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CableCARD

CableCARD is a special-use PC Card device that allows consumers in the United States to view and record digital cable television channels on digital video recorders, personal computers and television sets on equipment such as a set-top box not provided by a cable television company. The card is usually provided by the local cable operator, typically for a nominal monthly fee.

In a broader context, CableCARD refers to a set of technologies created by the United States cable television industry to allow devices from non-cable companies to access content on the cable networks. Some technologies not only refer to the physical card, but also to a device ("Host") that uses the card. Some CableCARD technologies can be used with devices that have no physical CableCARD.

The CableCARD was the outcome of a U.S. federal government objective, directed in the Telecommunications Act of 1996, to provide a robust competitive retail market for set-top boxes so consumers did not have to use proprietary equipment from the cable operators. It was believed that this would provide consumers with more choices and lower costs.

A 2020 FCC decision removed the requirement for cable companies to provide CableCARDs, but they are still required to provide consumer access options via "separable security".

Background
The portion of the Telecommunications Act of 1996 which resulted in the creation of CableCARDs is known as Section 629, instructing the Federal Communications Commission (FCC) to: "...assure the commercial availability to consumers of multichannel video programming and other services offered over multichannel video programming systems, of converter boxes, interactive communications equipment, and other equipment used by consumers to access multichannel video programming and other services offered over multichannel video programming systems, from manufacturers, retailers, and other vendors not affiliated with any multichannel video programming distributor."

Multichannel video programming refers to cable or satellite television. A driving motivation of this passage was to foster the kind of consumer choices that resulted after the Federal government landmark Carterfone ruling requiring telephone companies to allow consumers to purchase third-party telephones for attachment to the phone company network. The thought was that consumers would benefit from wider choices due to competition between consumer electronics (CE) manufacturers unaffiliated with cable companies.

The FCC was charged with working with the industry to carry out the directives of the 1996 law. On June 11, 1998, after securing proposals and recommendations from interested parties, the FCC ordered that cable companies would provide a separable security access device by July 1, 2000, which could be used by third-party devices to access digital cable networks. The separable security device was referred to in FCC regulations as a "Point of Deployment" (POD) module. After many requests for delay from the cable industry, the first CableCARD devices became available from third-party manufacturers in August 2004.

Integration ban
A major concern was that cable operators were not motivated to provide efficient security access mechanisms to equipment competitors. To address this, the FCC directed that by January 1, 2005, that cable operators must use the same separable access device available to third-parties and they were banned from providing equipment with an integrated security access mechanism. This rule is usually referred to as the "integration ban", and was unsuccessfully challenged in the courts and petitions to the FCC by the cable operators. The deadline was shifted forward twice until it went into effect on July 1, 2007. The ban on integrated security ended in December 2015.

Technical overview
CableCARD is a term trademarked by CableLabs for the Point of Deployment (POD) module defined by standards including SCTE 28, SCTE 41, CEA-679 and others. The physical CableCARD is inserted into a slot in the host (typically a digital television set or a set-top box) in order to identify and authorize the customer, and to provide proprietary decoding of the encrypted digital cable signal without the need for a proprietary set-top box. The cable tuner, QAM demodulator, and MPEG decoder are part of the host equipment. The card performs any conditional access and decryption functions, and provides a MPEG-2 transport stream to the host. The card also receives messages sent over the out-of-band signaling channel by the cable company's headend servers and forwards them to the host.

CableCARDs may be used to access both standard definition and high definition channels as long as they are not part of a switched video system. (This applies to one-way devices only; two-way devices are capable of receiving and viewing switched video. The ability for one-way devices to receive and view switched video has changed with the addition of the Tuning Resolver Interface Specification. Tuning adaptors and tuning adaptor interfaces have been added to provide communication back to the headend needed for switched video.) CableCARDs are not necessary for viewing unscrambled digital cable channels if the user has a QAM tuner—a feature in some televisions and DVRs. CableCARD support is most common on higher end televisions that include a special slot for the CableCARD and a built-in cable tuner. The card acts like a unique "key" to unlock the channels and services to which the cable customer has subscribed, and the television's remote-control will also control the cable channels. Televisions that support CableCARD should be labeled by the manufacturer as "digital cable ready" (DCR).

Interactive features such as video on demand rely on the CableCARD Host device being an OpenCable Host Device and have nothing to do with the physical card. This makes the common use of the phrase "CableCARD 2.0" as a requirement for video on demand misleading, since two way services have been provided with the actual cards from the very beginning.

Physical CableCARDs
The physical CableCARD inserted into the host device is a PC Card type II that handles decryption of video and ensures that only authorized subscribers may view it. This is also known as a "conditional-access module" function.

There are two kinds of physical CableCARDs:
 * A "single-stream" CableCARD (S-CARD) can decode a single channel at a time. The S-CARD specification was initially specified in the Host-POD Interface (SCTE 28) and POD Copy Protection System (SCTE 41) standards (often referred to as CableCARD 1.0) set of specifications.
 * A "multi-Stream" CableCARD (M-Card) can decode up to six channels simultaneously. Multi-stream cards were specified in a separate document in 2003.

No actual M-Cards were released before the introduction of CableCARD 2.0, which combined and enhanced the CableCARD 1.0 and Multi-Stream standards. M-Cards are backward compatible with current CableCARD devices. In older CableCARD devices that do not support multiple streams, the card appears to be a single stream card. CE companies have long wanted M-Cards for their CableCARD 1.0 host devices in order to compete with devices that use multiple tuners. This is important for products such as Moxi and TiVo CableCARD DVRs, televisions with picture-in-picture and CableCARD-equipped personal computers, which need to record one show while a user is watching another. To enable this without an M-Card, these products would be required to use multiple S-CARDs.

CableCARDs with personal computers
Existing integrated cable set-top boxes perform four basic functions:
 * Enable receiving and selecting digital and analog cable channels
 * Uniquely identify the customer and authorize the features to which they have subscribed
 * Decode scrambled digital channels and premium programming such as movie channels
 * Provide interactive two-way communications for electronic program guides, pay-per-view, video on demand, or switched video streams

New digital televisions and other devices that are labeled DCR (Digital cable ready) contain:
 * Built-in support for receiving digital cable channels (via an internal QAM tuner)
 * A slot for the current version of CableCARD, which allows decryption of encrypted digital channels

The CableCARD 2.0 specification includes support for #1-4, interactive two-way communications; however it is unknown exactly when CableCARD 2.0 hosts and compatible servers will become available. Future devices which support CableCARD 2.0 are expected to be labeled iDCR "Interactive digital cable ready". Among other requirements, CableCARD 2.0 hosts will be required to provide the OpenCable Application Platform (OCAP), also known as Tru2way, to run programs downloaded from the cable company.

Because the conditional access system is in software, it can be sent with the video as a form of digital rights management. The CableCARD Host Licensing Agreement and the DCAS agreement restrict the technologies that CE companies may use for distributing video from host devices. CE companies object to this expanding the notion of CableCARD network security issues to also include content protection issues. They prefer to deal with content owners directly with their standards and regard cable company protocols and formats as a transport only. CE companies wish to communicate video inside the home network using their own protected protocols and formats.

The OpenCable Application Platform (OCAP) is a Java-based platform intended for use either with any security access scheme—whether it is CableCARD 2.0 devices or future downloadable security schemes. OCAP was tied to CableCARDs because, as it was imagined by CableLabs, the additional processing necessary for managing the communication with the cable company server would be performed, not on the cable company provided equipment (the CableCARD), but on the consumer electronics device—known as the CableCARD "Host". CE companies objected that OCAP is unnecessary for the simple task of managing two-way communications on the cable networks. The CEA perspective is that Java is not efficient for CE devices, and that cable companies are passing to CE manufacturers the costs of a software platform which they didn't need, and which won't run on their existing hardware architectures.

The consumer electronics industry proposed in November 2006 that the CableCARD 2.0 specification be upgraded to include the provision for modified MCards that would support the communications necessary for VOD, PPV, and Switched Video. This card would be backward compatible with older cards, and support would be required for them on cable company servers by January 2008. These modified MCards would not allow two-way communication using current OCURs, which, by definition, are unidirectional. This so-called "OCAP-less" proposal was rejected by the NCTA for a variety of reasons elaborated on in the issues segment of this article. The technical advantage is that much less is assumed about the computing capability of the host, allowing the manufacturing cost to be significantly reduced. The disadvantage is that the MCard will be slightly more expensive, but the host will not necessarily be able to support the envisioned ecommerce and banking applications. CE companies argue that such a card fulfills the 1996 law's requirement that cable companies allow two-way communication on their networks, and that OCAP fulfills technical goals far in excess of those necessary for such two-way communications.

Existing standard and certification procedures
Cable providers in the United States are required by the FCC to support the CableCARD 2.0 standard. The specification was developed by CableLabs, a research group run by a consortium of cable companies. Devices that use CableCARDs are known as "Hosts" and must be certified as compliant with the specification by CableLabs. The certification process can be lengthy and is performed in batches on a regular cycle every three months.

The first test tool to verify compliance of OpenCable hosts with the CableCARD one-way single stream specifications, HPNX, was released by SCM and Digital Keystone in 2003. Subsequently, the HPNX Pro version, supporting two-way and M-card specifications, was released by Digital Keystone in 2006. The "M-UDCP Device Acceptance Test Plan" published by CableLabs defines how to use the HPNX Pro test tool to validate the OpenCable host devices.

The first test tool to verify compliance of the CableCARD devices with the OpenCable specifications, Host Emulator Tool, and produced by Margi Systems, was first utilized by CableLabs to validate the Scientific Atlanta (Cisco) and Motorola POD devices in 2003 (POD was later renamed to CableCard).

Cable companies in the United States are required to provide CableCARDs conforming to this specification, and must correct incompatibilities between their networks and certified CableCARD devices.

The current CableCARD standard was borne out of an adversarial process between two main groups: cable companies represented by the National Cable & Telecommunications Association (NCTA) and consumer electronics companies represented by the Consumer Electronics Association (CEA). The portion of the CableCARD specs that could be agreed upon describe how one-way services work, so only the portion known as UDCP (Unidirectional Digital Cable Product) was required by the FCC. As it was the only thing required, most of the early devices were one-way capable; however all the actual CableCARDs produced were two-way capable. Many enhancements to the CableCARD standard including the optional Multi-Stream support became known as CableCARD 2.0.

Optical cable services (e.g. Verizon Fios) are classified as cable services and must, by FCC rules, also support the CableCARD standard. In Canada, cable providers Cogeco and Shaw offer CableCARD-enabled DVRs. Video providers in Europe must conform to the DVB standard which is a more comprehensive open standard governed by independent standards bodies.

CableCARDs can also support non-television functions and can act as a cable modem controller with the host providing modulation and demodulation functions and the card providing decoding and IP routing functionality; however this feature is rarely used and depends on the cable provider.

