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guitar, M83-esque electronics, and soft rock drums and piano. Songs The opening title track "Mind of Mine" involves Malik's voice warbling plaintively through a fog of effects, with his voice drenched in reverb and backed by a piano, and it has some Bollywood music elements. The track seamlessly transitions into the lead single "Pillowtalk". "Pillowtalk" is a downtempo electronic R&B slow jam, leaning towards alternative R&B. "It's You" is a slow R&B intimate ballad that showcases Malik's falsetto as he sings the song's title during the chorus. "Befour" was described by Rolling Stone as "smooth R&B" and NME described it

Mind of Mine

as an "R&B ballad". Music Times said it combines R&B, synthpop, and soul, and AXS said it uses "tribal percussion and ringing synths". AXS calls it an "experimental and assertive slice of R&B" with "personal lyrics addressing his past and detractors all at once." New Statesman says it is "tightly-constructed and slickly-produced" and includes one of Malik's vocal hallmarks, a "long and impossibly high note." Billboard states that "Zayn channels his inner Justin Timberlake" with the song. "She" is a self-described "party tune" that is "not as intense lyrically" as some of the other cuts. Herald Sun noted its funky

Mind of Mine

groove recalls Timberlake's Justified and Michael Jackson's Off the Wall. It incorporates 1980s synth sounds, and an experimental hip hop outro that blends into the next track, the R&B track "Drunk". "Drunk" incorporates elements from 1990s R&B music. "Flower" is an experimental interlude, in the form of a spiritual, Pakistani ghazal that Malik sings in Urdu, his father's native language, backed by Ho's folk-style acoustic guitar playing and atmospheric sounds resembling a thick mist. Qawwali is a form of devotional Sufi music associated with Islamic culture, and Malik used Indian techniques for the track, including vocal elisions, warbling, and "deeply

Mind of Mine

centered but controlled fervor". "Flower" was influenced by Indian Music, music his father used to play in his home. "Rear View" features electronic loops and warbled synths stacked atop of each other, as Malik's vocals echo throughout the chorus. "Wrong" incorporates elements from early 2000s R&B music. "Fool for You" is a Beatles-influenced pop ballad, which Malik says was influenced by John Lennon in particular. It is a retro piano ballad, with some electronic elements. "Truth" is an experimental neo-soul track with dub elements, and is mellow and low-key. "Lucozade" is a chorus-less song, lacking a hook, and has Malik

Mind of Mine

singing a set of "stream-of consciousness" verses, in a manner similar to hip hop. Malik sings the verses continuously, almost without pause, like a train of thought, before ending abruptly. The song also utilises 1980s synth sounds. "Blue" uses a classical piece, Johann Sebastian Bach's "Prelude No. 1 in C major", as background music. "Do Something Good" is a reggae song, reminiscent of Bob Marley. "Like I Would" was described by Billboard as a "dancefloor-ready R&B jam" and The Independent described it as "electro-R&B". It incorporates a funky hook, and disco grooves. Lyrics The lyrics explore a number of themes,

Mind of Mine

including bliss, desire, frustration, love, lust, and sadness. The songs explore different soundscapes and subject matter, but each song serves a purpose, to establish an aspect of Malik's identity. Rather than being autobiographical, the lyrics focus on moments, sensations and experiences. There is an emphasis on the complexity of human relationships, with love and sexuality being a particular thematic focus for many songs. For love songs, roughly 60% are about falling in love, while roughly 40% are about falling out of love, with the lyrics depicting the subject in a complex "grey" manner. Sexual songs such as "Pillowtalk", "Wrong" and

Mind of Mine

"TiO" forego innuendo in favour of outright sexual boldness. The title track "Mind of Mine" acts as "a fly-in introduction and a warm welcome to Malik’s mind." "It's You" has self-reflective lyrics, expressing somewhat bitter sentiment, touching on "a love that is pain", and was inspired by the breakup of a relationship. "Befour" addresses both his past and his detractors at the same time, including his past as a working class teenager in Bradford (which the music video is based on), his former band, and the scrutiny of his detractors. "She" features a female protagonist that has not loved or

Mind of Mine

been loved "in the right way". "Drunk" highlights the album's recurring theme of "emotionally labile intoxicated love", which is a common theme in Islamic poetry. The Urdu lyrics of "Flower" is romantic, it translates to "Until the flower of this love has blossomed, this heart won't be at peace, give me your heart". "Rear View" appears to reference his former band but viewing "himself as part of the problem" as he is "tired of looking at himself in the metaphorical rearview" and expresses some doubt. "Wrong" is about "looking in the wrong place for love". "Fool for You" depicts Malik

Mind of Mine

as someone "destined to return to the same woman forever, regardless of how tainted their love becomes." The confessional lyrics of "Truth" appears to reference Malik's former band. "Lucozade" has Malik singing a set of "stream-of consciousness" verses, which include references to the Lucozade energy drink and appear to involve a "Rimbaudian state of poetic derangement" of the senses in order to "tap into" the subconscious. "TiO" uses metaphorical lyrics, such as metaphorical walls built around one's heart. Release and promotion In his first solo on-camera interview with Zane Lowe for Apple Music's Beats 1, Malik revealed Mind of Mine

Mind of Mine

as the album's title. The album, which released on 25 March 2016, includes 18 songs whittled down from 46 tracks that Malik wrote. The album's cover-art was revealed on The Tonight Show Starring Jimmy Fallon, on 17 February 2016, where he also premiered the album track "It's You". The cover art, which uses a photo of Malik as a child, drew comparisons to Lil Wayne's album Tha Carter III, which he addressed stating "my ideas have been with me a long time." The album was made available for pre-order on 25 February 2016, along with the digital release of the

