Lewis Victor Heilbrunn (January 24, 1892 – October 1959) was an influential American biologist.

Heilbrunn was awarded a Guggenheim Fellowship in 1927, and on his return from Europe began teaching
at the University of Pennsylvania, a position he would hold for 30 years.  His Outline of General Physiology (first edition 1937) became a standard foundational text in the field.

Selected works
 The colloid chemistry of protoplasm, Berlin, Gebrüder Borntraeger, 1928
 An outline of general physiology, Philadelphia, W.B. Saunders, 1937 (second edition 1943; third edition 1952)
 Protoplasmatologia; Handbuch der Protoplasmaforschung, Vienna, Springer, 1953
 The dynamics of living protoplasm, New York, Academic Press 1956

External links
 Heilbrunn bio

1892 births
1959 deaths
Scientists from Brooklyn
American biologists
University of Pennsylvania faculty
20th-century biologists

Lewis Victor Heilbrunn


The Symphony in B major "No. 55", K. Anh. 214/45b, was probably written by Wolfgang Amadeus Mozart in early 1768 in Salzburg.

The symphony is scored for two oboes, two horns and strings. In contemporary orchestras, it was also usual to include bassoons and harpsichord if they were available in the orchestra to reinforce the bass line and act as the continuo. The duration is approximately 13 minutes.

The symphony consists of the following movements:

Allegro,
Andante,
Menuetto,
Allegro,

This work was only known to Ludwig Ritter von Köchel as an incipit in the catalogue of Breitkopf & Härtel, and thus it was placed in the Anhang as K. Anh. 214. Alfred Einstein then discovered a set of parts in the Berlin State Library with the title "Synfonia Ex Bb...Del Sigr. cavaliere Amadeo Wolfgango Mozart Maestro di concerto di S.A. á Salisburgo". Wolfgang became the Concertmaster to the Archbishop of Salzburg in November 1769, and was given the title "cavaliere" in July 1770, but as this is a later copy, this information cannot be used for dating purposes. Einstein believed the symphony to date from early 1768 on stylistic grounds; Neal Zaslaw and Gerhard Allroggen believe even earlier dates to also be possible, and Zaslaw dated the symphony cautiously to Salzburg in 1767. Einstein also believed that the symphonies in the catalogue of Breitkopf & Härtel were sent by Leopold Mozart to be published.

The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 45b, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 45b is given the number 55 in this numbering scheme.

References

 Volker Scherliess: Die Sinfonien. In: Silke Leopold (editor): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, .

External links

55
1768 compositions
Compositions in B-flat major
Mozart: spurious and doubtful works

Symphony, K. 45b (Mozart)


Kirti Mandir is a small museum at the birthplace of Mohandas Karamchand Gandhi in the city of Porbandar, Gujarat, India, memorializing him and his wife, Kasturba Gandhi.

The museum displays items used by Gandhi, life size paintings of Kasturba and Gandhiji by Shri Yutt along with some old photographs, and houses a library of books either written by Gandhi or relating to his philosophies. Visitors can also enter Gandhi's ancestral home through the museum. It has been visited by world leaders.

Background
The ancestral house of the Gandhi family, where Mahatma Gandhi was born on 2 October 1869 is just adjacent to the Kirti Mandir. When Gandhi was released for the last time in the year 1944 from the Aga Khan Palace by the British Government, the residential public of Porbandar had decided to construct a memorial on his birth place, which was purchased from the members of the Gandhi family who were living in it. Gandhi had given his written consent in writing, signing the registration papers which are now displayed in Kirti Mandir Complex. The ancestral house now forms a part of the Kirti Mandir complex.

History
The original three-storied house is built like a Haveli, purchased by Gandhi's great grandfather Harjivan Raidas Gandhi in the seventeenth century. The upper stories were added over the years. Gandhi's father Karamchand, uncle, Tulsidas and grandfather Uttamchand lived, who had all been Prime Ministers (Dewan) to the Jethwa Rajput rulers of the princely state of Porbandar, lived there.

The foundation stone was Kirti Mandir was laid in 1947 during Gandhi's lifetime by Darbar Gopaldas Desai. The money to purchase the house and build the museum was donated by Nanjibahi Kalidas Mehta.

The memorial was completed in 1950, by which time Gandhi was dead. Home Minister, Sardar Vallabhbhai Patel inaugurated it on 27 May 1950 and it was given to the Indian government.

It is 79 feet tall, representing the 79 years of Gandhi's life, and includes architectural elements of Hindu, Buddhist, Jain, and Parsi temples, as well as of churches and mosques.

The architect was Prushottambhai Mistry, a resident of Porbandar.

Memorial
There are life-size oil paintings of Mahatma and Kasturba Gandhi side by side in the centre of Kirti Mandir. Because Gandhi did not want to be deified, floral garlands are not used. The words, 'The Truth' and 'Non-violence', symbolizing his life and preachings, are placed near their feet.

