchy but most of the time it helps to understand one self at large being subjective and objective both at a time. So every one finds himself in within it. It is satiristic and witty also.It catches a reader like a good friend of him. That is why readability and readership of his poetry is maximum in young hindi world. Same time Shailendra is a sharp and intelligent critic too. His criticism is so wonderful and simple that it analyse everything in very wide but real perspective of human life, nature and dreams of well being of world.

Published works of Shailendra are :

Nau Rupaye Bees paise ke Liye, Swetpatra, Aur Kitane Prakashvarsh, Eashwar Kee Chaukhat par (all Poetry collections),Nahin yah koee kahani nahin (short story collection), Paanv Zameen par, (Memoirs/Essay/Reportaaz). Editing and Publishing a literary magazine 'Dharati'.

Some of his poems are given below :

1) Emotions in exile

Kanchanjungha The highest peak looks from India silver-white, radiant

Snow-covered Himalaya wakes up with sunrise turns gigantic One morning I saw the dawn from Tiger Hills

Severe waiting The recurrence of rays intermittently The Sun shrouded in misty clouds appears all of a sudden radiates all-over the valley

Tall trees Vast greenery A Tibetan Refugee Camp The hands of women knitting carpets

Children quaffing their noses Monks praying with beads Preacher lama This too a tourist place in Darjeeling

The sound of a Tibetan song The emotions in exile The Sun is going down Dusk is falling The Sun sets in Darjeeling

2) In her reach

It's day-break It's hotter under the sun

A woman with a bundle of sticks on her head is proceeding towards the town

Along side fields The imprints come up of her barefooted walk with a confidence that tomorrow’s bread is in her reach

Bread that's bread only and nothing else No sensation, no frustration, no expiration All assimilated in the bread

When there will be bid for sticks Maybe people bid for that woman also

She won't understand anything Her total consciousness revolves around sticks Whatever else happening beyond she cares a damn

Attached with every piece of stick her imagination has become a complete resolution like a bundle

(Translated by Balkrishna kabra from Hindi)

Shailendra Chauhan (b 1954) is a Bachelor of Electrical Engineering. He works as Deputy General Manager in a Public Sector Undertaking of Govt. of India.

He writes poems, short stories, criticism of Hindi literature. He also writes in English. His published works are:

Poetry Collections: 1) Nau Rupaye Bees Paise Ke Liye (1983), Parimal Prakashan, Allahabad 2)  Swet Patra (2002), Sanghamitra Prakashan, Vidisha (MP) 3) Eashwar Kee Chaukhat par (2004), Shabdalok Prakashan, Delhi

Short Stories: 1) Nahin yah koee Kahani nahin, Sharada Prakashan, Allahabad

Memoirs/Essay/Reportaaz 1) Paanv Zameen par (2010), Bodhi Prakashan, Jaipur Biography: 1) Freedom Fighter Sh Kundan Lal Gupta 2) Thakur Mahaveer Singh He has been editing an unscheduled little Magazine “Dharati” since 1979. He regularly contributes to literary Hindi magazines/webzines.

He lives in Jaipur and can be reached at his emails : shailendrachauhan@hotmail.com or shailendrachau@gmail.com — Preceding unsigned comment added by 119.226.253.165 (talk) 09:30, 31 January 2013 (UTC)

The said Talk page is about Hindi Literature and particularly about Hindi Poet and critic "Shailendra Chauhan". In Hindi poetry "Shailendra Chauhan" is known for the sensible and touchy poems. His poetry collections viz; 'Swetpatra' and 'Eashwar kee chaukhat par' were read and discussed on many forums in length. So the discussion should be focussed to desired topic only. Any thing about shailendra chauhan will be welcomed and appreciated.