Mind of Mine

promotional single "It's You" and its music video – the latter as an Apple Music exclusive. The same day saw the release of "Pillowtalk (Lil Wayne Remix)" featuring American rapper Lil Wayne; it is a hip hop remix, with rapping by Lil Wayne along with rapping and rap-singing by Malik. The album was released on 25 March 2016, one year since his departure from One Direction. Malik's live preview of several songs from the album set a Periscope record, becoming the biggest Periscope stream by a musician. On 24 March 2016, Malik did his second solo performance on The Tonight

Mind of Mine

Show Starring Jimmy Fallon. On 25 March 2016, he performed on the Honda Stage at the iHeartRadio Theater in New York City. The release party and show was streamed across iHeartMedia contemporary hit radio and rhythmic contemporary radio stations and websites, including iHeartRadio's Honda Stage website. Additionally, Malik graced the covers of several publications including Billboard, Complex and NME, and spoke about the album's recording process, his goals as a solo artist, as well as his artistic frustrations and limitations being in One Direction. He was scheduled to perform at Wembley Stadium in London, England for Capital FM's Summertime Ball

Mind of Mine

on 11 June 2016 and then headline a sold-out concert at the Autism Rocks Arena in Dubai on 7 October 2016, but cancelled on both occasions due to suffering from anxiety. Singles The album's lead single, "Pillowtalk" was released along with its accompanying music video on 29 January 2016, with favourable reviews from music critics. The single debuted at number one on the UK Singles Chart and the US Billboard Hot 100; on the latter, it became the 25th song to debut at number one, making him the first UK artist to debut at number one on the Hot 100

Mind of Mine

with a first charted single. It also debuted at number one in a number of other countries, including Australia, Canada and Ireland. The album's second single, "Like I Would" was first released as a promotional single on 10 March 2016. It was listed as one of the best songs of the week by Digital Spy, The Fader, and USA Today. It was serviced to US contemporary hit radio on 24 May 2016. "Wrong" impacted US rhythmic contemporary radio stations on 7 June 2016 as the third single. The track features guest vocals from American R&B singer Kehlani. It later impacted

Mind of Mine

US urban contemporary radio on 28 June 2016. Promotional singles "It's You" was released as the album's promotional single on 25 February 2016, along with its music video. In the United Kingdom, it debuted at number 48 on the Singles Chart, number 9 on the R&B Chart, and number 2 on the Asian Chart. In the United States, driven primarily by sales, "It's You" debuted at number 59 on the Billboard Hot 100 and number 19 on the Digital Songs chart. It also received favourable reviews from music critics, both for the song — particularly Malik's vocals — and its

Mind of Mine

music video. Stuff said "It's You" is "up there with some of the best R'n'B releases in the last year." The song was also praised by Neil Tennant of the Pet Shop Boys. According to him, "It's the most beautiful record." The album's second promotional single, "Befour" was released on 17 March 2016. The track was previously used as background music for Zayn Malik's The Fader Cover Star video in November 2015. It was listed as one of the best songs of the week by Entertainment Weekly, NPR, and Rolling Stone. It debuted at number 85 on the UK Singles

Mind of Mine

Chart and number 16 on the UK R&B Chart. Its accompanying music video was released on 25 March 2016. The video was shot in Manchester's Miles Platting district, and dramatises what Malik's working class teenage life was like in Northern England, including scenes at a boxing club (Malik used to do boxing before his music career), restaurant/pool hall, barber shop, parking lot, and fish and chips shop. It reached number 28 on the UK TV Airplay Chart. As of July 2016, the video has received more than 30 million views on YouTube. Critical reception Mind of Mine has received generally

Mind of Mine

positive reviews from music critics. Metacritic indicates "generally positive reviews", with a score of 69 out of 100, based on 21 reviews. Alicia Adejobi of International Business Times rated it 5 out of 5 stars, saying that it demonstrates Malik's strong vocals tackling different moods, slick production, infectious beats, sexually heightened lyrics and "an insight into the singer's soul", concluding that "Malik's foray into r'n'b feels natural". Glenn Gamboa rated it an A grade in Newsday and 4 out of 4 stars in AM New York, saying that "Malik’s brand of R&B bridges the gap" between Frank Ocean, The Weeknd,

Mind of Mine

and Justin Timberlake, but "is clearly Malik’s creation, one that may take him to unexpected new heights" as he "heads off in his own soulful direction." Troy Smith of Cleveland rated the album a B+ grade, stating that Malik has carved "out his own niche, which he accomplishes thanks to cohesive production and a concise vision". Elijah Watson of Pigeons & Planes and Complex said it is "more than" a Timberlake-like "rebrand", but rather "the project displays a Malik that has always been present, but is finally getting the proper introduction he deserves." He praised the album's experimentation, stating that,

Mind of Mine

like Ocean and Miguel, "Malik is pushing into new territory both vocally and sonically." Dan Pardalis of Complex said that, lyrically, it is Malik's "ability to vividly depict the reality of human relationships that asserts his move away from the kids' table." Andrew Milne of musicOMH called it a "genre-blending bedroom confessional" and a "Soulful, sexy and captivating" album that shows "experimentation, honesty, passion" and "Malik's versatility and urge to explore". Sam Richards of NME referred to it as "sexy, credible pop-R&B", comparable to a previous Malay production, Ocean's Channel Orange, while pointing to the "dubby neo-soul" of "Truth" as

Mind of Mine

an example of Zayn developing his own personality, concluding that the album "is sumptuously produced and perfectly sung, with just enough intrigue." Magdalen Jenne of PopMatters said "underneath the wrapping this record is a brilliant, pulsing, living thing." Andy Gill of The Independent praised the "sublime R&B beats" and particularly Malik's vocals as "by far the album’s most potent aspect, bringing grace and wonder even to the more routine material, and hoisting the better songs to classic status", while viewing the Qawwali-style "Flower" as being culturally relevant in light of recent events, stating that "the brief track’s beauty" has the