Adoption
There was much resistance from cable operators to the CableCARD rollout across the United States, preferring to support their own set-top boxes. The adoption proceeded slowly with 141,000 units by February 2006. The resistance softened somewhat with the July 2007 FCC ban on integrated security in set-top boxes, which required all new set-top boxes to use CableCARDs as their decryption mechanism. By June 2009, the top 10 "incumbent" U.S. cable operators had deployed more than 14 million operator-supplied set-tops with CableCARDs and 437,800 CableCARD modules for use in retail devices. The National Cable Television Association reported in April 2016 that only 621,400 CableCARDs were deployed for use in retail devices by the nine largest incumbent cable operators, compared to 55 million operator-supplied set-top boxes with CableCARDs. This indicates that the CableCARD failed to achieve the goal of a competitive retail market for set-top boxes.

Outside the United States, CableCARDs were adopted only in South Korea, in pair with Nagravision and VideoGuard conditional access (CA) systems. U.S. adoptions of CableCARD were mostly paired with Cisco's PowerKEY (originally developed by Scientific Atlanta) and Motorola's (now Arris) MediaCipher CA systems.

Successor initiatives
In 2010, the Federal Communications Commission (FCC) issued a notice of inquiry for a successor system, called AllVid. Unlike CableCARD, AllVid intended to enable two-way services such as electronic program guides, pay-per-view, and video on demand.

There are still many in the cable industry who are advocating that physical CableCARDs be dropped entirely. These cable companies prefer to move away from physical cards, and have proposed that a downloadable security component known as Downloadable Conditional Access System (DCAS) be used instead of a physical CableCARD. In this proposal, a custom security chip must be soldered into every compliant host; if a security scheme is compromised, a new security program can be downloaded to the host device. The FCC has not yet approved it.

Consumer electronic companies advocate their proposal for more unfettered access to cable company networks, with CableLabs' role reduced to addressing only cable company interests of maintaining network stability and security.

In September 2020, the FCC eliminated CableCARD support and reporting requirements by cable operators, recognizing that cable industry deployment and use of CableCARDs have been “disappointing”, and noting that competition has provided other options for consumer flexibility via streaming media over the Internet.

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

title: CableCARD


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Category:Ulsan

Articles related to the South Korean city of Ulsan.

title: Category:Ulsan


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Money multiplier

In monetary economics, the money multiplier is the ratio of the money supply to the monetary base (i.e. central bank money). If the money multiplier is stable, it implies that the central bank can control the money supply by determining the monetary base.

In some simplified expositions, the monetary multiplier is presented as simply the reciprocal of the reserve ratio, if any, required by the central bank. More generally, the multiplier will depend on the preferences of households, the legal regulation and the business policies of commercial banks - factors which the central bank can influence, but not control completely.

Because the money multiplier theory offers a potential explanation of the ways in which the central bank can control the total money supply, it is relevant when considering monetary policy strategies that target the money supply. Historically, some central banks have tried to conduct monetary policy by targeting the money supply and its growth rate, particularly in the 1970s and 1980s. The results were not considered satisfactory, however, and starting in the early 1990s, most central banks abandoned trying to steer money growth in favour of targeting inflation directly, using changes in interest rates as the main instrument to influence economic activity. As controlling the size of the money supply has ceased being an important goal for central bank policy generally, the money multiplier parallelly has become less relevant as a tool to understand current monetary policy. It is still often used in introductory economic textbooks, however, as a simple shorthand description of the connections between central bank policies and the money supply.

Definition
The money multiplier is normally presented in the context of some simple accounting identities: Usually, the money supply (M) is defined as consisting of two components: (physical) currency (C) and deposit accounts (D) held by the general public. By definition, therefore: $$M = D+C.$$

Additionally, the monetary base (B) (also known as high-powered money) is normally defined as the sum of currency held by the general public (C) and the reserves of the banking sector (held either as currency in the vaults of the commercial banks or as deposits at the central bank) (R):

$$B = R+C.$$

Rearranging these two definitions result in a third identity:

$$M =\frac{1+C/D}{R/D + C/D}B.$$

This relation describes the money supply in terms of the level of base money and two ratios: R/D is the ratio of commercial banks' reserves to deposit accounts, and C/D is the general public's ratio of currency to deposits. As the relation is an identity, it holds true by definition, so that a change in the money supply can always be expressed in terms of these three variables alone. This may be advantageous because it is a simple way of summarising money supply changes, but the use of the identity does not in itself provide a behavioural theory of what determines the money supply. If, however, one additionally assumes that the two ratios C/D and R/D are exogenously determined constants, the equation implies that the central bank can control the money supply by controlling the monetary base via open-market operations: In this case, when the monetary base increases by, say, $1, the money supply will increase by $(1+C/D)/(R/D + C/D). This is the central contents of the money multiplier theory, and

$$\frac{1+C/D}{R/D + C/D}$$

is the money multiplier, a multiplier being a factor that measures how much an endogenous variable (in this case, the money supply) changes in response to a change in some exogenous variable (in this case, the money base).

In some textbook applications, the relationship is simplified by assuming that cash does not exist so that the public holds money only in the form of bank deposits. In that case, the currency-deposit ratio C/D equals zero, and the money multiplier simplifies to

$$\frac{1}{R/D}.$$

Empirically, the money multiplier can be found as the ratio of some broad money aggregate like M2 over M0 (base money).

Interpretation
Generally, the currency-deposit ratio C/D reflects the preferences of households about the form of money they wish to hold (currency versus deposits). The reserve-deposit ratio R/D will be determined by the business policies of commercial banks and the laws regulating banks. Benjamin Friedman in his chapter on the money supply in The New Palgrave Dictionary of Economics writes that both central bank reserves (supplied by the central bank and demanded by the commercial banks for several reasons) and deposits (supplied by commercial banks and demanded by households and non-financial firms) are traded in markets with equilibria of demand and supply which depend on the interest rate as well as a number of other factors. Consequently, the money multiplier representation should be interpreted as "really just a shorthand simplification that works well or badly depending on the strength of the relevant interest elasticities and the extent of variation in interest rates and the many other factors involved."

The importance of excess reserves
In some presentations of the money multiplier theory, the further simplification is made that commercial banks only hold the reserves that are legally required by the monetary authorities so that the R/D ratio is determined directly by the central banks. In many countries the monetary authorities maintain reserve requirements that secure a minimum level of reserves at all times. However, commercial banks may often hold excess reserves, i.e. reserves held in excess of the legal reserve requirements. This is for instance the case in countries that do not impose legal reserve requirements at all like the United States, the United Kingdom, Canada, Australia, New Zealand and the Scandinavian countries. The possibility of banks voluntarily choosing to hold excess reserves, in amounts that may change over time as the opportunity costs for banks change, are one reason why the monetary multiplier may not be stable. For instance, following the introduction of interest rates on excess reserves in the US, a large growth in excess reserves occurred in the Financial crisis of 2007–2010, US bank excess reserves growing over 500-fold, from under $2 billion in August 2008 to over $1,000 billion in November 2009.

The insight that banks may adjust their reserve/deposit ratio endogenously, making the money multiplier unstable, is old. Paul Samuelson noted in his bestselling textbook in 1948 that:

"By increasing the volume of their government securities and loans and by lowering Member Bank legal reserve requirements, the Reserve Banks can encourage an increase in the supply of money and bank deposits. They can encourage but, without taking drastic action, they cannot compel. For in the middle of a deep depression just when we want Reserve policy to be most effective, the Member Banks are likely to be timid about buying new investments or making loans. If the Reserve authorities buy government bonds in the open market and thereby swell bank reserves, the banks will not put these funds to work but will simply hold reserves. Result: no 5 for 1, “no nothing,” simply a substitution on the bank’s balance sheet of idle cash for old government bonds." Restated, increases in central bank money may not result in commercial bank money because the money is not required to be lent out – it may instead result in a growth of unlent (i.e. excess) reserves. This situation has been referred to as "pushing on a string": withdrawal of central bank money compels commercial banks to curtail lending (one can pull money via this mechanism), but input of central bank money does not compel commercial banks to lend (one cannot push via this mechanism).

The amount of its assets that a bank chooses to hold as excess reserves is a decreasing function of the amount by which the market rate for loans to the general public from commercial banks exceeds the interest rate on excess reserves and of the amount by which the market rate for loans to other banks (in the US, the federal funds rate) exceeds the interest rate on excess reserves. Since the money multiplier in turn depends negatively on the desired reserve/deposit ratio, the money multiplier depends positively on these two opportunity costs. Moreover, the public’s choice of the currency/deposit ratio depends negatively on market rates of return on highly liquid substitutes for currency; since the currency ratio negatively affects the money multiplier, the money multiplier is positively affected by the return on these substitutes. Note that when making predictions assuming a constant multiplier, the predictions are valid only if these ratios do not in fact change. Sometimes this holds, and sometimes it does not; for example, increases in central bank money (i.e. base money) may result in increases in commercial bank money – and will, if these ratios (and thus multiplier) stay constant – or may result in increases in excess reserves but little or no change in commercial bank money, in which case the reserve–deposit ratio will grow and the multiplier will fall.

"Loans first" model
An alternative interpretation of the direction of causality in the identity described above is that the connection between the money supply and the monetary base goes from the former to the latter: Interest-rate-targeting central banks supply whatever amount of reserves that the banking system demands, given the reserve requirements and the amount of deposits that have been created.

In this alternative model of money creation, loans are first extended by commercial banks – say, $1,000 of loans, which may then require that the bank borrow $100 of reserves either from depositors or other private sources of financing, or from the central bank. This view is advanced in endogenous money theories. It is also occasionally referred to as a "Loans first" model as opposed to the traditional multiplier theory, which can be labelled a "Reserves first" model.

Monetary policy in practice
Whereas used in many textbooks, the realism of the money multiplier theory is questioned by several economists, and it is generally rejected as a useful description of actual central bank behaviour today, partly because major central banks generally have not tried to control the monetary supply during the last decades, hence making the theory irrelevant, partly because it is doubtful as to how large an extent the central banks would be able to control the money supply, should they wish to. The last question is a matter of the stability of the money multiplier.

Historical attempts to steer the money supply
Historically, central banks have in some periods used strategies of trying to target a certain level or growth rate of money supply, in particular during the late 1970s and 1980s, inspired by monetarist theory and the quantity theory of money. However, these strategies turned out to not work very well and were abandoned again. In the United States, short-term interest rates became fourfould more volatile during the years 1979-1982 when the Federal Reserve adopted a moderate version of monetary base control, and the targeted monetary aggregate at the time, M1, even increased its short-term volatility.

Current monetary policy
Starting in the early 1990s, a fundamental rethinking of monetary policy took place in major central banks, shifting to targeting inflation rather than monetary growth and generally using interest rates to implement goals rather than quantitative measures like holding the quantity of base money at fixed levels. As a result, modern central banks hardly ever conduct their policies by trying to control the money supply, implying also that the monetary multiplier theory has become more irrelevant as a tool to understand current monetary policy.