--

"ARTICLE"

""MUNSHI PREMCHAND""

 * 1) Shailendra Chauhan

A pioneer of modern Hindi and Urdu social fiction, Munshi Premchand’s real name was Dhanpat Rai. He wrote nearly 300 stories and novels. Among his best known novels are: Sevasadan, Rangmanch, Gaban, Nirmala and Godan. Much of Premchand’s best work is to be found among his 250 or so short stories, collected in Hindi under the title Manasarovar.Three of his novels have been made into films.Premchand’s literary career started as a freelancer in Urdu. He was born at Lamahi near Banaras (now Varanasi) on 31st July,1880. His father Munshi Ajaib Lal was a clerk in the postal department. Premchand’s early education was in a madarsa under a maulvi, where he learnt Urdu. Premchand was only eight years old when his mother died. His grandmother took the responsibility of raising him but she too died soon. He was married when he was 15 and in the 9th grade. His father also died and after passing the intermediate he had to stop his study. He got a job as a teacher in the primary school. In 1919, he passed his B.A., with English, Persian and History. After a series of promotions he became Deputy Inspectors of Schools. In response to Mahatma Gandhi’s call of non-cooperation with the British he quit his job. After that he devoted his full attention to writing. His first story appeared in the magazine Zamana published from Kanpur.In his early short stories he depicted the patriotic upsurge that was sweeping the land in the first decade of the past century. Soz-e-Watan, a collection of patriotic stories published by Premchand in 1907, attracted the attention of the British Government In 1914, when Premchand switched over to Hindi, he had already established his reputation as a fiction writer in Urdu. While writing Urdu novels and short stories he emphasised in presenting the realities of life and he made the Indian villages his theme of writing. His novels describe the problems of the urban middle-class and the country’s villages and their problems. He also emphasised on the Hindu-Muslim unity. His famous works include Godan, Maidan-e-Amal, Bay-wah, Chaugaan etc.It would not be wrong to say that Premchand was the Father of Urdu short- stories. Short stories or afsanas were started by Premchand. As with his novels, his afsanas also mirror the society that he lived in. With a simple and flowing writing some of his works depict excellent use of satire and humour. His later works used very simple words and he started including Hindi words too to honestly potray his characters. His famous afsanas are Qaatil Ki Maan, Zewar Ka Dibba, Gilli Danda, Eidgaah, Namak Ka Daroga and Kafan. His collected stories have been published as Prem Pachisi, Prem Battisi, Wardaat and Zaad-e-Raah. Premchand was the first Hindi author to introduce realism in his writings. He pioneered the new form - fiction with a social purpose.He supplemented Gandhiji’s work in the political and social fields by adopting his revolutionary ideas as themes for his literary writings. Besides being a great novelist,Premchand was also a social reformer and thinker.His greatness lies in the fact that his writings embody social purpose and social criticism rather than mere entertainment. Literature according to him is a powerful means of educating public opinion.He believed in social evolution and his ideal was equal opportunities for all.Premchand died in 1936 and has since been studied both in India and abroad as one of the greatest writers of the century.

-- ARTICLE

""Gajanan Madhav Muktibodh"" Pioneer of modern poetry in India

"Shailendra Chauhan"