Mind of Mine

potential to open people's "hearts to the broader aesthetic possibilities of cultures outside their usual experience." Michael Cuby of Flavorwire described its "album-as-complete-work" form as "impressive" and praised Malik's "impeccably versatile voice" across "delightfully varied" songs, the blend of Miguel's sexuality and Ocean's introspection with his own "clear pop ambition", and the unique "Flower" which "only he could execute properly". Edi Adegbola of Magnate Magazine called it "an accomplished and well-produced piece of slick, provocative, and surprisingly mature alternative R&B", while pointing to the cultural relevance of "Flower" in light of recent events, noting that "inter-cultural unity and solidarity like

Mind of Mine

this are more relevant than ever." Mesfin Fekadu of Spartanburg Herald-Journal expressed surprise that Malik was a former One Direction member because of how different Mind of Mine sounds, stating that it shows "Zayn has some true star quality" and that there "isn't a bad tune" in the album. Lewis Corner of Digital Spy rated it 4 out of 5 stars, stating that "he has genuinely put together a slick debut album that deserves success on its own merit". Richard He of Noisey and Vice gave it a positive review, stating that "Zayn's brand of alternative R&B is carefully curated

Mind of Mine

to exude maximum cool," that it is "a more consistent listen than Bieber's Purpose, or even Beauty Behind the Madness," and that the "songs are masterfully crafted" with each element "in perfect balance - lyrics, melody, production." Desire Thompson of Vibe gave it a positive review, calling it a "pleasurable debut album" where "he's mastered the art of sexual slow jams" and stating that the musical chemistry between Malik and Ho "shines through". Lucas Villa of AXS rated it 4.5 out of 5, calling it "raw, real and refreshingly cool." Alex Dansereau of Sputnikmusic described it as a "great" album

Mind of Mine

where Malik finds "his own niche inside an already crowded lane" as he "strikes a delicate balance" between "alt-R&B moodiness" and "pop earworms." Maeve McDermott of USA Today rated the album 3 out of 4 stars, praising Malik's "sublime voice" and stating that it "succeeds as a catchy, sexy and fully modern take on contemporary R&B". Bill Brotherton of Boston Herald called it "an ambitious, mature, modern R&B" album and praised Malik's vocals as "smoky, sensual" and "expressive". Christie Goodwin of Milwaukee Journal Sentinel said that "Malik's falsetto has a subtle side not prevalent among Timberlake wannabes," and that "Truth"

Mind of Mine

and "Flower" insinuate "Mind"-expanding possibilities. Ian Drew of Us Weekly rated it 3.5 out of 4 stars, saying it "leaves One Direction in his dust". David Sackllah of Consequence of Sound compared it to Timberlake's Justified, and thought Zayn "falls short." Alan Raible of ABC News rated it 3.5 out of 5 stars, saying it is "much more compelling than anything his former band ever issued." Music Times gave it a positive review, with Jon Niles saying it reminds him of early Weeknd mixtapes and has "lasting appeal", while Ryan Middleton said it "is an impressive solo effort." Tim Sendra

Mind of Mine

of AllMusic wrote that "the sound of the album is rich and layered with synths, rubbery basslines, and occasional electric guitars" and that "he digs deeply into slow, sensual ballads and basically buries himself there like it was a big, fluffy blanket perfect for a midnight rendezvous" while also commenting that "while the songs are mostly strong and it all sounds very slick and state of the art, the highlight is Zayn's voice" and that "it's a treat to hear him on his own, with nobody else hogging the spotlight", ending the review by calling the album "an impressive debut".

Mind of Mine

Leah Greenblatt of Entertainment Weekly rated the album a B+, noting that many tracks "conspicuously echo Ocean’s Californiacool ennui" while adding that "he doesn’t sound particularly interested in pushing pop’s boundaries or dissecting the vagaries of his own fame". Michael Cragg of The Guardian opined that "the sound he’s chosen – clipped beats, hazy production flourishes, oodles of falsetto as a shortcut for emotional honesty – is basically 2016 writ large may seem bandwagon-jumping, but there’s more than enough good stuff here to suggest it’s been created with love rather than with an eye on ticking boxes". Some reviews were

Mind of Mine

less positive, with Brittany Spanos of Rolling Stone praising Malik's range and vocals, the immersive production, and unique experimental tracks such as the neo-soul "Truth" and hypnotic intermission "Flower", but criticizing the album's overtly sexual lyrics. Brad Nelsen of Pitchfork, however was less complimentary about the album, noting that it "lacked compelling hooks, a unifying mood, or a clear narrative". Alexa Camp of Slant gave it a mixed review, praising Malik's vocals and the music production, but criticizing the lyrics as "pleasure-obsessed, vaguely misogynist, and largely disposable." Andrew Unterberger, writing for Spin, noted that the album "never sounds less than

Mind of Mine

great", but that Malik doesn't "give us much reason to care about that Mind of His" and that the songs are "lacking in narrative". Year-end lists It was featured on multiple magazines and critics year end list of best record/album. DigitalSpy listed it at number 2 on its list, while Newsday ranked it at number 16. Commercial performance In the United Kingdom, Mind of Mine debuted at number one on the UK Albums Chart, with 22,250 copies sold, replacing Adele's 25 at the summit. The album set a UK streaming record, as the highest-streamed debut for a British male act.