Charles Goodhart notes in his chapter on the monetary base in The New Palgrave that the banking system has virtually never worked in the way hypothesized by the monetary multiplier theory. Instead, central banks have used their powers to effect a desired level of interest rates rather than achieve a pre-determined quantity of monetary base or of some monetary aggregate. He also mentions that the institutional development of the financial markets, notably interbank lending markets, implies that the monetary base multiplier no longer would, or could, work in the textbook fashion. Instead, he argues that the behavioural process leading to a change in monetary bases runs from an initial change in interest rates to a subsequent readjustment in monetary aggregate quantities, endogenously determining these as well as the accommodating monetary base. Also David Romer notes in his graduate textbook "Advanced Macroeconomics" that it is difficult for central banks to control broad monetary aggregates like M2, causing central banks generally to assign the behaviour of the money supply an unimportant role in policy, focusing instead on adjusting nominal interest rates to stabilize the economy. Gregory Mankiw, author of one of the widely read intermediate textbooks (Macroeconomics) that present the money multiplier theory, notes in its 11th edition that even though the Federal Reserve can influence the money supply, it cannot control it fully because households' decisions and banks' discretion in the conduct of their business may change the money supply in ways unanticipated by the central bank.

After the financial crisis, several central banks, including the Federal Reserve, Bank of England, Deutsche Bundesbank, the Hungarian National Bank and Danmarks Nationalbank have issued explanations of money creation supporting the view that central banks generally do not control the creation of money, nor do they try to, though their interest rate-setting monetary policies naturally affect the amount of loans and deposits that commercial banks create. The Federal Reserve in 2021 launched several educational resources to facilitate teaching the conduct of current monetary policy, recommending teachers to avoid relying on the money multiplier concept, which was described as obsolete and unusable.

Jaromir Benes and Michael Kumhof of the IMF Research Department, argue that: the “deposit multiplier“ of the undergraduate economics textbook, where monetary aggregates are created at the initiative of the central bank, through an initial injection of high-powered money into the banking system that gets multiplied through bank lending, turns the actual operation of the monetary transmission mechanism on its head. At all times, when banks ask for reserves, the central bank obliges. According to this model, reserves therefore impose no constraint and the deposit multiplier is therefore a myth. The authors therefore argue that private banks are almost fully in control of the money creation process.

Besides the mainstream questioning of the usefulness of the money multiplier theory, the rejection of this theory has also been a theme in the heterodox post-Keynesian school of economic thought.

Example
As explained above, according to the monetary multiplier theory money creation in a fractional-reserve banking system occurs when a given reserve is lent out by a bank, then deposited at a bank (possibly different), which is then lent out again, the process repeating and the ultimate result being a geometric series.

The following formula for the money multiplier may be used, explicitly accounting for the fact that the public has a desire to hold some currency in the form of cash and that commercial banks may desire to hold reserves in excess of the legal reserve requirements:

 * $$m=\frac{(1+Currency/Deposit Ratio)}{(Currency/Deposit Ratio + Desired Reserve Ratio)}.$$

Here the Desired Reserve Ratio is the sum of the required reserve ratio and the excess reserve ratio.

The formula above is derived from the following procedure. Let the monetary base be normalized to unity. Define the legal reserve ratio, $$\alpha \in\left(0, 1\right)\;$$, the excess reserves ratio, $$\beta \in\left(0, 1\right)\;$$, the currency/deposit ratio with respect to deposits, $$\gamma \in\left(0, 1\right)\;$$; suppose the demand for funds is unlimited; then the theoretical superior limit for deposits is defined by the following series: $$Deposits = \sum_{n = 0}^{\infty}\left[\left(1 - \alpha - \beta - \gamma\right)\right]^{n} = \frac{1}{\alpha + \beta + \gamma}$$.

Analogously, the theoretical superior limit for the money held by public is defined by the following series: $$Publicly Held Currency = \gamma \cdot Deposits = \frac{\gamma}{\alpha + \beta + \gamma}$$

and the theoretical superior limit for the total loans lent in the market is defined by the following series: $$Loans = \left(1 - \alpha - \beta\right) \cdot Deposits = \frac{1 - \alpha - \beta}{\alpha + \beta + \gamma}$$

By summing up the two quantities, the theoretical money multiplier is defined as $$m = \frac{Money Stock}{Monetary Base} = \frac{Deposits + Publicly Held Currency}{Monetary Base} = \frac{1 + \gamma}{\alpha + \beta + \gamma}$$

where $α + β = Desired Reserve Ratio$ and $$\gamma = currency/deposit$$

The process described above by the geometric series can be represented in the following table, where

 * loans at stage $$k\;$$ are a function of the deposits at the preceding stage: $$L_{k} = \left(1 - \alpha - \beta\right) \cdot D_{k - 1}$$
 * publicly held money at stage $$k\;$$ is a function of the deposits at the preceding stage: $$PHM_{k} = \gamma \cdot D_{k - 1}$$
 * deposits at stage $$k\;$$ are the difference between additional loans and publicly held money relative to the same stage: $$D_{k} = L_{k} - PHM_{k}\;$$

Table
This re-lending process (assuming that no currency is used) can be depicted as follows, assuming a 20% reserve ratio and a $100 initial deposit:

Note that no matter how many times the smaller and smaller amounts of money are re-lended, the legal reserve requirement is never exceeded - because that would be illegal.

title: Money multiplier


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1943 in rail transport

January events

 * January 1 – First Hunslet Austerity 0-6-0ST steamed, earliest of 377 built for war service to British Ministry of Supply order.
 * January 16 – First WD Austerity 2-8-0 handed over to British Ministry of Supply, earliest of 935 built for war service.

April events

 * April 2 – Yaga Station in 5-chōme, Yaga, Higashi-ku, Hiroshima, Hiroshima Prefecture, Japan, reopens.

May events

 * May 5 – Pullman, retooled from passenger car construction to work for World War II, launches its first ship built for the Navy, a PCE (patrol craft).
 * After a year of revenue service, Union Pacific Railroad's M-10002 streamliner trainset is removed from service; its power car is separated from its unpowered cars and the components are reused elsewhere.

June events

 * June 4 – Hyde railway accident, New Zealand: Train derails at speed in a curved cutting, 21 killed, 47 injured.
 * June 21 – British saboteurs blow up the strategically significant railway viaduct at Asopos in Greece.

July events

 * July 14 – Canadian National Railway opens Central Station in Montreal.

August events

 * August 25 – Denver, South Park and Pacific Railroad operates its last regular narrow gauge train on the section between Leadville and Climax.
 * August 30 – The Lackawanna Limited wreck at Wayland, New York causes 29 deaths and injures 114 others.

September events

 * September 6 – Frankford Junction train wreck, Seventy-nine people are killed when the Pennsylvania Railroad's Congressional Limited derails due to a burned out journal at Frankford Junction, Pennsylvania.

October events

 * October 4 - The last Maine narrow gauge (the Monson Railroad) discontinues service.
 * October 17
 * Chicago's first rapid transit subway route, State Street subway (4.9 miles/7.9 km), opens for passenger service. with stations at North/Clybourn, Clark/Division, Chicago, Grand, Washington, Monroe, Jackson, Harrison, and Roosevelt. It contains one of the world's longest underground station platform – 3300 ft long.
 * Completion of the Burma Railway between Bangkok, Thailand and Rangoon, Burma (now Myanmar) (415 km) by the Empire of Japan to support its forces in the Burma campaign using the forced labour of Asian civilians and Allied Prisoners of war.

November events

 * November 11 – Shin-Koyasu Station on what is now JR East's Keihin-Tōhoku Line in Kanagawa-ku, Yokohama, Japan, is opened.

December events

 * December 16 – Two Atlantic Coast Line passenger trains collide after a broken rail derails the first one, putting it in the path of the second. Seventy-one people are killed, most of them U.S. troops.
 * The first troop sleepers enter service on U.S. railroads.

Unknown date events

 * The Anton Anderson Memorial Tunnel, the longest combined rail/highway tunnel in North America, opens for railroad service.
 * After a few years of only producing diesel engines for the United States Navy during World War II, General Motors Electro-Motive Division returns to manufacturing railroad locomotives.
 * The last PRR GG1 to be built is completed.
 * Electrification between Limoges and Montauban on the SNCF in Vichy France completes an electrified rail route from Paris to the Mediterranean.

September births

 * September 7 – Chris Green, British railway manager.

February deaths

 * February 9 – Walter Kidde, president of New York, Susquehanna and Western Railway 1937–1943 (born 1877).
 * February 11 – Stuart R. Knott, president of Kansas City Southern Railway 1900–1905 (born 1859).

June deaths

 * June 2 – John Frank Stevens, chief engineer and general manager of Great Northern Railway, vice president Chicago, Rock Island and Pacific Railroad (born 1853).

title: 1943 in rail transport


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Category:Gwangju

Articles related to the South Korean city of Gwangju.

title: Category:Gwangju


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Dun gene

The dun gene is a dilution gene that affects both red and black pigments in the coat color of a horse. The dun gene lightens most of the body while leaving the mane, tail, legs, and primitive markings the shade of the undiluted base coat color. A dun horse always has a dark dorsal stripe down the middle of its back, usually has a darker face and legs, and may have transverse striping across the shoulders or horizontal striping on the back of the forelegs. Body color depends on the underlying coat color genetics. A classic "bay dun" is a gray-gold or tan, characterized by a body color ranging from sandy yellow to reddish brown. Duns with a chestnut base may appear a light tan shade, and those with black base coloration are a smoky gray. Manes, tails, primitive markings, and other dark areas are usually the shade of the undiluted base coat color. The dun gene may interact with all other coat color alleles.

Taxonomic distribution
Dun is believed to be the ancestral or wild type color of horses. Many equines appearing in prehistoric cave paintings such as in Chauvet Cave are dun, and several closely related species in the genus Equus show dun characteristics. These include the Przewalski's horse, onager, kiang, African wild ass, an extinct subspecies of plains zebra, the quagga, and an extinct subspecies of horse, the tarpan. Zebras can also be considered a variant of dun where the dilution is so extreme it turns the hair nearly white, and the primitive markings (like the striped leg barring) extend across the entire body.

Neither the non-dun1 nor the non-dun2 mutations were found in any other equids.

Color traits

The dun gene has a dilution effect, lightening the body coat, but has less of an effect on the primitive markings and on the point coloration of the mane, tail, ears, and legs.

Dun visibly affects all the three base colors, bay (bay, classic, or zebra dun), black (mouse dun or grullo), and Chestnut (red dun). It is more difficult to recognize when combined with other dilution genes or if affected by gray. Shades include:

 * Dun, also called bay dun, classic dun, or zebra dun is the most common type of dun, and has a tan or gold body with black mane, tail, and primitive markings. Genetically, the horse has an underlying bay coat color, acted upon by the dun gene.
 * Red dun, also called claybank, is a light tan coat with reddish instead of black points and primitive markings. Genetically, the horse has an underlying chestnut coat color, acted upon by the dun gene. Thus, as there is no black on the horse to be affected, the undiluted underlying color is red.
 * Grullo or grulla, also called blue dun or mouse dun, is a smoky, blue-gray to mouse-brown color and can vary from light to dark. They consistently have black points and they often have a dark or black head. The primitive markings are usually all black. Genetically, the horse has an underlying black coat color, acted upon by the dun gene.