On the right side there are two rooms as the memorials of Maganlal Gandhi and Mahadev Desai, and the room on the left-hand side is meant for the exhibition of the museum. These three rooms contain articles of khadibhandar, things of handicraft, the centre is for the sale of books, the office-room, and the reception hall. Kasturba-Mahila Library is situated in the Kirti Mandir.

The Kirti Mandir is the main tourist attraction of the town. Foreign dignitaries and Indian politicians visit Kirti Mandir. The place where Gandhi was born is marked with a swastika for identification.

Gallery

References

Memorials to Mahatma Gandhi
Porbandar
Museums in Gujarat
Gandhi museums
Gujarat in Indian independence movement
Monuments of National Importance in Gujarat

Kirti Mandir, Porbandar


Birendranath Datta (1 March 1935 – 23 October 2023) was an Indian academician, linguist, author, researcher of folklore, singer, and lyricist. During his career, he worked mainly as a professor in a variety of Assam colleges. In 2009, he was awarded the Padma Shri, the fourth highest civilian award, for Literature and Education, and in 2010 he received the Jagaddhatri-Harmohan Das Literary award. Datta was elected as the president of Asom Sahitya Sabha for the 2003 North Lakhimpur Session, and the 2004 Hojai Session.

Early life
Birendra Nath Datta was born on 1 March 1935 in Nagaon, Assam to Kalpanath Datta, a school teacher, and Mandakini Datta. Their original home was in Panera village, near Baihata Chariali.

Datta started his education at Chenikuthi L.P. School in Guwahati and then studied in Goalpara. In 1933, Datta secured ranks among the top 10 in both Matriculation and I.Sc. examinations at Gauhati University. He earned his bachelor's degree at Viswabharati University and his master's degrees at Gauhati University, both in Economics.

Career
In 1957, He started his career as a lecturer at B. Borooah College. In 1964, he joined Pramathesh Barua College at Gauripur in Lower Assam as the founder principal. He worked as the principal in two other colleges as well, Goalpara College and Pandu College.

In 1974, he obtained his PhD degree in Folklore under the supervision of Prafulla Dutta Goswami.

In 1979 he joined Gauhati University as a reader and later became the head of the Department of Folklore Research. After leaving Gauhati University in 1995 he joined Tezpur University as a professor in the department of Traditional Culture and Art Forms.

Literary career
Datta also wrote a number of scholarly books. One of his books, Cultural Contours of Northeast India, was published by Oxford University Press. For his book Sankar Madhavar Manisha Aru Asomar Sanaskritic Uttaradhikar, he won the 12th Jagaddhatri-Harmohan Das Literary award.

Music career
Datta was also a singer and lyricist. Songs written by him include "Monor Khobar", "Bahudin Bokulor Gondh Poa Naai", "Meli Dilo Man", "Rohimalaa Uronir Maajere", "Sou Sirish Daalat", "Tomaar Kaarane Jaau", "Aahinak Kone Anane", "Mou Daaponar", "Sita Banabaash", "Bogoli Bogaa Phot Di Ja", "Jilir Maate", "O Ghan Chirikaa", "Barashaa Tomaar", "Aakaashe Botaahe", and "Aakaash Aamaak Akani Aakaash Diya" He also sang songs for an Assamese language film, Smrtir Parash, which was directed by Brojen Barua.

Death
Birendra Nath Datta died in Guwahati on 23 October 2023, at the age of 88.

Awards
 Padma Shri (2009)
 Jagaddhatri-Harmohan Das Literary award (2010)

References

1935 births
2023 deaths
20th-century Indian educational theorists
People from Nagaon district
Recipients of the Padma Shri in literature & education
Indian folklorists
Gauhati University alumni
Visva-Bharati University alumni
Academic staff of Gauhati University
Asom Sahitya Sabha Presidents
Poets from Assam
Musicians from Assam
Assamese-language poets
20th-century Indian poets

Birendra Nath Datta


The art of paper cutting () in China may date back to the 2nd century CE, when paper was invented by Cai Lun, a court official of the Eastern Han dynasty.

Chinese paper cutting is a treasured traditional Chinese art dating back to when paper was developed. Paper cutting became popular as a way of decorating doors and windows as paper became more accessible. These elaborate cutting designs are created with scissors or artwork knives and can include a variety of shapes, such as symbols and animals. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as "window flowers" ()  or "window paper-cuts". These cut-paper decorations are often glued to the exterior of windows, so the light from the inside shines through the negative space of the cutout. Usually, the artworks are made of red paper, as red is associated with festivities and luck in Chinese culture, but other colours are also used. Normally cut-paper artwork is used on festivals such as Chinese New Year, weddings and childbirth, as cut-paper artwork is considered to symbolize luck and happiness.

Origin

Chinese paper-cutting originated from the practice of worship of both ancestors and gods, a traditional part of Chinese culture dating back roughly two millennia. According to archaeological records, paper-cutting originates from the 6th century, although some believe that its history could be traced back as far as the Warring States period (around 3 BC), long before paper was invented. At that time, people used other thin materials, like leaves, silver foil, silk and even leather, to carve negative-space patterns. Later, when paper was invented, people realized that this material was easy to cut, store and discard, and paper became the major material for this type of artwork.