Mind of Mine

In its second week, it fell to number nine on the albums chart, selling 7,733 copies, and fell to number three on the album streaming chart. Overseas, the album entered at number one in New Zealand and Australia, making him the 26th English male solo artist to top the Australian Albums Chart. In France, it debuted at number three on the albums chart and number one on the albums download chart. The record also opened at number one on the Canadian Albums Chart with first week sales of 11,000 copies in the country. As a result, Zayn became the first

Mind of Mine

artist since Yoan to enter at Canada's summit with a debut album. In the United States, Mind of Mine debuted at number one on the Billboard 200, shifting 157,000 album-equivalent units (including album sales, equivalent track sales, and equivalent streams), including 112,000 pure album sales and 40.8 million streams, one of the highest weekly streaming figures for an album. Malik became the first British male solo artist to debut at number one with his first album, the first British male solo artist to reach number one with his first album since George Michael's Faith in 1988 (which debuted at number

Mind of Mine

41 and took nine weeks to reach number one), the first UK act to debut at number one with their first album since his former group One Direction's Up All Night (on the chart dated 31 March 2012), and the first UK act to debut at number one with their first album on both the Billboard 200 and the UK Albums Chart since Susan Boyle's I Dreamed a Dream in 2009. Malik is also one of a number of artists that have achieved number one both as part of a group and as a solo act, the first British male

Mind of Mine

artist to debut at number one in both the UK and US, and the third artist to debut at number one on both the Billboard 200 and Billboard Hot 100 with debut entries on each chart (along with Lauryn Hill and Clay Aiken). The album release propelled Malik to number one on the Billboard Artist 100 chart, replacing Justin Bieber at the summit, and surpassing One Direction's number-two peak on the chart. Mind of Mine subsequently sold 44,000 units the following week, and 31,000 units the week after, hence selling a total of 232,000 copies in the first three weeks.Mind

Mind of Mine

of Mine set an iTunes record, becoming the first debut album to top the daily iTunes charts in more than 70 countries, having topped the daily iTunes charts of 84 countries within 24 hours of release. Mind of Mine'' also set a Twitter record, as the first album to top the Billboard Twitter Top Tracks chart for three straight weeks with three consecutive songs: "It's You", "Like I Would" and "Befour". Track listing Credits adapted from the album's liner notes. Notes "Blue" contains an interpolation of "Prelude in C Major", composed by Johann Sebastian Bach. signifies an additional producer. signifies

Mind of Mine

a vocal producer. signifies a co-producer. Personnel Vocals: Zayn Malik, Kehlani (track 9) Producers: xyz (tracks 1, 9, 10, 12, 13, 17, 18, 20), Malay (tracks 3, 4, 7, 8, 11, 12, 15, 16, 19), Levi Lennox (tracks 2, 21), MakeYouKnowLove (tracks 5, 14), Alan Sampson (tracks 5, 6) Audio mixing: Anthony Kilhoffer (tracks 1, 9, 10, 13, 18), Serban Ghenea (tracks 2, 5, 14, 17), Manny Marroquin (tracks 3, 4, 7, 8, 11, 12, 16), Malay (track 15) Audio engineering: John Hanes (tracks 2, 6, 14, 17) Audio recording: Henrique Andrade (tracks 1, 9, 17, 18), Daniel Zaidenstadt (tracks

Mind of Mine

1, 5, 7, 9, 10, 14, 15), Zeke Mishanec (tracks 2, 10), Malay (tracks 4, 11, 12, 15, 16), David Phelan (track 6), Salvador Waviest (tracks 9, 17, 18), Paul "Ping Pong" Norris (track 10), James Emerson (track 10), Daniel Moyler (track 10), Sean Kellett (track 10), Jason Goldstein (track 10), Steve Mandel (track 10), Liam Nolan (track 12), Keyboards and programming: James Griffin (tracks 1, 9, 10, 13, 17, 18, 20), Salvador Waviest (tracks 1, 9, 10, 13, 17, 18, 20), Chase Wells (tracks 1, 9, 13, 17, 18), Kevin Rains (tracks 1, 9, 10, 13, 17, 18, 20),

Mind of Mine

James Emerson (tracks 1, 9, 10, 13, 17, 18, 20), Malay (tracks 3, 4, 7, 8, 11, 12, 15, 16, 19), Alan Sampson (track 6) Guitar: Salvador Waviest (tracks 1, 9, 10, 13, 17, 18, 20), Chase Wells (tracks 1, 9, 10, 13, 17, 18, 20), James Emerson (tracks 1, 9, 10, 13, 17, 18, 20), Joe Garrett (track 2), Malay (tracks 3, 4, 7, 8, 11, 12, 15, 16, 19), Alan Sampson (track 6) Bass guitar: Malay (tracks 3, 4, 7, 8, 11, 12, 15, 16, 19), Michael Hannides (track 5), Alan Sampson (tracks 5, 6), Al Carty (track

Mind of Mine

10) Drums: Michael Hannides (tracks 5, 14), Alan Sampson (tracks 5, 6), Questlove (track 10) Additional vocals: Michael Hannides (tracks 2, 6), Anthony Hannides (track 2), MakeYouKnowLove (track 5), Elliott Skinner (track 15) Piano: Levi Lennox (track 2), Michael Hannides (track 5), Alan Sampson (tracks 5, 6), Brian London (track 10), Conductor: Chuck Palmer (track 3) String arrangement and orchestration: Dave Eggar (track 3), Chuck Palmer (track 3), Steve Wright (track 10) Violin: Katie Kresek, Rachel Golub (track 3), Reiad Chibah, Sarah Button (track 10) Cello: Dave Eggar (track 3), Louise Dearsley (track 10) Triangle: Malay (track 3) Charts Weekly