Another characteristic of the dun gene are primitive markings. Dun traits include the following:

 * Dorsal stripe down the center of the back, along the spine, seen almost universally on duns
 * Horizontal striping on the back of forelegs, common on most duns, although at times, rather faint
 * Facial mask, a darker area around the nasal bone and forehead, sometimes making the head close to the undiluted color, some patterns colloquially called "Cobwebbing."
 * Transverse stripe, a crosswise stripe along the shoulders perpendicular to the dorsal stripe, very common in donkeys, less common in horses, and if present, often faint, usually only visible on a short summer coat, if at all.
 * Frosting: light hairs found on either side of the mane and on both sides of the dock of the tail.

Other variations result from the interplay of additional genes:

 * Chestnut + dun + cream gene (single copy) = "dunalino" or "palomino dun"
 * Bay + dun + cream gene (single copy) = "dunskin" or "buckskin dun"

A single copy of the cream gene on a black base coat does not significantly lighten black hair, though it may have a subtle effect, and thus a single copy generally has no visible effect on a grullo, either. Conversely, double copies of the cream gene create very light-colored horses (cremello, perlino, and smoky cream). Thus, if a horse with two cream dilution alleles also carries the dun gene, it also will be cream-colored, with primitive markings not visible to any significant degree.

Dorsal striping alone does not guarantee the horse carries the dun gene. There two types of non-dun, called non-dun1 and non-dun2. Non-dun1 horses have no dun color dilution but may keep primitive markings, while non-dun2 horses have neither the dun color dilution nor primitive markings.

The Fjord horse breed, which is predominantly dun, uses unique Norwegian-based terminology to distinguish between the different shades of dun horses. "Brown dun", or brunnblakk is a zebra dun, rødblakk is a red dun, grå - literally "gray" - is a grullo, buckskin duns are called ulsblakk or white dun, and a dunalino (dun + palomino) is called a "yellow dun" or gulblakk. A cremello, perlino or smoky cream is called "white" or kvit.

Dun mimics

Historically, before modern genetic studies distinguished between alleles, diluted colors were sometimes lumped together and simply called "dun".

The dun gene, when on a "bay dun" horse, can closely resemble buckskin, in that both colors feature a light-colored coat with a dark mane and tail. In particular, buckskins with non-dun 1 primitive markings can easily be confused with dun. Genetically, a bay dun is a bay horse with the dun gene. A buckskin is bay horse with the addition of the cream gene, causing the coat color to be diluted from red to gold, usually without primitive markings. Visually, a bay dun is a tan-gold color, somewhat darker and less vivid than the more cream or gold buckskin, and duns always possess primitive markings. Today, pedigree analysis, DNA testing, studying possible offspring, and the vividness of primitive markings are used to determine whether a horse is a dun.

A red dun may also be confused with a perlino, which is genetically a bay horse with two copies of the cream gene, which creates a horse with a cream-colored body but a reddish mane and tail. However, perlinos usually are significantly lighter than red dun and have blue eyes.

Grullos are sometimes confused with roans or grays. However, unlike blue roan, dun has no intermingled black and white hairs, and unlike a true gray, which also intermingles light and dark hairs, the color does not change to a lighter shade as the horse ages. With a dun, the hair color is one solid shade and remains so for life.

To further confuse matters, it is possible for a horse to carry both dun and cream dilution genes; such horses with golden buckskin coloring and a complete set of primitive markings are referred to as a "buckskin dun" or a "dunskin". On such horses, the light-shaded primitive markings are most noticeable during the summer months, when the winter hair sheds. A palomino that also carries dun, showing primitive dorsal striping or leg bars indicative of a red dun may be called a "dunalino."

Countershading such as light dorsal stripes resulting from the presence of the gene nd1 (see section below) may be difficult to detect on light-colored horses.

Genetics
There are three known alleles of the dun gene: dun (D), produces dilution and primitive markings. Non-dun1 (d1) horses do not have dun dilution but may exhibit some primitive markings. Non-dun2 (d2) horses have neither dilution nor primitive markings. Dun is a dominant gene; however, at least one study found a statistically significant variation in the shade of dilution depending on whether one or two copies of the dun gene are present. Two non-dun parents cannot produce a dun foal. Horses that are non-dun1 d1/d1 or d1/d2 may have some asymmetry in pigment distribution, producing primitive markings, but to a lesser degree than dun horses. Homozygous non-dun1/non-dun1 horses typically have clearer primitive markings than heterozygous d1/d2 horses. The primitive markings from non-dun1 are more visible on a bay or chestnut horse; they blend in on a black. A horse with two copies of non-dun2 lacks primitive markings.

Dun has a stronger effect than other dilution genes in that it acts on any coat color. In contrast, the silver dapple gene acts only on black-based coats, and the cream gene is an incomplete dominant which must be homozygous to be fully expressed, and when heterozygous is only visible on bay and chestnut coats, and then to a lesser degree.

The dun dilution effect is caused by pigment only being placed in a part of each hair. Specifically, hairs from diluted areas only have pigment along one side of them, while hairs from darker parts such as the dorsal stripe have pigment all the way around.

Genetic analysis and DNA sequencing results published in 2015 link dun color to the T-box 3 (TBX3) transcription factor. When functional, it creates dun coloring, including the primitive markings, and when recessive, a horse is not dun. In humans and lab mice, TBX3 is critical to development. Abnormalities are linked to a collection of developmental defects called ulnar–mammary syndrome, and the null allele (being unable to produce any TBX3 at all) is thought to be embryonic lethal. In non-dun horses, the TBX3 protein is still functional, and is still produced in most cells, but not expressed in the hair cortex. Where the coat is diluted, the color is not uniform throughout each hair, but rather is more intense on the outward-facing side of the hair shaft and lighter underneath. In the darker areas, where the primitive markings occur, the hair shaft is of uniform color. One of the researchers involved in the study said it could be called a "microscopic spotting pattern". This phenomenon is new to science and has not been observed in rodents, primates, or carnivores.

The location of TBX3 expression may also determine the striping pattern of zebras.

Non-dun alleles

There are two forms of non-dun color, non-dun1 and non-dun2, caused by different mutations. Non-dun1 horses have some primitive markings, while non-dun2 horses do not.

Prior to domestication of the horse, dun, non-dun1, and the leopard complex are thought to have been the wild type modifiers of the base colors bay and black for wild horses. It is thought that the non-dun2 genetic mutation (as well as the development of chestnut base color) occurred after domestication. Ancient DNA from a horse that lived about 43,000 years ago, long before horses were domesticated, carried both dun and non-dun1 genes.

The non-dun mutations appear to "disrupt the function of a transcriptional enhancer regulating TBX3 expression in a specific subset of hair bulb keratinocytes during hair growth." The region deleted in non-dun2 is predicted to include binding sites for the transcription factors ALX4 and MSX2, which are both known to be involved in hair follicle development. TBX3 was significantly downregulated in non-dun horses compared to dun horses, while the neighboring gene, TBX5, was expressed in about the same amount. In dun horses, the pattern of TBX3 expression mirrored the pattern of pigment deposition in the hair, that is, TBX3 was found wherever the pigment was not. TBX3 was not found in the hair cortex keratinocytes from non-dun horses nor in those from the dorsal stripe of dun horses. However, all of the horses had a thin outer layer of the hair where TBX3 was expressed. Two markers of mature melanocytes, KIT and MITF, were found only in the pigmented areas of the hair. This indicates that the hair follicles of dun and non-dun horses have different distributions of pigment-producing cells. KITLG encodes KIT ligand, a molecule required for melanocyte migration and survival in the skin and hair follicle. Keratinocytes expressing KITLG were found all the way around the hair in non-dun horses, but only on the pigmented side in dun horses. The region where KITLG was not expressed was similar to, but not exactly the same as, the region where TBX3 was expressed. TBX3 is not thought to directly affect KITLG expression.

Both non-dun1 and non-dun2 are found in a region of equine chromosome 8 whose only gene is TBX3. Non-dun1 has a guanine where dun has an adenine at chromosome 8 base pair 18,226,905, which appears to be sufficient to cause non-dun1 coloration. In addition, non-dun1 has another single nucleotide polymorphism compared to the version of dun that is most common in domestic horses, where a guanine in dun is replaced with thymine in non-dun1 at chr. 8: 18,227,267. However, that SNP was also found in some dun Estonian native horses, so is not necessary for dun. Non-dun2 has a 1,609 bp deletion and another very near 8 bp deletion. Comparison with TBX3 in other species showed that the non-dun2 deletion is a more derived allele. Nucleotide diversity across the flanking regions of chromosome 8 for the various alleles indicates that the non-dun2 mutation most likely occurred on a chromosome that already had non-dun1.

title: Dun gene


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Nicollet (crater)

Nichollet is a small, isolated lunar impact crater on the Mare Nubium, a lunar mare in the southwest quadrant of the Moon. It was named after French astronomer Joseph Nicollet. This crater is located to the north of the crater Pitatus, about midway between Wolf to the west and Birt to the east.

This is a circular, bowl-shaped crater with a rim raised above the surface of the surrounding lava plain. The inner walls slope down to the interior floor, with the bottom having a diameter about half that of the crater. Some wrinkle ridges lie in the surface of the nearby mare, joining with the outer rim. These features are best observed under oblique lighting conditions when the terminator has just moved past the crater during the waxing phase.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Nicollet.

title: Nicollet (crater)


text: Category:Daejeon

title: Category:Daejeon


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Category:Incheon

Articles related to the South Korean city of Incheon.

title: Category:Incheon


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Godfrey

Godfrey may refer to:

People

 * Godfrey (name), a given name and surname
 * Godfrey (comedian), American comedian, actor

In the United States

 * Godfrey, Georgia, an unincorporated community
 * Godfrey, Illinois, a village
 * Godfrey, Kansas, an unincorporated community
 * Godfrey, Washington, a ghost town
 * Godfrey, West Virginia, an unincorporated community

Elsewhere

 * Godfrey, Ontario, a Canadian community

Fiction

 * Glorious Godfrey, often known just by the name "Godfrey", a DC Comics supervillain
 * Private Godfrey, a character from Dad's Army
 * Queen Goodfey, supporting character of Mysticons, in which she is the kind and brave ruler of the people of Drake City on planet Gemina.

title: Godfrey


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Grinnell

Grinnell may refer to:

Places

 * United States
 * Grinnell, Iowa
 * Grinnell College, a liberal arts college in Grinnell, Iowa
 * Grinnell, Kansas
 * Grinnell Glacier, a glacier in Montana
 * Grinnell Lake, a lake in Montana
 * Mount Grinnell, a peak in Montana
 * Canada
 * Grinnell Land, a section of Ellesmere Island in Nunavut
 * Grinnell Peninsula, a peninsula on Devon Island in Nunavut
 * Cape Grinnell, a cape on Devon Island in Nunavut at Griffin Inlet

Other uses

 * Grinnell (surname)
 * Grinnell Mutual, an Iowa, US-based reinsurance company
 * Grinnell, Minturn & Co, a 19th-century American shipping company
 * Grinnell (automobile), an electric car made in Detroit, Michigan between 1910 and 1913.
 * Grinnell fish, otherwise known as a Bowfin
 * Grinnell Mechanical Products and SimplexGrinnell, subsidiaries of Tyco International

title: Grinnell


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Bonjour Tristesse

Bonjour Tristesse ("Hello Sadness") is a novel by Françoise Sagan. Published in 1954, when the author was only 18, it was an overnight sensation. The title is derived from a poem by Paul Éluard, "À peine défigurée", which begins with the lines "Adieu tristesse/Bonjour tristesse..." An English-language film adaptation was released in 1958, directed by Otto Preminger.