Tang dynasty
Although paper was officially invented during the Han dynasty, techniques for cutting and carving thin materials such as gold foil, silk, and leaves were developed for decoration prior to the invention of paper. During the Tang dynasty, paper cutting developed rapidly and became popular in China, which typically combined paper cutting with painting to illustrate spiritual ideas. Paper-cutting as an artform matured during the Tang dynasty, where it became considered not only a type of handicraft, but also a type of artwork, as ideas and concepts were expressed through the pattern cut into the paper.

Song dynasty
During the Song dynasty, Chinese papercutting developed into a more advanced technique, with trained artisans creating more complex artworks. The technique was used to decorate ceramics and make shadow puppets. By carving patterns onto oily cardboard and scraping patterns onto the fabric, blue-printed fabric came about.

Ming and Qing dynasties
In the Ming and Qing dynasty, paper-cutting reached a developmental peak. Folk paper-cutting spread to a wider range of people, and expressed an abundance of artistic expression. Paper-cutting was used to decorate doors, windows and walls, to show happiness and celebrate festivals. During the Ming and Qing dynasties, papercutting became a more popular Chinese art form. There are a variety of uses, including lantern and fan ornaments, needlework patterns, and window flowers. The imperial family also utilized papercutting, with the Forbidden City decorated with papercuts during the emperor's wedding ceremony. Its continual appeal reflects the Chinese people's creativity, with designs expressing cultural ideas and values.

During the Ming and Qing dynasties (1368–1912), this artistry witnessed its most prosperous period. For over a thousand years, people (mainly women) created cut-paper artworks as a leisure activity, creating different types of paper-cutting and passing this traditional craft onto their children, resulting in the artform becoming more popular. Paper-cutting is still practiced as an artform in modern-day China as a result.

As a material, paper mildews and rots easily. In the southeast of China, where it typically rains in May and June, this causes paper to mildew and rot especially quickly; as a result, people in the southeast typically did not engage in paper-cutting art, making it hard to find cut-paper artworks from previous centuries. In contrast, the weather in the northwest of China is usually dry, making it possible to find cut-paper art made in the Northern dynasties in Turpan, Sinkiang province.

Classification
Paper-cutting is one of the oldest and the most popular folk arts in China. It can be geographically divided into a southern and a northern style. The southern style, represented by works from Yangzhou in Jiangsu Province and Yueqing in Zhejiang Province, features ingenious and beautiful designs, exquisite carving and interesting shapes. The northern style, mainly from Yuxian and Fengning in Hebei Province, and best represented by works from northern Shaanxi, features exaggerated shapes, vigorousness, vivid depictions and diverse patterns.

Cut-paper art designed for windows is usually cut in a freeform manner, except for the flower pattern found in the corner. The theme of cut-paper window decorations varies widely, the most popular of which are based on the stories of traditional Chinese opera. As cut-paper window decorations are typically bought by farmers, the content of their designs usually describes farming, spinning, fishing and poultry farming.

Characteristics

Chinese papercutting is an art form from the Chinese cultural legacy that displays a wide range of designs, from simple basic designs consisting of a single image to symmetrical, which are created by folding the paper into proportionate portions before cutting, so that when unfolded, it forms a symmetrical design, and are usually folded into an even number, such as twice or four times. Typically, the designs are freeform and depict scenes from daily life.

Red paper is the most prevalent because it is connected with happiness and good fortune in Chinese culture. Thus, it is popularly used to celebrate important events such as weddings and festivals. Paper cutting is consistently evolving and has developed beyond China, with artists developing new techniques and materials to keep this art form alive.

Uses

Decorative use
Chinese papercutting is mostly used for decoration nowadays. Many Chinese people decorate their windows with paper cuttings to express enthusiasm for the new season or new year. Paper cuttings are also used in homes to decorate walls, doors, lamps, and lanterns and are often presented as gifts. Furthermore, paper cuttings pasted near entrances symbolize good luck. This traditional habit festively decorates houses and special occasions. Today, paper cuttings are chiefly decorative. They liven up walls, windows, doors, columns, mirrors, lamps and lanterns in homes and are also used on presents or are given as gifts themselves. Paper cut-outs pasted on or near entrances are supposed to bring good luck. Paper cuttings used to be used as patterns, especially for embroidery and lacquer work. Cut-paper artworks are used by young people as a decoration for their kits and books.

Paper-cutting was and is mostly used as a decoration, or an aesthetic way to express people's hopes, gratitude and other emotions. The vivid designs depicting on paper-cuttings have different meanings. Some express wishes for a harvest or a wealthy life, shown through the imagery of a golden harvest, thriving domestic animals and plants, as well as good fortunes, a carp jumping over a dragon gate (a traditional Chinese story, indicating a leap towards a better life), polecats, lions, kylins (a mythical Chinese creature), jade rabbits (an animal taken from Chinese legend), pomegranates and peonies. Other designs feature legendary figures, or scenes from traditional myths or stories, such as designs of the Yellow Emperor, the meeting of Cowherd() and Weaver Girl(), and the 24 stories of filial piety. Designs may also show people's gratitude towards life, such as paper-cuttings of a doll with two twisted hairs on each side of the head, or fish swimming through lotus plants.