Gajanan Madhav Muktibodh is widely considered one of the pioneers of modern poetry in India, and doyen of Hindi poetry after, Surya Kant Tripathi 'Nirala', and known as being a pioneer, the mainstay of Prayogvaad ie; Experimentalism movement of Hindi literature and it was also his work, which also marked the culmination of this literary movement and its evolution into the Nayi Kahani and Nayi Kavita Modernism in 1950s, his presence is equally important in the rise of 'New Criticism' in Indian literature. Muktibodh was born in a small town of Madhya Pradesh. He started out as an important poet, being published in the first three volumes of Tar Saptak, series of anthologies (1943), which marked a transition in Hindi literature, from the prevalent (Chhayavaad) movement; this led to the initiation of Prayogvaad Experimentalism in Hindi poetry, and developing along with (Pragativaad) Progressivism, eventually led to the creation of the 'Nayi Kahani' (New Story) movement, Modernism. He is best known for his long poems:Brahma-rakshasa, Chand ka Muh Teda hai (The Moon Wears a Crooked Smile), Andhere Mein (In the Dark) and Bhuri Bhuri Khak Dhul (The Brown Dry Dust) ; his complete works extending to 6 volumes, were published in 1980, as Muktibodh Rachnavali. 'Brahma-rakshas' is considered his most influential work in experimental poems, noted for the use of archetypal imagery, and the stark depiction of the contemporary intellectual, who gets so lost in his own sense of perfectionism, unending calculations, and subjective interpretation of the external reality that soon he loses touch with the reality itself, and eventually dies and fades away like dead bird. His first individual book was published in 1964, when he was on his death-bed: [Chand Ka Muh Teda Hai. Although Muktibodh could not manage to get his works published, as a book in his lifetime, he was one of the contributing poets to the first three volumes of Tar Saptak, a series of path-breaking poetry anthologies, edited by Ajneya."Bhoori Bhoori Khak Dhool"is the collection of his remaining poems.His complete work is available as 'Muktibodh Rachnavali"edited by Nemichand Jain. He is considered a bridge between the Progressive movement in Hindi poetry and the Nayi Kavita (Modern Poetry) movement. Muktibodh made a name for himself in the field of criticism as well, with his strong views on the upper caste influence on the disintegration of Bhakti movement in India, which he viewed a lower caste uprising against the hegemony upper caste. In literary criticism, he wrote a critical work on Kamayani of literary doyen, Jaishankar Prasad titled: Kamayani, Ek Punarvichar. Ek Sahityik ki Diary, first written for his column in the weekly Naya Khun, and later continued in the journal Vasudha, published from Jabalpur (1957–60), offers a glimpse of his literary and socio-political criticism, and insights into his way of thinking, and was first published in 1964. It is most noted for the article,Teesra Kshana (Third Moment), where he shows his preference for the hypothesis of three successive stages in the creative process, of inspiration, impersonalisation and expression, rather than a single moment of inspiration. His work was deeply influenced by his viewpoints of Marxism, Socialism and Existentialism, and carried an innate expression of his deep discontent, heightened by his virulent imagery. He continued to show his progressive streak even after the disintegration of the Progressive Writers' Movement after 1953; and, through the rest of his career, he along with writers like, Yashpal, continued his ideological fight against modernist and formalist trends in Hindi literature. His brilliance was recognised by the literary world after the posthumous publication of 'Chand Ka Munha Tedha Hai', the first collection of his poems, in the early 1960s. Ever since, the book has run into several editions, and is recognised as a modern classic. In his memory, Madhya Pradesh Sahitya Parishad, has instituted the annual MuktiBodh Puraskar.

Address : 34/242, Sector-3, Pratapnagar, Jaipur-302033 (INDIA) Mob ; 91 7838897877

Shailendra Chauhan : A Poet with poetic aesthetics

INTRODUCTION :

Shailendra Chauhan was born and brought up in Uttar Pradesh/ Madhya Pradesh. His father was a primary school teacher in Vidisha. shailendra completed his education from Vidisha. He did Bachelor of Engineering in Electrical branch from SATI in 1978.He joined as lecturer in SATI Polytechnic and served for two years then he shifted to MSEB. After leaving MSEB in 1982 he came to Allahabad in company Best & Crompton Ltd and involved in literary activties with full enthuiasm. He joined NTPC in 1984 in Allahabad itself after that he came to Kanpur on further posting.

COLLECTIONS :

His first poetry collection "Nau Rupaye Bees Paise ke liye" published in the year 1983 by Parimal prakashan.Same year he edited and published an issue of Dharati magazine focussing on Trilochan Shashtri who was conferred academy award for his poetry collection "Taap ke taaye huye din" The issue was unique and appreciated by readers at large. After ninteen years a poetry collection 'Swetpatra' was published from Sangh mitra prakashan, Vidisha (2002). Another collection "Aur Kitane Prakashvarsh" came in 2003 from Progressive publisher Nagpur. A thoughtful and penetrating poems were included in collection "Eashwar kee Chaukhat par" which got published in 2004.(shabdalok prakashan, Delhi). Recently one fiction book based on childhood memoirs "Paaon Zameen par" has been published from Bodhi Prakashan, Jaipur.