Plot summary
17-year-old Cécile spends her summer in a villa on the French Riviera with her father Raymond and his current mistress, the young, superficial, fashionable Elsa, who gets on well with Cécile. Raymond is an attractive, worldly, amoral man who excuses his serial philandering by quoting Oscar Wilde: "Sin is the only note of vivid colour that persists in the modern world." Cécile says, "I believed that I could base my life on it", and accepts their languorous lifestyle as the ideal of privileged status. One of its advantages for Cécile is that her father, who has no intellectual interests, does not care if she studies or not. Another is that he gives her leeway to pursue her own interests, with the assumption that she will be an amusing addition to the superficial social gatherings he favors. In the next villa to theirs is a young man in his 20s, Cyril, with whom Cécile has her first sexual romance.

Their peaceful holiday is shattered by the arrival of Anne, whom Raymond had vaguely invited. A cultured, principled, intelligent, hard-working woman of Raymond's age who was a friend of his late wife, Anne regards herself as a sort of godmother to Cécile. The three women all have claims on Raymond's attention; the remote, enigmatic Anne soon becomes Raymond's lover, and the next morning she announces their engagement. Elsa moves out, then Anne tries to take over parenting Cécile. She tells Cécile to stop seeing Cyril and get back to her schoolbooks. Cécile is horrified at this threat to her pampered life as her father's darling, especially as Anne becomes the entire focus of Raymond's interest. She devises a plan to prevent the marriage, while nevertheless feeling ambiguous about her scheming.

To make Raymond jealous, Cécile arranges for Elsa and Cyril to pretend to be a couple and appear together at specific moments. When Raymond predictably becomes jealous of the younger Cyril, he renews his pursuit of Elsa. But Cécile has misjudged Anne's sensitivity. After she sees Raymond and Elsa together in the woods, with Raymond brushing pine needles off of his suit, Anne drives off in tears and her car plunges from a cliff in an apparent suicide.

Cécile and her father return to the empty, desultory life they were living before Anne interrupted their summer and consider the impact Anne has had on their lives. Cécile lives with the knowledge that her manipulations led to Anne's death and longs for the summer they shared.

Characters

 * Cécile, a wealthy and careless seventeen-year-old girl
 * Raymond, her middle-aged father, a notorious partier and ladies' man
 * Elsa, Raymond's latest mistress at the beginning of the novel
 * Anne, an old friend of Cécile's mother, who mentored Cécile after she withdrew from Catholic boarding school
 * Cyril, a young man who lives near the house Raymond rents for the summer

Reception
An early brief review of Irene Ash's English translation (John Murray, 1955), in The Times of 19 May 1955, describes it as "An unusual little fiction ... written by a 19-year-old girl from the Dordogne ... a nice piece of precocity". The reviewer in The Spectator of the same date said "Bonjour, Tristesse, which has achieved remarkable celebrity by virtue of its subject-matter and its authoress's age, is a vulgar, sad little book".

Cultural adaptations

 * German-American filmmaker Otto Preminger produced and directed a film adaptation of the book through his film production company Wheel Productions. Bonjour Tristesse was released in 1958 and stars Jean Seberg, Deborah Kerr and David Niven.
 * Canadian dark ambient band Soufferance based and themed their 2011 concept extended play on the book. Titled Bonjour Tristesse, the EP features a single 17-minute song. A follow-up concept album was released a year later, titled Adieu Tristesse, which also took elements from the novel.

title: Bonjour Tristesse


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Society of Cable Telecommunications Engineers

The Society of Cable Telecommunications Engineers or SCTE a subsidiary of CableLabs® is a non-profit professional association for accelerating the deployment of technology, technical standards and workforce development education related to cable telecommunications engineering and operations. Founded in 1969 as The Society of Cable Television Engineers, SCTE, has a current membership of more than 25,000 individuals.

As the applied science leader for cable telecommunications for over fifty years, SCTE takes innovative technology from idea to reality to drive real business results for its members. Through the development of technical standards and operational best practices, SCTE expedites the deployment of products and technologies in an ever-changing broadband landscape. With our 60+ chapters, robust interactive, online training courses, in-person hands-on training experiences, technical resources, and professional certification programs, we make it possible to upskill and reskill your workforce at every level – from new technical employees to seasoned executives.

Publications
SCTE a subsidiary of CableLabs offers several publications to its membership. These include Interval, a monthly member newsletter covering association events, training, activities, and member accomplishments, Broadband Library, a quarterly magazine, and SCTE Standards Bulletin, a quarterly printed newsletter covering the SCTE standards program.

Former publications included SCTE Credentials, a quarterly electronic newsletter highlighting SCTE's certification program.

Events
SCTE TechExpo is a three-day conference focused on engineering that includes educational workshops, exhibits, and professional networking opportunities. During SCTE TechExpo the technical forum is conducted in partnership with CableLabs and the Internet & Television Association (NCTA). Annual attendance is approximately 10,000+ individuals. SCTE TechExpo is the largest telecommunication event in the Americas. SCTE will celebrate its 40th anniversary in 2023.

Past and upcoming events

 * SCTE Cable-Tec Expo 2010 October 20–22, 2010; New Orleans, Louisiana
 * SCTE Cable-Tec Expo 2011 November 15–17, 2011; Atlanta, Georgia
 * SCTE Cable-Tec Expo 2012 October 17–19, 2012; Orlando, Florida
 * SCTE Cable-Tec Expo 2013 October 21–24, 2013; Atlanta, Georgia
 * SCTE Cable-Tec Expo 2014 September 22–25, 2014; Denver, Colorado
 * SCTE Cable-Tec Expo 2015 October 13–16, 2015; New Orleans, Louisiana
 * SCTE Cable-Tec Expo 2016 September 26–29, 2016; Philadelphia, Pennsylvania
 * SCTE Cable-Tec Expo 2017 October 17–20, 2017; Denver, Colorado
 * SCTE Cable-Tec Expo 2018 October 22–25, 2018; Atlanta, Georgia
 * SCTE Cable-Tec Expo 2019 September 30 - October 3, 2019; New Orleans, Louisiana
 * SCTE Cable-Tec Expo 2020 October 12–15, 2020; Virtual
 * SCTE Cable-Tec Expo 2021 October 11–15, 2021; Virtual
 * SCTE Cable-Tec Expo 2022 September 19–23, 2023; Philadelphia, Pennsylvania
 * SCTE Cable-Tec Expo 2023 October 16–19, 2023; Denver, Colorado
 * SCTE TechExpo 2024 September 24–26, 2024; Atlanta, Georgia

Standards program
SCTE includes a standards program for the development of technical specifications supporting the cable telecommunications industry. The work program includes: data and telephony over cable; application platform development; digital video; emergency alert systems (EMS); energy management; network monitoring systems; cables, connectors and amplifiers; and construction and maintenance practices. In 2016 SCTE created an Internet of Things working group within the standards program. A Generic access platform (GAP) working group was created in 2018.

SCTE is accredited by the American National Standards Institute (ANSI), recognized by the International Telecommunication Union (ITU), and works in cooperation with the European Telecommunications Standards Institute (ETSI). More than 130 MSOs, vendors, and allied organizations are SCTE Standards members.

Awards
SCTE was announced in 2022 as a recipient of a Technology & Engineering Emmy Award for its development of the "Event Scheduling and Notification Interface (ESNI) standard SCTE 224". SCTE was awarded the Emmy alongside CableLabs and the Open Authentication Technology Committee (OATC).

SCTE was announced in 2021 as a recipient of a Technology & Engineering Emmy Award for its development of "Event Signaling and Management (ESAM) and Application Programming Interface (API) standard (SCTE 250)".

SCTE was announced in 2012 as a recipient of a Technology & Engineering Emmy Award from the National Academy of Television Arts & Sciences for “Local Cable Ad Insertion Technology – Cable Digital Standards for Local Cable Advertising.”


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Guttenberg

There are several possible meanings for Guttenberg, Guttenburg or Gutenburg:

People

 * David Guttenberg (born 1951), U.S. state politician (Alaska)
 * Enoch zu Guttenberg (1946–2018), German conductor, father of Karl-Theodor
 * Fred Guttenberg, American activist against gun violence
 * The House of Guttenberg, a Franconian noble family
 * Johannes Gutenberg (1400–1468), introduced moveable type printing to Europe
 * Johann Lorenz Trunck von Guttenberg (1661–1742), Mayor of Vienna 1713–1716
 * Karl-Theodor zu Guttenberg, (born 1971), former Minister of Defence (Germany), son of Enoch zu Guttenberg
 * Steve Guttenberg (born 1958), American actor

Places

 * Guttenberg, Bavaria, Germany
 * Guttenberg, Iowa, United States
 * Guttenberg, New Jersey, United States

Guttenburg

 * Guttenburg, a German brig that wrecked on the Goodwin Sands on 1 January 1860

title: Guttenberg


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Haines (surname)

Haines is a surname.

Etymology
According to the Oxford Dictionary of Family Names in Britain and Ireland, the modern names Haine, Hayne, Haines, Hains, Hanes, and Haynes all originate in four different medieval names, which came to sound the same.

 * 1) The Middle English name Hain. This is thought to have originated as a pet form of Anglo-Norman names such as Reynald, Reyner and Rainbert.
 * 2) The personal name Hagan, which is itself of diverse origins.
 * 3) The Old English word haga ('enclosure', Middle English hay), in the oblique case form hagan (Middle English hayne), whose use could have arisen from a locative epithet such as æt hagan ('at the enclosure').
 * 4) Perhaps the Middle English word heyne (and its variants, such as haine, hayn), meaning 'mean wretch, niggard'.

The forms ending in -s show the addition of the genitive case ending, implying that the name-bearer was the child of a father called Hain, or addition of -s on the analogy of such names.

Additional etymologies for Haines and Haynes names not shared by the Hayne types are:
 * 1) the place-name of Haynes, Bedfordshire, indicating people from that village (whose name itself derived from Old English *hægen ('enclosures').
 * 2) the Irish name Hynes.

The Oxford Dictionary of Family Names in Britain and Ireland also considers the suggestion of origins in the Welsh name Einws (a pet form of Einion), but does not find evidence to support this.

Distribution
Around 2011, there were 9551 bearers of the surname Haines in Great Britain and 79 in Ireland. In 1881, there were 6890 bearers of the name in Great Britain, concentrated in the south of England, particularly in London, Gloucestershire, Berkshire, Wiltshire, and Warwickshire, while around the mid-nineteenth century bearers of the name in Ireland were concentrated in Cork.

Haines is the 410th most common surname in Great Britain with 23,109 bearers. It is most common in Gwynedd where it is the 6th most common surname with 4,931 bearers. Other concentrations include Merseyside, (198th, 1,727), Cheshire, (213th, 1,739), West Yorkshire, (245th, 1,751), Surrey, (281st, 1,815) and Essex (404th, 1,715).