Symbolic use
The most popular papercutting Chinese characters are the characters 福 (meaning 'lucky') and  (meaning 'double happiness'). The character 福 is a symbol of good luck and is often displayed during Chinese New Year celebrations to bring fortune and prosperity for the coming year. The character 囍 is commonly used for weddings, symbolizes double happiness and the hope for a fulfilling marriage. These papercuts are important Chinese cultural symbols and are cherished for their aesthetic beauty.

Spiritual use
Chinese paper cuttings' designs are often used to express hopes, appreciation, and other spiritual emotions. Common Chinese papercutting motifs include representations of harvests, animals, and mythical stories such as the carp jumping over the dragon gate. Chinese people express cultural heritage, values, and beliefs through the art of papercutting, making it a significant element of their spiritual expression.

Window paper-cuttings have a close relationship with the beginning of spring, and it is traditional to decorate windows with paper-cuttings to welcome spring. In many areas of China, especially in the north, paper-cuttings are pasted to windows to express happiness for the new season, a tradition that has been practiced since the Song and Yuan dynasties.

Educational use
Chinese papercutting has educational uses that teach children about traditional Chinese art and culture and the beauty of papercutting while learning Chinese papercutting history. Practicing paper cuts also helps children enhance their fine motor skills, hand-eye coordination, cutting and creativity.

Construction methods
There are two methods of manufacturing Chinese paper-cuttings: one method uses scissors, the other a sharp knife. In the scissor method, several pieces of paper – up to eight – are fastened together, before the motif is then cut with sharp, pointed scissors. Chinese papercutting involves cutting intricate, exquisite designs from a single or multiple layers of paper with scissors or artwork knives. It is passed down through generations because both procedures demand a great deal of talent and skills. The construction methods of papercutting involve several steps, including the selection of paper materials, specifically types and colors depending on the desired effect. The selected paper is then folded multiple times, and the pattern is drawn onto it. Next, cut the design out carefully, either with scissors or an art knife. Finally, the paper cutout is opened up to reveal the exquisite design, which can be further enhanced with additional details such as coloring and shading. The construction of papercutting requires patience, skill, and carefulness, as well as the creativity and artistry of artists.

Scissor construction method
The scissor construction approach involves taping multiple sheets of paper together and then cutting off the designated shapes using sharp scissors. This cutting of multiple paper layers at the same time enables a more consistent pattern.

Knife construction method
On the other hand, in the artwork knife construction approach, the design is carved out with a sharp knife, commonly following a pattern, but expert artisans can alternatively cut varied shapes freely. In the knife method, several layers of paper are placed on a relatively soft foundation, consisting of a mixture of tallow and ashes. Following a pattern, the motifs are then cut into the paper with a sharp knife, which is usually held vertically. Skilled artisans can cut different designs freehand, without following a pattern.

See also
Chinese art
Chinese folk art
Chinese paper folding
Kirigami
Leaf carving
Papercutting
Scherenschnitte
Wycinanki
Papel picado

References

Bibliography
Zhang Shuxian. Chinese Folk Paper-cutting[J]. China Today (Chinese version), 2005,(05)
Zhuang Zhiyun. Folk Paper-cutting[J]. Chuang Zuo Ping Tan, 2006,(02)

External links

Paper art
Paper art
Intangible Cultural Heritage of Humanity
Paper art
Papermaking in China

Chinese paper cutting


Jidenna Theodore Mobisson (born May 4, 1985), known mononymously as Jidenna, is an American rapper and singer. In 2015, Jidenna released two singles, "Classic Man" (featuring Roman GianArthur and Kendrick Lamar) and "Yoga" (with Janelle Monáe), promoting Monáe's label Wondaland Records' compilation EP, The Eephus (2015) with Epic Records. His debut album, The Chief, was released on February 17, 2017, and peaked at number 38 on the Billboard 200.

Early life and education
Jidenna Theodore Mobisson was born on May 4, 1985, in Wisconsin Rapids, Wisconsin,  to Tama Mobisson, an accountant, and Oliver Mobisson, a Nigerian Igbo academic. Mobisson grew up partially in Nigeria, where his father was working as a professor of computer science at Enugu State University. When Mobisson was six years old, the family moved back to the United States due to a failed kidnapping attempt. In 1995, the family moved to Norwood, Massachusetts, and then to Milton in 2000. His father died in 2010.

In high school he became a co-founder of the rap group Black Spadez, and began producing, arranging and writing. Mobisson released his first album with Black Spadez as their final project at Milton Academy, where Mobisson graduated in 2003. In 2008, after graduating with a Bachelor of Arts degree in Comparative Studies in Race and Ethnicity from Stanford University, he pursued his music career while working full-time as a teacher, moving between Los Angeles, Oakland, Brooklyn and Atlanta, before signing a deal with recording artist Janelle Monáe's Wondaland Records.