Mind of Mine

El Cementerio de Cristóbal Colón, also called La Necrópolis de Cristóbal Colón, was founded in 1876 in the Vedado neighbourhood of Havana, Cuba to replace the Espada Cemetery in the Barrio de San Lázaro. Named for Christopher Columbus, the cemetery is noted for its many elaborately sculpted memorials. It is estimated the cemetery has more than 500 major mausoleums. Before the Espada Cemetery and the Colon Cemetery were built, interments took place in crypts at the various churches throughout Havana, for example, at the Havana Cathedral or the Iglesia del Espíritu Santo in Havana Vieja. Overview The Colon Cemetery is

Colon Cemetery, Havana

one of the most important cemeteries in the world and is generally held to be one of the most important in Latin America in historical and architectural terms, second only to La Recoleta in Buenos Aires. Prior to the opening of the Colon Cemetery, Havana's dead were laid to rest in the crypts of local churches and then, beginning in 1806, at Havana's newly opened Espada Cemetery located in the Barrio de San Lazaro and near the cove of Juan Guillen close to the San Lázaro Leper Hospital and the Casa de Beneficencia. When locals realized there would be a

Colon Cemetery, Havana

need for a larger space for their community for the deceased (due to a cholera outbreak in 1868), planning began for the Colon Cemetery. The Colón is a Catholic cemetery and has elaborate monuments, tombs and statues by 19th and 20th century artists. Plots were assigned according to social class, and soon became a means for patrician families to display their wealth and power with ever more elaborate tombs and mausoleums. The north main entrance is marked by a gateway decorated with biblical reliefs and topped by a marble sculpture by José Vilalta Saavedra: Faith, Hope and Charity. Some of

Colon Cemetery, Havana

the most important and elaborate tombs lie between the main gate and the Capilla Central. The Monumento a los Bomberos (Firemen’s Monument) built by Spanish sculptor Agustín Querol and architect Julio M Zapata, commemorates the twenty eight firemen who died when a hardware shop in La Habana Vieja caught fire in 1890 In front of the main entrance, at the axes of the principal avenues Avenida Cristobal Colón, Obispo Espada and Obispo Fray Jacinto, stands the Central Chapel modelled on Il Duomo in Florence is the octagonal Capilla Central (central chapel), the Capilla del Amor (Chapel of Love), built by

Colon Cemetery, Havana

Juan Pedro Baró for his wife Catalina Laza. On every side rectangular streets lead geometrically to the cemetery’s 50,000 hectares. The area of the cemetery is defined by rank and social status of the dead with distinct areas: priests, soldiers, brotherhoods, the wealthy, the poor, infants, victims of epidemics, pagans and the condemned. The best preserved and grandest tombs stand on or near the central avenues and their axes. With more than 800,000 graves and 1 million interments, space in the Colon Cemetery is currently at a premium and as such after three years remains are removed from their tombs,

Colon Cemetery, Havana

boxed and placed in a storage building. Yet for all its elegance and grandeur the Colon Cemetery conceals as much as it displays. Empty tombs and desecrated family chapels disfigure the stately march of Cuban family memorials even in the most prominent of the avenues, and away from the central cross-streets are in ruin. Many of these are the tombs of exiled families, whose problems with caring for their dead have been complicated by residency outside of Cuba since the Revolution of 1959. History María Argelia Vizcaino writes: "The first stone was placed on October 30, 1871 and before its

Colon Cemetery, Havana

extension completed in 1934, it had a capacity of 504,458.22 square meters. Rectangular in shape as a Roman-Byzantine-style Roman camp, with sidewalks, streets and listed roads, facilitating access to the visitor, (which in republican times was provided with a free map). Enrique Martínez y Martínez tells us in «Cuba Arquitectura y Urbanismo»: “It was the most remarkable religious construction that was made in the city during the nineteenth century”. The square located on the central street between the chapel and the huge doorway was called Christopher Columbus, because it was planned to erect a monument to the Discoverer next to

Colon Cemetery, Havana

the remains, which ironically never happened of the Cathedral of Havana, being the first bust erected throughout the continent (1828) and the only one that exists in the whole world with a beard. So the cemetery dedicated to the great Admiral, full of famous sculptures lacks one by which he was given his name." Architecture The Cementerio Colón measures 620 by 800 meters (122.5 acres). Designed by the Galician architect Calixto Arellano de Loira y Cardoso, a graduate of Madrid’s Royal Academy of Arts of San Fernando, became the Colón’s first resident when he died and before his work was

Colon Cemetery, Havana

completed. It was built between 1871 and 1886, on former farm land. Laid out in a grid similar to El Vedado by numbered and lettered streets it becomes an urban microcosm of the city. The cemetery is laid out parallel to the last stretch of the Almendares river and against the grid of El Vedado. It is on the north axis, thus its main streets are on the four cardinal points of the compass. Symbolized by a Greek cross, it represents the four directions of the earth and the spread of the gospel to all directions as well as the

Colon Cemetery, Havana

four platonic elements. We find Greek crosses against a yellow background along the perimeter fence enclosing the cemetery, as well as part of the design diagram of the cemetery, which employs several Greek crosses at different scales thus forming an architectural tapestry. The main avenues, Avenida Cristobal Colón, Obispo Espada and Obispo Fray Jacinto, at six hundred by eight hundred meters, forms the first cross at the scale of the city (red cross-areal photo). Interments The Colon Cemetery has a monument to the firefighters who lost their lives in the great fire of May 17, 1890. As baseball is a

Colon Cemetery, Havana

leading sport in Cuba, the cemetery has two monuments to baseball players from the Cuban League. The first was erected in 1942 and the second in 1951 for members of the Cuban Baseball Hall of Fame. In February 1898, the recovered bodies of sailors who died on the United States Navy battleship Maine were interred in the Colon Cemetery. In December 1899 the bodies were disinterred and brought back to the United States for burial at Arlington National Cemetery. Also buried here are three British Commonwealth servicemen who are commemorated by the Commonwealth War Graves Commission; a Canadian Army officer