ON MOVE :

In year 1984 Shailendra shifted Kanpur from Allahabad. In Kanpur he came in contact with well known sharp left critic Hrishikesh and continued to write poems and short stories and comments in various magazines. Thereafter he met with Giriraj Kishor wellknown story and novel writer. For another two-three years he remained in close contact of veteran poet and play writer Mannu lal sharma "Sheel"

After Kanpur Shailendra shifted to Moradabad in year 1988 famous for brasswares where from he travelled in the valley of Kumaanyun and Garhwal.Poet Maheshwar Tiwari, Veteran Parsian theatre artist Master Fida Hussain, Dheerendra Pratap Singh professor of Hindu college, Mool Chand Gautam, Veeren Dangwal,T Machchi Reddy, Vachaspati, Balli Singh Cheema and artist Haripal Tyagi were among the friends and guide of Shailendra. They were loving him as younger brother.

Just after one year Shailendra again got transferred from Moradabad to Kota where he started a new inning along with Play writer and activist Shivram. Because of failure in political game these days Shivram was disappointed and quiet, Shailendra was full of enthusiasm and creativity so Shivram and his team again geared up with cultural and social enthusiasm. They became very close and a new era of cultural activities started.

The next destination for Shailendra was Jaipur the pink city, a great historical place of Mughal era. He was willing to be in Jaipur since long. I don't know why? What was the attraction but he was very much eager to be in Jaipur. He stayed in Jaipur for about four years from 1990 to 1994 but very unsatisfied and much disturbed in his literary life. But most of the beautiful poems those afterwards published in his two collections "Swetpatra" and "Eashwar kee chaukhat par" were written here only. After office hours Shailendra use to be in small balcony of his first floor rented house sitting on chair wrote many a beautiful poems.

In 1994 he got transferred in a village where a NTPC Power Project was set up near Ghaziabad.It was not a good change for him but it was a change which was necessary for wanderer like him.Here his literary activities totally stopped only positive thing was that he could prepare his script of short stories that published in 1996 from Sharada Prakashan, Allahabad with title "Nahin yah koee kahani nahin"

Now his next destination was Faridabad. It was the time when Shailendra was a bit desperate about his literary activities. He was keeping mum to say anything about his contributions.He use to send some letters to editors of various Hindi and English dailes regarding social and political deteriorations particulrly in Indian polity. It was year 1995. After some time he came in close contact with Prakash Manu who was in very much in lime light for his recently published novels 'Ye jo Dilli hai'and 'Katha Circus'. He inspired Shailendra to write reviews of books in Sameeksha. Shailendra restored his writing again. Here one Shri Bhuvanesh Kumar got that much influenced with Shailendra's poems that he published a small magazine Kavita solely focussing on Shailendra.Many articles, poems and stories got published in many literary magazines during his stay at Faridabad.

In 1998 Shailendra got shifted to Bhadravati in Chandrapur Dist of Maharashtra state. Many poems were composed during his stay at Bhadravati. Besides that many literary articles and criticism of literary books also pulished in various magazines and newspapers. He also wrote about tribals of vidarbh area. In year 2000 Shailendra came to Nagpur where he made a strong bridge between Marathi and Hindi writers. He became active in social circle and frequently participated in such seminars and workshops. From Nagpur he coordinated a cultural front 'Vikalp' and a literary movement 'Sajha Sanskritik Abhiyan'. During his stay at Nagpur two poetry collections were published viz; Aur Kitane Prakashvarsh (Progressive Publication Nagpur) and 'Eashwar kee chaukaht par' (Shabdalok Prakashan, Delhi),in 2004. These books were came after long time as his first collection was published in 1983 from Allahabad. In Nagpur he was also associated with 'Samanya jan sandesh' a thoughtful magazine. He edited a very good issue on writer "Shri Rambriksh Benipuri". He also wrote biographies of revolutionary freedom fighters viz; Mahavir Singh and Kundanlal Gupt.

Now it was time to move again. In mid 2005 he got transferred in avery small village of Dhar district of Madhya Pradesh. Ther he worked in tribals of Narmada valley in districts Dhar, Budwani and Jhabua. He wrote on tribals hardships. Same time he also wrote on historical places like 'Mandu'. In Dec 2006 he moved in the Narmada valley of Gujarat ie; Narmada district (Rajpipla). This was also a tribal belt and most disputed Sardar Sarovar Dam was falling in this district. It became very firtile land for composing new poems. Again in mid 2008 Shailendra moved to 'Baran' in Rajasthan a border district of MP. There was 'Sahariya' tribe which attracted his attention and he organised a seminar calling all intellectuals of area to discuss about the life style of the tribals.