Career

Jidenna is signed to Janelle Monáe's Wondaland Records label and distributed through Epic Records. He has collaborated with a number of artists that are signed to this label; including Roman GianArthur, St. Beauty, Deep Cotton and Janelle Monáe herself, and then began recording a five-song compilation of its label's first extended play (EP), titled The Eephus. In February 2015, Jidenna released his first official single, called "Classic Man" featuring GianArthur. The song was in heavy rotation throughout the United States, and debuted at number 49 on Billboard Hot R&B/Hip-Hop Airplay chart.

On March 31, 2015, the second single from the EP was released – "Yoga" by Janelle Monáe and Jidenna. His song "Classic Man" was nominated for Best Rap/Sung Collaboration at the 58th Grammy Awards. In June of the same year, Jidenna performed the song with Monáe at the BET Awards. Jidenna also received an award for best new artist at the 2015 Soul Train Music Awards in November.

Jidenna is a founding member of Fear & Fancy, a social club that began in California in 2006. The society, reminiscent of the social aid and pleasure clubs of New Orleans, is an international collective of entrepreneurs, activists, educators, scientists, and artists who host soirees, dinner parties, and demonstrations.

In June 2016 he released the single "Chief Don't Run". On February 17, 2017, Jidenna released The Chief, his first studio album. The album cover pays homage to Boz Scaggs' Middle Man album. The lead singles "Sufi Woman" and "Tribe" were released on July 26, 2019, and will appear on his second studio album 85 to Africa.

In 2019 Jidenna released his second album, 85 to Africa.

Style
Jidenna stated that his major influences include KRS-One and Big Daddy Kane, as well as the Nigerian Highlife music genre.

Over the years, the singer developed his personal style in college, where he learned about the power of fashion from his psychology professor Philip Zimbardo. However, he would not adopt his signature dandy style until the death of his father in 2010. Jidenna describes his look as "heavily inspired by the Harlem Renaissance with hints of traditional West African design," and a "marriage of European and African aesthetics." Jidenna currently resides in East Flatbush, Brooklyn.

Appearances in popular media

In September 2016, Jidenna was featured in an episode of the Netflix original series Luke Cage. Season 1 episode 5, "Just to Get a Rep", opens with Jidenna performing "Long Live the Chief" at the fictitious Harlem's Paradise. He performed "Long Live the Chief" and "Little Bit More" with a full band on The Daily Show with Trevor Noah in October 2016. Jidenna guest starred on Insecure in the episodes "Thirsty as Fuck," and "Shady as Fuck," which aired in November 2016.

A chopped and screwed version of "Classic Man" featured in the Academy Award winning 2016 film Moonlight.

Discography

Wondaland Presents: The Eephus (2015)
The Chief (2017)
Boomerang – EP (2017)
 85 to Africa (2019)
 ME YOU & GOD (2023)

Awards and nominations

Grammy Awards

|-
| 2016
| "Classic Man" (featuring Roman GianArthur)
| Best Rap/Sung Collaboration
| won
|-

|}

ASFA Awards

|-
| 2016
| Crossing Boarders with Fashion
| Continental (Africa)
|
|-

|}

Soul Train Music Awards

|-
| rowspan="4"|2015
| Himself
| Best New Artist
|
|-
| rowspan="2"|"Classic Man" (featuring Roman GianArthur)
| Song of the Year
|
|-
| Video of the Year
|
|-
| "Yoga" (with Janelle Monáe)
| Best Dance Performance
|
|-
|}

References

External links

Epic Records artists
Living people
Stanford University alumni
1985 births
Milton Academy alumni
Singers from Wisconsin
People from Wisconsin Rapids, Wisconsin
American people of Igbo descent
American contemporary R&B singers
21st-century American singers
21st-century American male singers
Pop rappers
American male pop singers

Jidenna


Mohammed Rafi (, , December 24, 1924 – July 31, 1980) was an Indian playback singer who primarily sang in Hindi for the Bollywood industry. In a career of over 40 years, Rafi sang more than 26,000 songs in the national languages of India and sometimes in other languages.

Career
In 1944, Rafi moved to Mumbai. Rafi appeared in two movies. In 1945, he appeared on the screen for the song "Tera Jalwa Jis Ne Dekha" in the film Laila Majnu. He sang a number of songs as part of the chorus, including with K. L. Saigal from the movie Shahjahan (1946). Rafi sang in Mehboob Khan's Anmol Ghadi (1946). He had a duet with Noor Jehan in the 1947 film Jugnu, "Yahan Badla Wafa Ka". After partition, Rafi decided to stay in India. Noor Jehan migrated to Pakistan and made a pair with playback singer Ahmed Rushdi.

In 1949, Rafi was given solo songs by music directors such as Naushad, Shyam Sunder, and Husnalal Bhagatram.