Colon Cemetery, Havana

of World War I, and a Royal Engineers officer and Royal Canadian Navy seaman of World War II. The remains of the casualties are located in the mausoleum of the Anglo-American Welfare Association, with the names inscribed on the central memorial which also forms the entrance to the underground ossuary. Notable interments Beatriz Allende (1943–1977), Chilean socialist politician, revolutionary and surgeon Santiago Álvarez (1919–1998), filmmaker Manuel Arteaga y Betancourt (1879–1963), Roman Catholic Cardinal Alberto Azoy (?–1952), baseball manager Beatriz Azurduy Palacios (1952–2003), filmmaker Hubert de Blanck (1856–1932), composer William Lee Brent (1931–2006), Black Panther Party member José Raúl Capablanca (1888–1942),

Colon Cemetery, Havana

world chess champion Federico Capdevila (1845–1898), officer of the Spanish army who in 1871 defended Cuban students of medicine in court Alejo Carpentier (1904–1980), writer and musicologist Julián Castillo (1880–1948), baseball player Juan Chabás (1910–1954), author Eduardo Chibás (1907–1951), politician Ibrahim Ferrer (1927–2005), singer Candelaria Figueredo (1852–1914), patriot in the Cuban struggle for independence from Spain Carlos Finlay (1833–1915), physician and researcher José Miguel Gómez (1858–1921), president of Cuba Máximo Gómez (1836–1905), Dominican military hero Rubén González (1919–2003), pianist Nicolás Guillén (1902–1989), poet Nicolás Guillén Landrián (1938–2003), filmmaker and painter Tomás Gutiérrez Alea (1928–1996), filmmaker Harrison E. Havens (1837–1916), United

Colon Cemetery, Havana

States Congressman Alberto Korda (1928–2001), photographer Pío Leyva (1917–2006), singer José Lezama Lima (1910–1976), Cuban writer and poet Dulce María Loynaz (1902–1997), poet, novelist Dolf Luque (1890–1957), Major League Baseball starting pitcher Armando Marsans (1887–1960), Major League Baseball outfielder Rubén Martínez Villena (1899–1934), Cuban writer and revolutionary leader Mary McCarthy Gomez Cueto (1900–2009), Havana socialite, musician, impresario, and Roman Catholic philanthropist Angel D'Meza (1877-1954), Cuban League Baseball Player William Alexander Morgan (1928–1961), American adventurer, Grave Memorial 6392190elayo Cuervo Pelayo Cuervo Navarro Presidential Palace Attack, Havana Jaime Lucas Ortega y Alamino, (1936–2019), Roman Catholic Cardinal Fernando Ortiz (1881–1969), ethnomusicologist German Pinelli

Colon Cemetery, Havana

Greatest Hits Vol. 2 is the second compilation album by American country music singer Tom T. Hall released by Mercury in 1975. It reached #12 in the US country charts and was certified Gold by the RIAA. Track listing All tracks written by Tom T. Hall Side 1 "Country Is" - 2:09 "I Love" – 2:06 "The Little Lady Preacher" - 2:53 "Sneaky Snake" – 1:57 "I Like Beer" 2:52 "Ravishing Ruby" 2:28 Side 2 "(Old Dogs, Children and) Watermelon Wine" – 4:09 "Deal" – 2:30 "Who's Gonna Feed Them Hogs" – 2:35 "That Song Is Driving Me Crazy" –

Greatest Hits Vol. 2 (Tom T. Hall album)

Below the Deadline is a 1929 American silent crime film directed by J.P. McGowan and starring Frank Leigh, Barbara Worth and Arthur Rankin. Cast Frank Leigh as Beau Nash Barbara Worth as Claire Byron Arthur Rankin as Jimmy Byron Walter Merrill as Donald Cornwall J.P. McGowan as Taggart Mike Donlin as Sandy Virginia Sale as Mother Biblow Lou Gory as Stella Bill Patton as Johnston Tiny Ward as Tubby Charles H. Hickman as Police Captain Fred Walton as Festenberg References Bibliography Michael R. Pitts. Poverty Row Studios, 1929-1940: An Illustrated History of 55 Independent Film Companies, with a Filmography for

Below the Deadline (1929 film)

Eight Ball is a 1992 Australian film directed by Ray Argall. Plot A young architect, Charlie, meets Russell, who has just got out of prison. Production It was financed by the FFC and Film Victoria and was shot from 13 May to 28 June 1991. Argall says making the film was unsatisfactory: I spent too much time and put too much energy into making everybody else happy and doing the right thing by everybody else instead of doing the right thing by myself. There's a point where you need to actually focus on what is there. There were many elements

Eight Ball (film)

of the storytelling that I could have focused on and developed, rather than just dropping and replacing them with something new, and it may have helped. The romance between the main character and his girlfriend - there was a great desire on the part of quite a few of the people who were financing it, to develop this and to make it a strong element. It's not a real strength of mine, and I did all that, but at the expense of other elements that were probably more in tune with the story that I originally had in mind. I

Eight Ball (film)

James "Jimmy" Lee Wall (1863 – June 12, 1927) was an American actor and singer, best known as a comedian and minstrel. Wall was born in Toronto, Canada, to English parents. Raised in Minneapolis, Minnesota, he first performed in blackface in a school fundraiser. At age 17, he had his first paid performance in Minneapolis. Soon after, he left to begin his career in acting and singing. Career Wall worked as an entertainer for the next 46 years. He was an actor, singer, blackface comedian, and vaudeville entertainer. He performed throughout the United States, but especially in the American South.