Persons named Haines

 * Albert R. Haines (1826–?), American politician from Ohio
 * Amy Haines (1839-1921), (also known as Amelia Horne and Amelia Bennett) British memoire writer
 * Andrew Haines (born 1947), British epidemiologist and academic
 * Andy Haines (born 1977), American baseball coach
 * Avery Haines (born 1966), Canadian television journalist
 * Avril Haines (born 1969), First female Director of National Intelligence
 * Bob Haines (1906–1965), English cricketer
 * Carolyn Haines (born 1953), American author
 * Casey Haines (1986– ), American ice hockey player
 * Clinton Haines (1976–1997), Queensland, Australian computer hacker
 * Coral-Jade Haines (1996- ), English footballer
 * Daniel Haines (1801–1877), American jurist and governor of New Jersey
 * Daniel Haines (footballer) (born 1981), West Australian rules footballer
 * David Haines (aid worker) (1970–2014), British aid worker who was captured by ISIL and beheaded
 * Denis Haines, English musician with The Hollies and Gary Numan
 * Donald Haines (1918–1941), American child actor (Our Gang)
 * Elijah Haines, politician and author
 * Elwood Lindsay Haines (1893–1949), Episcopal bishop in the United States
 * Emily Haines (born 1974), Canadian vocalist for the bands Metric and Broken Social Scene
 * Eric Haines (born 1958), American computer graphics professional
 * Francina E. Haines, for whom Haines, Alaska was named.
 * Fred Haines (1936–2008), American screenwriter and film director
 * Fred S. Haines (1879–1960), Canadian painter from Meaford Ontario
 * Frederick Haines (1819–1909), British Field Marshal and Commander-in-Chief of British forces in India
 * Gail Haines, US politician, member of the Michigan House of Representatives
 * George Haines (1924–2006), US swimmer and swimming coach
 * Harry L. Haines (1880–1947), United States Congressman from Pennsylvania
 * Henry Haines (1836–1923), Railroad man, Confederate Colonel, Haines City Florida
 * Hinkey Haines (1898–1979), American football and baseball player from Pennsylvania
 * Jackson Haines (1840–1875), American ballet dancer and figure skater
 * Janine Haines (1945–2004), South Australian politician
 * Jeffrey Robert Haines (born 1958), American Roman Catholic bishop
 * Jesse Haines (1893–1978), American baseball player
 * Jim Haines (born 1945), Victorian Australian rules footballer
 * Job Haines (1744–1812), American politician from Maryland
 * Joe Haines (journalist) (born 1958), British journalist and press secretary to PM Harold Wilson
 * Joe Haines (politician) (1923–2015), US member of the Ohio House of Representatives
 * John Haines (disambiguation), several people, including:
 * John Haines (1924–2011), poet and educator
 * John Charles Haines, (1818–1896), American businessman and politician, mayor of Chicago (1858–1860)
 * John Sydney Haines (1937–2009), Australian motor boat builder and racer
 * Joseph Haines (died 1701), English actor, singer, and dancer
 * Kathryn Miller Haines, American novelist and actor
 * Ken Haines, co-founder of Haines and Bronner UK
 * Larry Haines (1918–2008), American radio and soap opera actor
 * Lawrence Courtney Haines (c.1920–1996), Australian ornithologist, oologist and taxidermist
 * Linda M. Haines (born 1944), English and South African statistician
 * Lowell Haines, American lawyer and Taylor University president
 * Luke Haines (born 1967), English musician
 * Mahlon Haines (1875–1962), US businessman and shoe salesman
 * Marie Bruner Haines (1885–1979), American painter and illustrator
 * Mark Haines, (1946–2011) TV host, CNBC network
 * Martha Haines (1923–2011), All-American Girls Professional Baseball League player
 * Nathan Haines (1972– ), New Zealand jazz musician
 * Nathan Haines (priest) (c.1735–1806), English priest
 * Paul Haines (fiction writer) (1970–2012), New Zealand-born horror and Sci-Fi writer
 * Paul Haines (poet) (1933–2003), US and Canadian poet and jazz lyricist
 * Ralph E. Haines, Jr. (1913–2011), United States Army four-star general
 * Reuben Haines III (1786-1831), American ornithologist and firefighter
 * Sara Haines (born 1977), American television host and journalist
 * Stephen G. Haines (1945–2012), American organizational theorist, management consultant
 * Steve Haines, fictional character from Grand Theft Auto V.
 * Syd Haines, New Zealand (soccer) footballer
 * Thomas E. Haines (1831–1908), American politician from Iowa
 * Tom Haines (born 1977), English composer and sound designer
 * Townsend Haines (1792–1865), American politician and judge from Pennsylvania
 * Walter Stanley Haines (1850–1923), American forensic scientist
 * William Haines (disambiguation), several people including:
 * William Haines (1900–1973), American actor in silent movies
 * William Haines (Australian politician) (1810–1866), first Premier of Victoria
 * William Haines (South Australian politician) (1831–1902), a South Australian politician
 * William Wister Haines (1908–1989), American author, screenwriter, and playwright
 * Willie Haines (1900–1974), Portsmouth and Southampton footballer

title: Haines (surname)


text:
Category:Daegu

Articles related to the South Korean city of Daegu.

title: Category:Daegu


text:
Karakalpak language

Karakalpak (Qaraqalpaq tili) is a Turkic language spoken by Karakalpaks in Karakalpakstan. It is divided into two dialects, Northeastern Karakalpak and Southwestern Karakalpak. It developed alongside Nogai and neighbouring Kazakh languages, being markedly influenced by both. Typologically, Karakalpak belongs to the Kipchak branch of the Turkic languages, thus being closely related to and highly mutually intelligible with Kazakh and Nogai.

Classification
Karakalpak is a member of the Kipchak branch of Turkic languages, which includes Kazakh, Bashkir, Tatar, Kumyk, Karachay, Nogai and Kyrgyz. Due to its proximity to Turkmen and Uzbek, some of Karakalpak's vocabulary and grammar has been influenced by Uzbek and Turkmen. Like the vast majority of Turkic languages, Karakalpak has vowel harmony, is agglutinative and has no grammatical gender. Word order is usually subject–object–verb.

Geographic distribution
Karakalpak is spoken mainly in the Karakalpakstan Autonomous Republic of Uzbekistan. Approximately 2,000 people in Afghanistan and smaller diaspora in parts of Russia, Kazakhstan, Turkey and other parts of the world speak Karakalpak.

Official status
Karakalpak has official status in the Karakalpakstan Autonomous Republic.

Dialects
Ethnologue identifies two dialects of Karakalpak: Northeastern and Southwestern. Menges mentions a third possible dialect spoken in the Fergana Valley. The Southwestern dialect has /tʃ/ for the Northeastern /ʃ/.

Phonology
Karakalpak has 25 native consonant phonemes and regularly uses four non-native phonemes in loan words. Non-native sounds are shown in parentheses.

Vowel harmony
Vowel harmony functions in Karakalpak much as it does in other Turkic languages. Words borrowed from Russian or other languages may not observe rules of vowel harmony, but the following rules usually apply:

Numbers

 * 1) бир – bir – 1
 * 2) еки – eki – 2
 * 3) үш – úsh – 3
 * 4) төрт – tórt – 4
 * 5) бес – bes – 5
 * 6) алты – altı – 6
 * 7) жети – jeti – 7
 * 8) сегиз – segiz – 8
 * 9) тоғыз – toǵız – 9
 * 10) он – on – 10
 * жүз – júz – 100
 * мың – mıń – 1000
 * миллион – million – 1000000

Writing system

Karakalpak was written in the Arabic and Persian script until 1932, in the Latin script from 1928 to 1940, after which Cyrillic was introduced. Following Uzbekistan's independence in 1991, the decision was made to drop Cyrillic and revert to the Latin alphabet. Whilst the use of Latin script is now widespread in Tashkent, its introduction into Karakalpakstan remains gradual.

The Arabic alphabet consisted of the following 28 letters:

In November 1924, the first Karakalpak newspaper “Free Karakalpak” (ٴيركين قاراقالپاق) began to be printed on with the script, and in 1925 the first textbooks were published. Writer and educator Saifulgabit Madzhitov played a major role in the creation of the alphabet and the release of the first primers.

This alphabet had a number of significant shortcomings: it lacked letters to indicate a number of specific Karakalpak sounds, and students had difficulty mastering the three different styles of each letter present in the Arabic script.

In the 1920s, a campaign was launched in the USSR to Latinize the writing systems of various peoples of the country. This campaign gained particular scope after the First Turkic Congress, held in 1926 in Baku, at which all Turkic peoples of the USSR were recommended to switch to a new alphabet (Yañalif). In July 1927, by decision of the Kara-Kalpak regional committee of the All-Union Communist Party of Bolsheviks, the regional Committee of the New Alphabet was created, which began developing the Karakalpak Latinized alphabet. On July 30, 1928, a new alphabet, developed under the leadership of K. Avezov and S. Madzhitov, was submitted for consideration to the Government of the Kara-Kalpak Autonomous Okrug.

At the end of 1928, after taking into account a number of comments put forward by specialists and intellectuals, this alphabet was approved. It had 32 letters: a, в, с, ç, d, e, ә, f, g, h, x, i, ь, j, k, l, m, n, ꞑ, o, ө, p, q, ƣ, r, s, t, u, v, y, z, ş. There were no capital letters in this alphabet. At the beginning of 1929, newspapers and books began to be published in this alphabet. By 1930, printing and education in Karakalpakstan had completely switched from the Arabic alphabet to the Latinized one.

In 1930, on the initiative of the Karakalpak intelligentsia, a meeting was held at the editorial office of the newspaper “Mijnetkeş Qaraqalpaq” on issues of the alphabet and spelling. As a result, it was decided to exclude the letter c from the alphabet and write ş instead. By that time, the question arose about establishing firm rules for Karakalpak spelling. In 1932, the Ethno-linguistic section of the Karakalpak comprehensive research institute and the educational and methodological council of the People's Commissariat for Education presented two projects for the Karakalpak orthography and alphabet. During the discussion, both projects were combined into one and in September 1932, at the First Karakalpak Spelling Conference, it was approved. The main change was the introduction of capital letters, as well as a change in the order of letters in the alphabet. Now it was arranged thusly: Aa, Bв, Vv, Gg, Dd, Ee, Çç, Zz, Ii, Jj, Kk, Ll, Mm, Nn, Oo, Pp, Rr, Ss, Tt, Uu, Ff, Xx, Şş, Hh, Әә, Qq, Ƣƣ, Ꞑꞑ, Өө, Yy, Ьь.

In June 1935, the Second Linguistic Conference was held in Turtkul. In addition to spelling issues, it also touched upon the issue of alphabet reform. It was proposed to exclude the letters Әә, Өө and Yy from it. However, during the discussion, this proposal was rejected, and the need for further elaboration of this issue was noted.