During this period one literary magazine "kramashah" focussed an eloborative special issue on Shailendra focussing his own writings and important write-ups about him by prominent hindi writers and his friends.

Again the next destination of Shailendra was Jammu, where he emerged as an inspiring figure for young writers. He got associated with Yuva 'Hindi Lekhak sangh' and actively participated in many programmes. He collected poems of young writers and make them to publish in literary magazines with his note/remarks. Fearlessly he wrote on Kashmir issue and admired by Kashmiri intellectuals. His own book " Paaon Zameen par" was releasd in Jammu where in apart from local writers wellknown novelist Punni Singh from Agra, Critique Vachaspati from Varanasi and senior poet Mohan Sapra from Jallandhar were joined and expressed their views about the book. Mohan sapra presented his analytical paper. The journey of Shailendra is going on and now a days he is in Delhi and watching the life and culture of metro town.

Compiled by Chandramauli Chandrakant, NIT Warangal AP

CONTRIBUTION :

Now a days in Hindi poetry "Shailendra Chauhan" is known for the sensible and touchy poems. His poetry collections viz; 'Swetpatra' and 'Eashwar kee chaukhat par' were read and discussed on many forums in length. Recently in Hindi India Today ( 10th May 2006 ) there is very short but beautiful review on later collection. He has been widely published and accepted by most of Hindi literary magazines such as Pahal, Vasudha, Ashay, Aksharparva, Abhivyakti, Kriti Oar, Prerana, Swadhinta, sahmat Muktanad, Sahi samajh etc. All the important Hindi newspapers also presesented him on various ocassions eg; Jansatta, Rashtriy Sahara. Amar Ujala, Dainik Bhaskar etc. Many poems have been placed on internet also whom one can get by searching on any popular search engine particularly 'google'.

Some of links I know I am pasting here for your reference and reading. www.hindinest.com/visheshank/02samaj/samaj15.htm www.hindinest.com/visheshank/02samaj/samaj16.htm www.anubhuti-hindi.org/sankalan/ guchchhe_bhar_amaltas/29may.htm www.anubhuti-hindi.org/kavi/ shailendra_chauhan/ek%20ghatna.htm www.abhivyakti-hindi.org/snibandh/2002/vigyan.htm http://www.sahityakunj.net/LEKHAK/Shailend...hauhan_main.htm

=
=====================please find a proper reference first then write on wiki=========================== talk — Preceding unsigned comment added by 59.177.174.223 (talk) 11:58, 18 January 2015 (UTC)

I believe that, Hindi Literature was dying in the past few years. THe quality of writings produced by Munshi Premchand was no where found. I I though agree that the quantity of writers did increased in the past decade.

I request the author of this page to check www.salaamindia.net and do include it in this article. — Preceding unsigned comment added by 121.243.227.165 (talk) 05:38, 22 May 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Hindi literature. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20060925005457/http://www.crl.edu/focus/Spr05litGems.asp?issID=3 to http://www.crl.edu/focus/Spr05litGems.asp?issID=3

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 04:04, 4 November 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Hindi literature. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20120601014029/http://charm.cs.uiuc.edu/~bhatele/hindi/hindi_intro.htm to http://charm.cs.uiuc.edu/~bhatele/hindi/hindi_intro.htm

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 19:02, 9 December 2017 (UTC)

Merger proposal
Hello everyone! While reviewing the new articles at NPP I have come across History of modern Hindi prose which I believe can be merged with this article to keep up with other articles dedicated to literature. The information should be backed by sources - I will work on that. What do you think? Best, Less Unless (talk) 21:18, 13 June 2021 (UTC)

 * Ok Merge it to Hindi literature.✨Serious Black @Contribute  04:23, 14 June 2021 (UTC)
 * Looks like a merge may be helpful, but the target article is also in poor condition with regard to referencing. Maybe you could support the new user in the process and help them for future contributions. Keith D (talk) 10:36, 14 June 2021 (UTC)
 * - Definitely merge any information you can find citations for.  Onel 5969  TT me 15:11, 27 July 2021 (UTC)