In his early career, Rafi associated with many contemporary music directors, most notably Naushad Ali. In the late 1950s and 1960s, he worked with other composers of the era such as O. P. Nayyar, Shankar Jaikishan, S.D. Burman and Roshan.

In the early 1970s, Rafi recorded fewer songs. He made a comeback as a leading singer in 1974.

Death
On Thursday, July 31, 1980, Rafi died at 10:50 p.m., following a massive heart attack. He had  four sons (Saeed Rafi, Khalid Rafi, Hamid Rafi, Shahid Rafi), three daughters (Parveen, Nasreen, Yasmin) and 18 grandchildren.

Other websites

Indian singers
1921 births

Mohammed Rafi


Kinetics is the branch of mechanics which deals with the motion of bodies by considering the causes of motions.
In this branch we study that how the body moves and why?
It helps us to find the agent which produces motion in the body.

Mechanics

Kinetics


The Neoavanguardia ("New Vanguard") was an avant-garde Italian literary movement oriented towards radical forms of experimentation with language. Some of its most prominent members include Nanni Balestrini, Edoardo Sanguineti, Umberto Eco, Antonio Porta, Elio Pagliarani, Alfredo Giuliani, Giorgio Manganelli, Luigi Malerba, Germano Lombardi, Francesco Leonetti, Alberto Gozzi, Massimo Ferretti, Franco Lucentini, Amelia Rosselli, Sebastiano Vassalli, Patrizia Vicinelli and Lello Voce.

The movement originated as Gruppo '63, during a meeting of contributors to the literary magazine Il Verri in a hotel at Solunto, near Palermo. A second meeting would be held three years later in La Spezia. Neoavanguardia poets and writers were mostly inspired by modernist English language writers such as Ezra Pound and TS Eliot and the Italian poet and iconoclast Emilio Villa. They were opposed to the crepuscolarismo (intimistic view) which had characterized Italian poetry in the 20th century, and, above all, to what they defined as "neo-capitalistic" language.

The appearance of the movement generated fierce polemics in the Italian literary world. Neovanguardia artists were accused of being "irrational formalists", "dangerous Marxist revolutionaries", "late Futurists" and the creators of a "renewed Arcadia".

Art historian and curator Achille Bonito Oliva was initially part of the group and published two collections of poems (Made in Mater, 1967, and in Fiction Poems, 1968) before turning to art criticism.

See also
Avant-garde
Italian literature
Modernist literature

Bibliography
 Eugenio Gazzola, Parole sui muri: L'estate delle avanguardie a Fiumalbo, Diabasis, Reggio Emilia, 2003.
 VV. AA., Il Gruppo 63 quarant'anni dopo, Edizioni Pendragon, Bologna, 2005.
 Giorgio Celli, I  sette peccati capitali degli animali,  Mursia, Milan, 2006.
 Eugenio Gazzola, Al miglior mugnaio: Adriano Spatola e i poeti del Mulino di Bazzano, Diabasis, Reggio Emilia, 2008.
 Umberto Eco, Costruire il nemico e altri scritti occasionali, Bompiani, Milan, 2011.

 Nanni Balestrini (ed.), Gruppo 63: L'Antologia Critica e Teoria, Bompiani, Milano, 2013.

Italian literary movements
20th-century Italian literature

Neoavanguardia


Memcached (pronounced variously mem-cash-dee or mem-cashed) is a general-purpose distributed memory-caching system. It is often used to speed up dynamic database-driven websites by caching data and objects in RAM to reduce the number of times an external data source (such as a database or API) must be read. Memcached is free and open-source software, licensed under the Revised BSD license. Memcached runs on Unix-like operating systems (Linux and macOS) and on Microsoft Windows. It depends on the libevent library.

Memcached's APIs provide a very large hash table distributed across multiple machines. When the table is full, subsequent inserts cause older data to be purged in least recently used (LRU) order. Applications using Memcached typically layer requests and additions into RAM before falling back on a slower backing store, such as a database.

Memcached has no internal mechanism to track misses which may happen. However, some third party utilities provide this functionality.

Memcached was first developed by Brad Fitzpatrick for his website LiveJournal, on May 22, 2003. It was originally written in Perl, then later rewritten in C by Anatoly Vorobey, then employed by LiveJournal. Memcached is now used by many other systems, including YouTube, Reddit, Facebook, Pinterest, Twitter, Wikipedia, and Method Studios. Google App Engine, Google Cloud Platform, Microsoft Azure, IBM Bluemix and Amazon Web Services also offer a Memcached service through an API.

Software architecture

The system uses a client–server architecture. The servers maintain a key–value associative array; the clients populate this array and query it by key. Keys are up to 250 bytes long and values can be at most 1 megabyte in size.