James Wall (comedian)

He performed with Lew Dockstader, George Primrose, Al G. Field, and for the Gus Hill and George Evans Minstrel company. Wall formed a partnership with Dan Quinlan named the Quinlan and Wall Imperial Minstrels, which performed in all of the Southern states. Considered one of the best minstrels in the United States, Wall wrote his own songs and composed his own music. In 1927, Wall lived in Saint Louis, Missouri with a relative. In May 1927, he traveled to Lexington, Kentucky, to play the horse races. Wall committed suicide in a Lexington hotel by shooting himself in the head. Wall

James Wall (comedian)

Alfred James Luke (9 March 1871 – 11 September 1920) was a politician in Queensland, Australia. He was a Member of the Queensland Legislative Assembly. Political life Alfred Luke was a member of the Rosalie Shire Council and its chairman from 1907-1910. Alfred Luke represented the electoral district of Aubigny in the Queensland Legislative Assembly from 27 April 1912 to 22 May 1915. He was elected in the 1912 Queensland state election. He stood for re-election in the 1915 Queensland state election but was defeated by Arthur Edward Moore. Luke died in 1920 and was buried in Drayton and Toowoomba

Alfred James Luke

Morris William Travers, FRS (24 January 1872 – 25 August 1961) was an English chemist who worked with Sir William Ramsay in the discovery of xenon, neon and krypton. His work on several of the rare gases earned him the name Rare gas Travers in scientific circles. He was the founding director of the Indian Institute of Science. Early life Travers was born in Kensington, London, the son of William Travers MD, FRCS (1838-1906), an early pioneer of aseptic surgical techniques. His mother was Anne Pocock. Travers went to school at Ramsgate, Woking and Blundell's School. Career He then went

Morris Travers

to University College, where he began to work with Sir William Ramsay. Travers helped Ramsay to determine the properties of the newly discovered gases argon and helium. They also heated minerals and meteorites in the search for further gases, but found none. Then in 1898 they obtained a large quantity of liquid air and subjected it to fractional distillation. Spectral analysis of the least volatile fraction revealed the presence of krypton. They examined the argon fraction for a constituent of lower boiling point, and discovered neon. Finally xenon, occurring as an even less volatile companion to krypton, was identified spectroscopically.

Morris Travers

He knew the entire research story and wrote the biography of Sir William Ramsay in 1956 "A life of Sir William Ramsay, K.C.B., F.R.S." In 1904 he became a professor at University College. In May 1904 he was selected a Fellow of the Royal Society. In 1901-1902 Ramsay had been asked to advise the Indian government on the founding of a science institute and the institute was established in Bangalore with the help of the Government of Mysore and JN Tata. Ramsay suggested Travers as a possible director for this institute and in 1906, Travers was appointed as the director

Morris Travers

of the new Indian Institute of Science. The aim was to build the institute along the lines of the Imperial College of Science and Technology but Travers had conflicts with the Tata family especially in the interpretation of clauses in JN Tata's will. The institute was started in June 1911 with four departments: General, Organic, and Applied Chemistry and Electrical Engineering. He returned to Britain at the outbreak of World War I and directed the manufacture of glass at Duroglass Limited. In 1920 he started a company with F W Clark called Travers and Clark Ltd. which was involved with

Morris Travers

high-temperature furnaces and fuel technology, including the gasification of coal. In 1927 he went back to Bristol as Honorary Professor in Applied Chemistry. Travers continued his researches in cryogenics and made the first accurate temperature measurements of liquid gases. He also helped to build several experimental liquid air plants in Europe. He died in Stroud, Gloucestershire. Publications The following is a partial list of publications: 1893. The preparation of acetylene from calcium carbide. Proc. Chem. Soc. p. 15. 1894. Metallic derivatives of acetylene. I. Mercuric acetylide. Trans. Chem. Soc. p. 264. 1895. (With W. Ramsay and J. Norman Collie) Helium,

Morris Travers

a constituent of certain minerals. Trans. Chem. Soc. p. 684. 1896-1897. Some experiments on helium. Proc. Roy. Soc. 60,449. 1898. The origin of the gases evolved on heating mineral substances, meteorites, etc. Proc. Roy. Soc. 64, 130. 1898. (With W. Ramsay) n a new constituent of atmospheric air [Krypton]. Proc. Roy. Soc. 63,405. 1901. The liquefaction of hydrogen. Phil. Mag. (6), 1,41 1. 1915. (With N. M. Gupta and R. C. Ray.) Some compounds of boron, hydrogen and oxygen. London: H. K. Lewis & Co. Ltd. 1918. On the firing of glass pots. Trans. Soc. Glass Tech. 2, 170. 1928.

Morris Travers

The Puente de San Martín () is a medieval bridge across the river Tagus in Toledo, Spain. The Puente de San Martín features five arches, with the largest in the middle having a span of 40 metres. Only very few bridges in the world had reached that mark until then. History The bridge was constructed in the late 14th century by archbishop Pedro Tenorio to provide access to the old town from the west, complementing the older Puente de Alcántara linking to the east. Both sides of the bridge were heavily fortified with towers, the more recent dating from the

Puente de San Martín (Toledo)

16th century. Legend A legend about the bridge is that Ildefonsus, the Metropolitan Bishop of Toledo, asked to be present at the inauguration of the bridge. When the architect was viewing the bridge the day before the bridge's inauguration he was horrified to notice that he had made a perilous miscalculation- the bridge would collapse once its supports were removed. He went home and told his wife that the bridge would collapse, with him on it and that he would be disgraced. That night while he slept his wife secretly made her way to the bridge and started a fire