The third spelling conference was held in Turtkul in October 1938. The issue of alphabet reform was raised again. As a result, the letter Ŭŭ was introduced into the alphabet, the phonetic meaning of a number of letters was changed, and the order of their arrangement in the alphabet was slightly adjusted. As a result, the alphabet approved by the Presidium of the Supreme Council of the Karakalpak Autonomous Soviet Socialist Republic looked like this: Aa, Bв, Vv, Gg, Dd, Ee, Çç, Zz, Ii, Kk, Ll, Mm, Nn, Oo ,Pp, Rr, Ss, Tt, Uu, Ff, Xx, Şş, Ꞑꞑ, Әә, Өө, Hh, Qq, Ƣƣ, Yy, Ŭŭ, Jj, Ьь.

At the end of the 1930s, the process of transferring scripts to a Cyrillic basis began in the Soviet Union. In 1940, K. Ubaydullaev, K. Aimbetov and N. Davkaraev developed an alphabet and spelling rules for the Karakalpak language based on the Cyrillic alphabet. This alphabet was introduced by decree of the Presidium of the Supreme Council of the Karakalpak Autonomous Soviet Socialist Republic on July 18, 1940. This decree also established a deadline of January 1, 1942 for the transition of the press, education and institutions to the new alphabet.

The new alphabet had 35 letters: а, Бб, Вв, Гг, Дд, Ее, Жж, Зз, Ии, Йй, Кк, Лл, Мм, Нн, Оо, Пп, Рр, Сс, Тт, Уу, Фф, Хх, Цц, Чч, Шш, Щщ, Ъъ, Ыы, Ьь, Ээ, Юю, Яя, Ғғ, Ққ, Ҳҳ. This alphabet had a number of significant shortcomings: it lacked signs to indicate the sounds /æ/, /œ/, /y/, /ŋ/ and /w/. To convey the sounds /æ/, /œ/, /y/, the letters а, о, у were used with the addition of a soft sign after the consonant letter located behind them (for example, тань (bread) instead of тәnн, созь (word) instead of сөз, жунь (wool) instead of жүн, etc.). To denote the sound /ŋ/, the нг digraph was used.

These shortcomings forced the Karakalpak Institute of Economics and Culture to develop a new alphabet and spelling rules for the Karakalpak language. In September 1954, a scientific and theoretical conference was held in Nukus, at which scientists from Karakalpakstan, Moscow, Tashkent and Frunze discussed the project of a new alphabet. The decisions of the conference were finalized taking into account the recommendations of the Institute of Language and Literature of the Academy of Sciences of the Uzbek SSR and the Institute of Linguistics of the Academy of Sciences of the USSR. As a result, the current alphabet was clarified and a new set of spelling rules was compiled. On February 28, 1957, the new alphabet and spelling were approved by decree of the Presidium of the Supreme Council of the Karakalpak Autonomous Soviet Socialist Republic. This alphabet came into effect in 1960. Compared to the previous version, the letters Ә ә, Ё ё, Ң ң, Ө ө, Ү ү, Ў ў were introduced into the alphabet, and the order of the letters in the alphabet was also changed. As a result, the Karakalpak alphabet began to look like this:

In 1963-1964, the issue of improving the Karakalpak alphabet was again raised in the pages of the local press. On this basis, in 1964, a special commission was created from employees of the Institute of History, Language and Literature of the Karakalpak branch of the Academy of Sciences of the Uzbek Autonomous Soviet Socialist Republic, as well as teachers from the department of the Karakalpak language of the Karakalpak Pedagogical Institute and employees of the Institute for Advanced Training of Teachers of the Karakalpak Autonomous Soviet Socialist Republic. This commission developed a new draft alphabet and spelling. The project proposed the abolition of the letters ў and ң. However, this project caused serious objections among teachers, as a result of which it was not adopted.

Despite the reforms of the 1990s - 2000s, the Cyrillic alphabet of the 1957 model is still widely used: literature is published in it, the largest newspaper in Karakalpakstan “Erkin Karakalpakstan” is printed, and document flow is carried out in government institutions.

In the early 1990s, work began in independent Uzbekistan to translate the scripts of the peoples of this country onto a Latin basis. At the end of 1993, a project for a Latinized Uzbek alphabet was approved. Following this, in February 1994, a new alphabet was approved for the Karakalpak language. This alphabet was based on the General Turkic Alphabet and had the following form: Aa, Ää, Bb, Dd, Ee, Ff, Gg, Ḡḡ, Hh, Xx, Iı, İi, Jj, Kk, Qq, Ll, Mm, Nn, N̄n̄, Oo, Öö, Pp, Rr, Ss, Şş, Tt, Uu, Üü, Vv, Ww, Yy, Zz.

However, in 1995, the Uzbek, and a little later the Karakalpak alphabets were revised. All letters with diacritics were excluded from them, and digraphs and post-letter apostrophes were introduced instead. The transition to a new script was to be carried out by 2005. The alphabet in the 1995 version looked like this: Aa, Aʻaʻ, Bb, Dd, Ee, Ff, Gg, Gʻgʻ, Hh, Xx, Iı, İi, Jj, Kk, Qq, Ll, Mm, Nn, Nʻnʻ, Oo, Oʻoʻ, Pp, Rr, Ss, Tt, Uu, Uʻuʻ, Vv, Ww, Yy, Zz, Sh sh.

In 2009, changes were made to this alphabet again. According to the law of the Republic of Karakalpakstan dated October 8, 2009, the letter combination ts was replaced by c. The letters e, o and oʻ at the beginning of the original Karakalpak words began to be written as ye, wo and woʻ, respectively. The letter I ı has been replaced by Iʻ iʻ. The digraph ch has been introduced. After the reform, the Karakalpak alphabet received the following form: A a, B b, C c, D d, E e, F f, G g, H h, I i, J j, K k, L l, M m, N n, O o, P p, Q q, R r, S s, T t, U u, V v, W w, X x, Y y, Z z, Aʻ aʻ, Oʻ oʻ, Iʻ iʻ, Uʻ uʻ, Gʻ gʻ, Nʻ nʻ, Sh sh, Ch ch.

The current Latin alphabet is as follows:

The Cyrillic, Latin, and Arabic alphabets are shown below with their equivalent representations in the IPA. Cyrillic letters with no representation in the Latin alphabet are marked with asterisks. The last changes to the new Karakalpak alphabet were made in 2016: instead of letters with apostrophes (Aʻ aʻ, Oʻ oʻ, Iʻ iʻ, Uʻ uʻ, Gʻ gʻ, Nʻ nʻ), letters with acutes were introduced (Á á, Ó ó, Í ı, Ú ú, Ǵ ǵ, Ń ń). This is the seventh version of the Latin alphabet in Karakalpak writing since 1928.

Before 2009, C was written as TS; I and Í were written as İ|dotted and dotless I; and the letters with apostrophe are now letters with acute.

Sample text
Article 1 of the Universal Declaration of Human Rights

Poets

 * Ájiniyaz
 * Berdaq Ǵarǵabay Ulí
 * Kúnxoja
 * Ibrayim Yusupov

title: Karakalpak language


text:
Peters (crater)

Peters is a small lunar impact crater in the north-northeastern part of the Moon, lying in the gap between Neison to the west and Arnold to the southeast. Due south of Peters is the crater Moigno.

This is not a particularly prominent feature, having a low rim and an interior floor that has been almost completely submerged by lava flows. The rim is circular and only lightly worn, with a notch along the southeast. The inner surface is level and almost featureless.

title: Peters (crater)


text:
Borel

Borel may refer to:

People

 * Antoine Borel (1840–1915), a Swiss-born American businessman
 * Armand Borel (1923–2003), a Swiss mathematician
 * Borel (author), 18th-century French playwright
 * Borel (1906–1967), pseudonym of the French actor Jacques Henri Cottance
 * Émile Borel (1871–1956), a French mathematician known for his founding work in the areas of measure theory and probability
 * Mary Grace Borel (1915–1998), American socialite
 * Pascal Borel (born 1978), German footballer
 * Pierre Borel, 17th-century French chemist

Places

 * Borel (crater), a lunar crater, named after Émile Borel

Mathematics

 * Borel algebra, operating on Borel sets, named after Émile Borel, also:
 * Borel measure, the measure on a Borel algebra
 * Borel distribution, a discrete probability distribution, also named after Émile Borel
 * Borel subgroup, in the theory of algebraic groups, named after Armand Borel

Other uses

 * Borel (surname), a surname
 * Etablissements Borel, an aircraft manufacturing company founded by Gabriel Borel

title: Borel


text:
Amir Khan (singer)

Ustad Amir Khan (15 August 1912 – 13 February 1974) was an Indian singer and musician in the Hindustani classical tradition. He was the founder of the Indore gharana.

Early life and background
Amir Khan was born in a family of musicians in Kalanaur, India. His father, Shahmir Khan, a sarangi and veena player of the Bhendibazaar gharana, served at the court of the Holkars of Indore. His grandfather, Change Khan, was a singer in the court of Bahadurshah Zafar. Amir Ali's mother died when he was nine years old. He had a younger brother, Bashir, who went on to become a sarangi player at the Indore station of All India Radio.

He was initially trained in the sarangi by his father. However, seeing his interest in vocal music, his father gradually devoted more time to vocal training, focusing on the merukhand technique. Amir Khan was exposed at an early age to many different styles, since just about every musician who visited Indore would come to their house, and there would be mehfils at their place on a regular basis. He also learned the basics of tabla playing from one of his maternal uncles, who was a tabla player.

Amir Khan moved to Bombay in 1934, and there he gave a few concerts and cut about half a dozen 78-rpm records. These initial performances were not well received. Following his father's advice, in 1936 he joined the services of Maharaj Chakradhar Singh of Raigadh Sansthan in Madhya Pradesh. He performed at a music conference in Mirzapur on behalf of the Raja, with many illustrious musicians present, but he was hooted off the stage after only 15 minutes or so. The organizer suggested singing a thumri, but he refused, saying that his mind was never really inclined towards thumri. He stayed at Raigadh for only about a year. Amir Khan's father died in 1937. Later, Khansahib lived for some time in Delhi and Calcutta, but after the partition of India he moved back to Bombay.

Singing career
Amir Khan was a virtually self-taught musician. He developed his own gayaki (singing style), influenced by the styles of Abdul Waheed Khan (vilambit tempo), Rajab Ali Khan (taans) and Aman Ali Khan (merukhand). This unique style, known as the Indore Gharana, blends the spiritual flavour and grandeur of dhrupad with the ornate vividness of khyal. The style he evolved was a unique fusion of intellect and emotion, of technique and temperament, of talent and imagination. Unlike other artists he never made any concessions to popular tastes, but always stuck to his pure, almost puritanical, highbrow style.

Amir Khansahib had a rich baritone open-throated voice with a three-octave range. His voice had some limitations but he turned them fruitfully and effortlessly to his advantage. He presented an aesthetically detailed badhat (progression) in ati-vilambit laya (very slow tempo) using bol-alap with merukhandi patterns, followed by gradually speeding up "floating" sargams with various ornamentations, taans and bol-taans with complex and unpredictable movements and jumps while preserving the raga structure, and finally a madhyalaya or drut laya (medium or fast tempo) chhota khyal or a ruba'idar tarana. He helped popularize the tarana, as well as khyalnuma compositions in the Dari variant of Persian. While he was famous for his use of merukhand, he did not do a purely merukhandi alap but rather inserted merukhandi passages throughout his performance. He believed that practising gamak is essential to mastering singing.