Clients use client-side libraries to contact the servers which, by default, expose their service at port 11211. Both TCP and UDP are supported. Each client knows all servers; the servers do not communicate with each other. If a client wishes to set or read the value corresponding to a certain key, the client's library first computes a hash of the key to determine which server to use. This gives a simple form of sharding and scalable shared-nothing architecture across the servers. The server computes a second hash of the key to determine where to store or read the corresponding value. The servers keep the values in RAM; if a server runs out of RAM, it discards the oldest values. Therefore, clients must treat Memcached as a transitory cache; they cannot assume that data stored in Memcached is still there when they need it. Other databases, such as MemcacheDB, Couchbase Server, provide persistent storage while maintaining Memcached protocol compatibility.

If all client libraries use the same hashing algorithm to determine servers, then clients can read each other's cached data.

A typical deployment has several servers and many clients. However, it is possible to use Memcached on a single computer, acting simultaneously as client and server. The size of its hash table is often very large. It is limited to available memory across all the servers in the cluster of servers in a data center. Where high-volume, wide-audience Web publishing requires it, this may stretch to many gigabytes. Memcached can be equally valuable for situations where either the number of requests for content is high, or the cost of generating a particular piece of content is high.

Security
Most deployments of Memcached are within trusted networks where clients may freely connect to any server. However, sometimes Memcached is deployed in untrusted networks or where administrators want to exercise control over the clients that are connecting. For this purpose Memcached can be compiled with optional SASL authentication support. The SASL support requires the binary protocol.

A presentation at BlackHat USA 2010 revealed that a number of large public websites had left Memcached open to inspection, analysis, retrieval, and modification of data.

Even within a trusted organisation, the flat trust model of memcached may have security implications. For efficient simplicity, all Memcached operations are treated equally. Clients with a valid need for access to low-security entries within the cache gain access to all entries within the cache, even when these are higher-security and that client has no justifiable need for them. If the cache key can be either predicted, guessed or found by exhaustive searching, its cache entry may be retrieved.

Some attempt to isolate setting and reading data may be made in situations such as high volume web publishing. A farm of outward-facing content servers have read access to memcached containing published pages or page components, but no write access. Where new content is published (and is not yet in memcached), a request is instead sent to content generation servers that are not publicly accessible to create the content unit and add it to memcached. The content server then retries to retrieve it and serve it outwards.

Used as a DDoS attack vector
In February 2018, CloudFlare reported that misconfigured memcached servers were used to launch DDoS attacks in large scale. The memcached protocol over UDP has a huge amplification factor, of more than 51000. Victims of the DDoS attacks include GitHub, which was flooded with 1.35 Tbit/s peak incoming traffic.

This issue was mitigated in Memcached version 1.5.6, which disabled UDP protocol by default.

Example code
Note that all functions described on this page are pseudocode only. Memcached calls and programming languages may vary based on the API used.

Converting database or object creation queries to use Memcached is simple. Typically, when using straight database queries, example code would be as follows:

 function get_foo(int userid)
     data = db_select("SELECT * FROM users WHERE userid = ?", userid)
     return data
After conversion to Memcached, the same call might look like the following
 function get_foo(int userid)
     /* first try the cache */
     data = memcached_fetch("userrow:" + userid)
     if not data
         /* not found : request database */
         data = db_select("SELECT * FROM users WHERE userid = ?", userid)
         /* then store in cache until next get */
         memcached_add("userrow:" + userid, data)
     end

     return data
The client would first check whether a Memcached value with the unique key "userrow:userid" exists, where userid is some number. If the result does not exist, it would select from the database as usual, and set the unique key using the Memcached API add function call.

However, if only this API call were modified, the server would end up fetching incorrect data following any database update actions: the Memcached "view" of the data would become out of date. Therefore, in addition to creating an "add" call, an update call would also be needed using the Memcached set function.
 function update_foo(int userid, string dbUpdateString)
     /* first update database */
     result = db_execute(dbUpdateString)
     if result
         /* database update successful : fetch data to be stored in cache */
         data = db_select("SELECT * FROM users WHERE userid = ?", userid)
         /* the previous line could also look like data = createDataFromDBString(dbUpdateString) */
         /* then store in cache until next get */
         memcached_set("userrow:" + userid, data)
This call would update the currently cached data to match the new data in the database, assuming the database query succeeds. An alternative approach would be to invalidate the cache with the Memcached delete function, so that subsequent fetches result in a cache miss. Similar action would need to be taken when database records were deleted, to maintain either a correct or incomplete cache.