 * Merge what can be sourced. At the moment History of modern Hindi prose is just a mostly unsourced opinion piece. Mccapra (talk) 05:17, 5 August 2021 (UTC)
 * Closing merge proposal; proposed incoming page no longer exists. Klbrain (talk) 09:56, 7 November 2021 (UTC)

How is Bhakti Kaal (Bhakti Period) attributed to Hindi?
During the Bhakti period various Dohas (Two Liners) and Bhajans (Worship songs) were written in Braj or Awadhi. Both of these are languages and not dialects because they had written literature. Hindi on the other hand is around 100 yrs old language, during the bhakti period the official language in the Mughal courts was Persian. Metacritical(talk) 04:39, 20 September 2022 (UTC)

title: Talk:Hindi literature


text:
Sonny Chillingworth

Edwin Bradfield Liloa Chillingworth, Jr., known as Sonny Chillingworth, (July 14, 1932 – August 24, 1994) was an American guitarist and singer. Widely influential in Hawaiian music, he played slack-key guitar and is widely regarded as one of the most influential slack-key guitarists in history.

Life
Chillingworth was born on Oahu in the Territory of Hawaii. He started playing the guitar at age twelve when he was living with his grandfather, Harry Purdy, on Moloka'i. He learned the Hawaiian way by listening, watching and imitating. Sonny, as he was called, loved Hawaiian and Portuguese music.

One day his father brought him a Victrola and some records. One of them was Hi'ilawe by Gabby Pahinui. Chillingworth was inspired. When Chillingworth was fifteen, he visited Honolulu and his mother arranged a meeting with Pahinui. After high school, Chillingworth moved to Honolulu and joined Pahinui, Andy Cummings and others at clubs, lu'aus and all-night jam sessions. Chillingworth was often asked to play his slack-key medleys. Many islanders and tourists enjoyed listening and watching him sing and play his guitar in the Don Ho Shows at the International Market Place in the heart of Waikiki.

In 1954, Chillingworth made his first record, Make'e 'Ailana, with the legendary Vickie Ii Rodrigues. In 1964, Chillingworth released his first album, Waimea Cowboy, which earned a gold record. In the 1970s, Chillingworth began to share his knowledge with younger performers, such as George Kuo, Ozzie Kotani, and Makana, and influenced others through his recordings. Chillingworth helped lead a revival of the slack-key guitar style in the 1980s as one of slack key's elder statesmen. He was committed to Hawaiian music; he also played other styles such as rock-n-roll, R&B, blues, and folk, and his music featured aspects of fado and cachi cachi.

Chillingworth died from cancer on August 24, 1994, in Honolulu at the age of 62.

title: Sonny Chillingworth


text:
Sasaella

Sasaella is a genus of Japanese bamboo in the grass family.

 * Species
 * 1) Sasaella bitchuensis (Makino) Koidz – southern Honshu
 * 2) Sasaella caudiceps (Koidz.) Koidz. – Honshu
 * 3) Sasaella hidaensis (Makino) Makino, Hishu zasa – Honshu, Shikoku
 * 4) Sasaella kogasensis (Nakai) Nakai ex Koidz, Kogashi azuma zasa – Hokkaido, Honshu
 * 5) Sasaella leucorhoda (Koidz.) Koidz. – Honshu
 * 6) Sasaella masamuneana (Makino) Hatsushima & Muroi, Genkei chiku – Japan
 * 7) Sasaella ramosa (Makino) Makino, Azuma zasa – Japan; naturalized in Great Britain + New Zealand
 * 8) Sasaella sadoensis (Makino ex Koidz.) Sad.Suzuki – Honshu
 * 9) Sasaella sawadae (Makino) Makino ex Koidzum – Honshu
 * 10) Sasaella shiobarensis (Nakai) Koidz. – Honshu
 * 11) Sasaella yamakitensis (Makino) M.Kobay. – Honshu

species now included in other genera: Pleioblastus Sasa
 * formerly included

title: Sasaella