Khansahib often used the taals Jhoomra and Ektaal, and generally preferred a simple theka (basic tabla strokes that define the taal) from the tabla accompanist. Even though he had been trained in the sarangi, he generally performed khyals and taranas with only a six-stringed tanpura and tabla for accompaniment. Sometimes he had a subdued harmonium accompaniment, but he almost never used the sarangi.

While he could do traditional layakari (rhythmic play), including bol-baant, which he has demonstrated in a few recordings, he generally favored a swara-oriented and alap-dominated style, and his layakari was generally more subtle. His performances had an understated elegance, reverence, restrained passion and an utter lack of showmanship that both moved and awed listeners. According to Kumarprasad Mukhopadhyay's book "The Lost World of Hindustani Music", Bade Ghulam Ali Khan's music was extroverted, exuberant and a crowd-puller, whereas Amir Khan's was an introverted, dignified darbar style. Amir Khansahib believed that poetry was important in khyal compositions, and with his pen name, Sur Rang ("colored in swara"), he has left several compositions.

He believed in competition between the genres of classical music and film and other popular music, and he felt that classical renderings needed to be made more beautiful while remaining faithful to the spirit and grammar of the raga ("बाज़ लोग ऐसे थे के जो खूब्सूरती बनाने के लिये वो राग को ज़रा इधर-उधर कर दिया करते थे, लेकिन मै यह कोशीश करता हूं के ज़्यादा से ज़्यादा राग खूब्सूरत हो लेकिन राग अप्नी जगह राग रहे"). He used to say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (نغمہ وہی نغمہ ہے جو روح سنے اور روح سناہے ; music is that which originates from the heart and touches the soul).

Characteristics of his style include:
 * slow-tempo, leisurely raga development (except with Carnatic ragas, which he typically rendered in medium tempo)
 * improvisation mostly in lower and middle octaves
 * tendency towards serious and expansive ragas
 * emphasis on melody
 * clarity of notes
 * judicious use of pause between improvisations
 * bol alap and sargam using merukhand patterns
 * using sargam in taan-ang
 * using softer gamaks
 * sparing application of murki
 * use of kan swaras (acciaccatura) in all parts of performance
 * controlled use of embellishments to preserve introspective quality
 * rare use of tihai
 * careful enunciation of text of bandish
 * actual bandish as sung may or may not include antara
 * multiple laya jatis in a single taan Khansahib demonstrated this in an interview with the tabla player Chatturlal
 * mixture of taan types (including chhoot, sapaat, bal, sargam and bol-taan) in a single taan
 * use of ruba'idar tarana (considered similar to chhota khyal)

Besides singing in concerts, Amir Khan also sang film songs in ragas, in a purely classical style, most notably for the films Baiju Bawra, Shabaab and Jhanak Jhanak Payal Baaje. This attempt to introduce classical music to the masses through films significantly boosted Khansahib's visibility and popularity. He also sang a ghazal Rahiye Ab Aisi Jagah for a documentary on Ghalib.

Khansahib's disciples include Amarnath, A. Kanan, Ajit Singh Paintal, Akhtar Sadmani, Amarjeet Kaur, Bhimsen Sharma, Gajendra Bakshi, Hridaynath Mangeshkar, Kamal Bose, Kankana Banerjee, Mukund Goswami, Munir Khan, Pradyumna Kumud Mukherjee and Poorabi Mukherjee, Kamal Bandhopadhyay, Shankar Mazumdar, Shankar Lal Mishra, Singh Brothers, Srikant Bakre and Thomas Ross. His style has also influenced many other singers and instrumentalists, including Bhimsen Joshi, Gokulotsavji Maharaj, Mahendra Toke, Prabha Atre, Rashid Khan, Ajoy Chakrabarty, Rasiklal Andharia, Sanhita Nandi, Shanti Sharma, Nikhil Banerjee, Pannalal Ghosh, the Imdadkhani gharana, and Sultan Khan. Although he referred to his style as the Indore Gharana, he was a firm believer of absorbing elements from various gharanas.

Amir Khan was awarded the Sangeet Natak Akademi Award in 1967 and the Padma Bhushan in 1971.

Research in the field of Tarana
Ustad Amir Khan dedicated a large part of his musical career to the study of taranas. In his research, he found that the words used in Tarana come from Persian and Arabic languages. In one of his research articles he explained their meanings as follows:

Tanan Dar Aa - Enter my body.

O Dani - He knows

Tu Dani - You know.

Na Dir Dani - You are the Complete Wisdom.

Tom - I am yours, I belong to you.

Yala - Ya Allah

Yali - Ya Ali

In another interview, he also states the meaning of the following syllables:

Dar – Bheetar, Aandar (inside)

Dara – Andar Aa (get in or come inside)

Dartan – Tanke Aandar (inside the body)

Tanandara – Tanke Aandar Aa (Come inside the body)

Tom – Main Tum Hun (I am you)

Nadirdani – Tu Sabse Adhik Janata Hai (You know more than anyone else)

Tandardani – Tanke Aandarka Jannewala (One who knows what is inside the body)

Personal life
Amir Khan's first marriage was to Zeenat, sister of the sitar player, Vilayat Khan. From this marriage, which eventually failed and ended in separation, he had a daughter, Farida. His second marriage was to Munni Bai, who gave birth to a son, Akram Ahmed. Around 1965, Khansaheb married Raisa Begum, daughter of the thumri singer, Mushtari Begum of Agra. He had expected that Munni Begum would accept the third wife; however, Munni disappeared and it is rumored that she committed suicide. With Raisa he had a son, Haider Amir, later called Shahbaz Khan.

Khansahib died in a car accident in Calcutta on 13 February 1974 aged 61, and was buried at Calcutta's Gobra cemetery.

Movies

 * Baiju Bawra (music director: Naushad)
 * 'Tori Jai Jai Kartar' (raga Puriya Dhanashree; alternate version here)
 * 'Sargam' (raga Darbari)
 * 'Langar Kankariya Ji Na Maro' (raga Todi, with D. V. Paluskar)
 * 'Aaj Gaawat Man Mero Jhoomke' (raga Desi, with D. V. Paluskar)
 * 'Ghanana Ghanana Ghana Garjo Re' (raga Megh)
 * Kshudhita Pashan (music director: Ali Akbar Khan)
 * 'Kaise Kate Rajni' (raga Bageshree, with Protima Banerjee)
 * 'Piya Ke Aavan Ki' (thumri in raga Khamaj)
 * 'Dheemta Dheemta Derena' (tarana in raga Megh)
 * Shabaab (music director: Naushad)
 * 'Daya Kar He Giridhar Gopal' (raga Multani)
 * Jhanak Jhanak Payal Baje (music director: Vasant Desai)
 * Title song 'Jhanak Jhanak Payal Baje' (raga Adana)
 * Goonj Uthi Shehnai (ragamala with Bismillah Khan)
 * Bhatiyar
 * Ramkali
 * Desi
 * Shuddh Sarang
 * Multani
 * Yaman
 * Bageshree
 * Chandrakauns
 * Ragini
 * 'Jogiya Mere Ghar Aaye' (raga Lalit)

78 rpm recordings

 * Adana
 * Hansadhwani
 * Kafi
 * Multani
 * Patdeep
 * Puriya Kalyan
 * Shahana
 * Suha Sughrai
 * Todi tarana

Public and private recordings

 * Abhogi - three versions
 * Adana - longer performance of 'Jhanak Jhanak Payal Baje' title song, one other version
 * Ahir Bhairav - three versions
 * Amirkhani (similar to Vachaspati)
 * Bageshree - six versions
 * Bageshree Kanada - five versions
 * Bahar
 * Bairagi - two versions
 * Barwa
 * Basant Bahar - two versions
 * Bhatiyar - four versions
 * Bhimpalasi - two versions
 * Bihag - three versions
 * Bilaskhani Todi - two versions
 * Bhavkauns
 * Chandni Kedar
 * Chandrakauns
 * Chandramadhu - two versions
 * Charukeshi - two versions
 * Darbari - ten versions
 * Deshkar - four versions
 * Gaud Malhar
 * Gaud Sarang
 * Gujari Todi - four versions
 * Hansadhwani - three versions
 * Harikauns
 * Hem
 * Hem Kalyan
 * Hijaz Bhairav (a.k.a. Basant Mukhari) - five versions
 * Hindol Basant
 * Hindol Kalyan
 * Jaijaiwanti
 * Jansanmohini - five versions
 * Jog - three versions
 * Kafi Kanada
 * Kalavati - six versions
 * Kausi Kanada - four versions
 * Kedar
 * Komal Rishabh Asavari - four versions
 * Lalit - seven versions
 * Madhukauns
 * Malkauns - three versions
 * Maru Kalyan
 * Marwa - three versions
 * Megh - five versions
 * Miya Malhar
 * Multani - two versions
 * Nand - three versions
 * Nat Bhairav - two versions
 * Pancham Malkauns
 * Poorvi
 * Puriya - three versions
 * Puriya Kalyan
 * Rageshree - two versions
 * Ramdasi Malhar - two versions
 * Ramkali - two versions
 * Ram Kalyan (a.k.a. Priya Kalyan or Anarkali)
 * Shahana - three versions
 * Shahana Bahar
 * Shree
 * Shuddh Kalyan - two versions
 * Shuddh Sarang (with drut section in Suha)
 * Suha
 * Suha Sughrai
 * Todi - two versions
 * Yaman
 * Yaman Kalyan - three versions

Awards and recognitions

 * Sangeet Natak Akademi Award in 1967
 * Presidential Award in 1971
 * Padma Bhushan in 1971
 * Swar Vilas from Sur Singar Sansad in 1971

title: Amir Khan (singer)


text:
Prince Hohenlohe

Prince Hohenlohe may refer to:
 * Prince Chlodwig zu Hohenlohe-Schillingsfürst (1819–1901), Imperial Chancellor under William II
 * Frederick Louis, Prince of Hohenlohe-Ingelfingen (1746–1818), commander at Jena

title: Prince Hohenlohe


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Piazzi Smyth (crater)

Piazzi Smyth is a small lunar impact crater in the eastern part of the Mare Imbrium. It was named after Scottish astronomer Charles Piazzi Smyth. This is an isolated feature located about 100 kilometers to the southwest of the Montes Alpes mountain range. To the southeast of this crater is Mons Piton, an isolated mountain that rises to a height of 2.3 km and occupies a diameter of about 25 km.

This crater is a nicely circular feature with a rim and interior that have not been significantly modified by impacts. The inner walls slope smoothly downwards to the small floor about the midpoint, which occupies a diameter of only one-fifth the total diameter of the crater. This formation has no other notable features, and its albedo matches the surrounding lava plain.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Piazzi Smyth.

title: Piazzi Smyth (crater)


text: Category:Sierra Leonean people

title: Category:Sierra Leonean people


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Haddam

Haddam can refer to:

 * People
 * Abdul Halim Khaddam, former foreign minister, vice president and for a few days interim president of Syria

 * Places
 * Haddam, Iran (disambiguation)
 * Haddam, Connecticut, United States
 * Haddam, Kansas, United States

title: Haddam