An alternate cache-invalidation strategy is to store a random number in an agreed-upon cache entry and to incorporate this number into all keys that are used to store a particular kind of entry. To invalidate all such entries at once, change the random number. Existing entries (which were stored using the old number) will no longer be referenced and so will eventually expire or be recycled.

  function store_xyz_entry(int key, string value)
      /* Retrieve the random number - use zero if none exists yet.
      *  The key-name used here is arbitrary. */
      seed = memcached_fetch(":xyz_seed:")
      if not seed
          seed = 0
      /* Build the key used to store the entry and store it.
      *  The key-name used here is also arbitrary. Notice that the "seed" and the user's "key"
      *  are stored as separate parts of the constructed hashKey string: ":xyz_data:(seed):(key)."
      *  This is not mandatory, but is recommended. */
      string hashKey = sprintf(":xyz_data:%d:%d", seed, key)
      memcached_set(hashKey, value)

  /* "fetch_entry," not shown, follows identical logic to the above. */

  function invalidate_xyz_cache()
      existing_seed = memcached_fetch(":xyz_seed:")
      /* Coin a different random seed */
      do
          seed = rand()
      until seed != existing_seed
      /* Now store it in the agreed-upon place. All future requests will use this number.
      *  Therefore, all existing entries become un-referenced and will eventually expire. */
      memcached_set(":xyz_seed:", seed)

Usage
MySQL - directly supports the Memcached API as of version 5.6.
Oracle Coherence - directly supports the Memcached API as of version 12.1.3.
Infinispan - directly supports Memcached.

See also

 Amazon ElastiCache
 Aerospike
Couchbase Server
Redis
Mnesia
MemcacheDB
Hazelcast
Cassandra
Tarantool
 Ehcache
Infinispan

References

External links

Free memory management software
Cross-platform software
Structured storage
2003 software
Database caching
Key-value databases
Software using the BSD license

Memcached


A continent pass (usually called something like Europe (air)pass, Pacific (air)pass or American (air)pass) is a product and service of an airline alliance. For a relatively low price the traveler can travel freely using all intra-continental flights the airline alliance offers on that continent. There are restrictions on the number of miles, flights or stops the traveler can make. Travelers can benefit from the extensive networks airline alliances offer and can earn reward points for each mile they fly by participating in the alliance's frequent flyer program.

See also
 e-ticket
 InterRail - a similar pass for European railways
 Open-jaw ticket
 Round-the-world ticket

References

Airline tickets

Continent pass


Karomama (also rendered Karamama, Karomat, Karoma, Karoama, Kamama) is a name for several women from Ancient Egypt most dating to the Twenty-second Dynasty of Egypt:

 Karomama A, wife of Shoshenq I, mother of Osorkon I
 Karomama (queen) B, King's Wife, King's Daughter, Mistress of Upper and Lower Egypt. Daughter of Takelot I, wife of Osorkon II
 Karomama C, King's Daughter of His Body, Daughter of Osorkon II and Karomama B, who may be the same as Karomama Meritmut
 Karomama Meritmut, Karomama G Merytmut I, God's Wife of Amun, Lady of the Two Lands, Adoratrix. Possibly identical with Karomama C
 Karomama II (Karomama D Merytmut II), Great Royal Wife, Mistress of Upper and Lower Egypt. Daughter of Nimlot C and Tentsepeh. Wife of Takelot II
 Karomama E, Chantress of Amun, daughter of Takelot II

Ancient Egyptian given names

Karomama


Marcus Charles Illions (c. 1871–1949) was a master carver of wooden carousel horses and other figures at Coney Island, Brooklyn, New York City in the early 20th century. The New York Times referred to him as "the Michelangelo of carousel carvers".

Illions was born in 1870 or 1871 in Lithuania, becoming a builder of circus wagons before emigrating to England, where he carved carousel horses. An alternative account in an obituary states that he was actually born in England. He came to America in 1888 where he carved for Charles I. D. Looff and William F. Mangels in Coney Island before starting his own company, M. C. Illions and Sons Carousell Works, in 1909. His five children were all active in the business from very early ages, in roles that included carver and commercial artist. At one time in the early 1900s, ten carousels carved by Illions operated in Coney Island.

Illions was an exponent of what has become known as the Coney Island style of carousel figure carving, which "is characterized by flamboyant horses, bedecked with jewels and gold and silver leaf". By 1909, Illions' company produced "a new line of horses with explosive, flying manes and powerful, straining bodies, decked out with latticework harnesses and other virtuoso feats of carving".

A machine known as Feltman's Carousel is considered by one source to have been Illions' best work. Though no longer intact, 24 of its horses were incorporated into the Flushing Meadows Carousel in 1964 and are still in use today.

The Great Depression of the 1930s decreased demand for amusement products and Illions experienced financial problems.  He died broke in 1949. His legacy includes extant carousels across the United States which are listed here:

During the restoration of the B&B Carousell for its 2013 reopening on the Coney Island Boardwalk, it was discovered that one of the horses is in fact by Marcus Illions.  All of the other horses were executed in the early 1920s by another well-known Coney Island carver, Charles Carmel.  The Illions horse was one of a set of four executed in 1909 to commemorate the centennial of the birth of Abraham Lincoln, and features colorful rhinestones and a relief of Lincoln's profile.  This is the only one of the set that can be ridden by the public today, as the other three are all in private collections.  The most recent prior owner of the B&B had used the Illions horse to replace one of the Carmel horses that an earlier owner had removed from the carousel.

References

Amusement ride manufacturers
Carousel designers
People from Coney Island
Emigrants from the Russian Empire to the United Kingdom
1870s births
1949 deaths
British emigrants to the United States

Marcus Illions