Puente de San Martín (Toledo)

to ensure it would burn down. Her husband was saved from disgrace and the bridge was rebuilt without the original structural miscalculations. See also Other very large medieval bridges Puente del Diablo (Martorell) (37.3 m span) Ponte della Maddalena (37.8 m span) Nyons Bridge (40.53 m span) Pont du Diable (Céret) (45.45 m span) Castelvecchio Bridge (48.7 m span) Pont Grand (Tournon-sur-Rhône) (49.2 m span) Pont de Vieille-Brioude (54.2 m span) Trezzo sull'Adda Bridge (72 m span) References External links San Martin's Bridge (Puente de San Martín) Category:Pedestrian bridges in Spain San Martin San Martin San Martin Category:Bridges in Toledo,

Puente de San Martín (Toledo)

In astronomy, superluminal motion is the apparently faster-than-light motion seen in some radio galaxies, BL Lac objects, quasars, blazars and recently also in some galactic sources called microquasars. Bursts of energy moving out along the relativistic jets emitted from these objects can have a proper motion that appears greater than the speed of light. All of these sources are thought to contain a black hole, responsible for the ejection of mass at high velocities. Light echoes can also produce apparent superluminal motion. Explanation This phenomenon is caused by the jets traveling very near the speed of light towards the observer.

Superluminal motion

The angle is not necessarily very small with the line-of-sight as is commonly asserted. Because the high-velocity jets are emitting light at every point of their path, the light they emit does not approach the observer much more quickly than the jet itself. This causes the light emitted over hundreds of years of the jet's travel to not have hundreds of light-years of distance between its front end (the earliest light emitted) and its back end (the latest light emitted); the complete "light-train" thus arrives at the observer over a much smaller time period (ten or twenty years), giving the

Superluminal motion

illusion of faster-than-light travel. This explanation depends on the jet making a sufficiently narrow angle with the observer's line-of-sight to explain the degree of superluminal motion seen in a particular case. Superluminal motion is often seen in two opposing jets, one moving away and one toward Earth. If Doppler shifts are observed in both sources, the velocity and the distance can be determined independently of other observations. Some contrary evidence As early as 1983, at the "superluminal workshop" held at Jodrell Bank Observatory, referring to the seven then-known superluminal jets, Schilizzi ... presented maps of arc-second resolution [showing the large-scale

Superluminal motion

outer jets] ... which ... have revealed outer double structure in all but one (3C 273) of the known superluminal sources. An embarrassment is that the average projected size [on the sky] of the outer structure is no smaller than that of the normal radio-source population. In other words, the jets are evidently not, on average, close to our line-of-sight. (Their apparent length would appear much shorter if they were.) In 1993, Thomson et al. suggested that the (outer) jet of the quasar 3C 273 is nearly collinear to our line-of-sight. Superluminal motion of up to ~9.6c has been observed

Superluminal motion

along the (inner) jet of this quasar. Superluminal motion of up to 6c has been observed in the inner parts of the jet of M87. To explain this in terms of the "narrow-angle" model, the jet must be no more than 19° from our line-of-sight. But evidence suggests that the jet is in fact at about 43° to our line-of-sight. The same group of scientists later revised that finding and argue in favour of a superluminal bulk movement in which the jet is embedded. Suggestions of turbulence and/or "wide cones" in the inner parts of the jets have been put

Superluminal motion

forward to try to counter such problems, and there seems to be some evidence for this. Signal velocity The model identifies a difference between the information carried by the wave at its signal velocity c, and the information about the wave front's apparent rate of change of position. If a light pulse is envisaged in a wave guide (glass tube) moving across an observer's field of view, the pulse can only move at c through the guide. If that pulse is also directed towards the observer, he will receive that wave information, at c. If the wave guide is moved

Superluminal motion

in the same direction as the pulse, the information on its position, passed to the observer as lateral emissions from the pulse, changes. He may see the rate of change of position as apparently representing motion faster than c when calculated, like the edge of a shadow across a curved surface. This is a different signal, containing different information, to the pulse and does not break the second postulate of special relativity. c is strictly maintained in all local fields. Derivation of the apparent velocity A relativistic jet coming out of the center of an active galactic nucleus is moving

Superluminal motion

along AB with a velocity v. We are observing the jet from the point O. At time a light ray leaves the jet from point A and another ray leaves at time from point B. Observer at O receives the rays at time and respectively. The angle is small enough that the two distances marked can be considered equal. , where Apparent transverse velocity along , The apparent transverse velocity is maximal for angle ( is used) , where If (i.e. when velocity of jet is close to the velocity of light) then despite the fact that . And of

Superluminal motion

course means that the apparent transverse velocity along , the only velocity on the sky that we can measure, is larger than the velocity of light in vacuum, i.e. the motion is apparently superluminal. History Superluminal motion was first observed in 1902 by Jacobus Kapteyn in the ejecta of the nova GK Persei, which had exploded in 1901. His discovery was published in the German journal Astronomische Nachrichten, and received little attention from English-speaking astronomers until many decades later. In 1966 Martin Rees pointed out that "an object moving relativistically in suitable directions may appear to a distant observer to

Superluminal motion

have a transverse velocity much greater than the velocity of light". In 1969 and 1970 such sources were found as very distant astronomical radio sources, such as radio galaxies and quasars, and were called superluminal sources. The discovery was the result of a new technique called Very Long Baseline Interferometry, which allowed astronomers to set limits to the angular size of components and to determine positions to better than milli-arcseconds, and in particular to determine the change in positions on the sky, called proper motions, in a timespan of typically years. The apparent velocity is obtained by multiplying the observed

Superluminal motion

proper motion by the distance, which could be up to 6 times the speed of light. In the introduction to a workshop on superluminal radio sources, Pearson and Zensus reported The first indications of changes in the structure of some sources were obtained by an American-Australian team in a series of transpacific VLBI observations between 1968 and 1970 (Gubbay et al. 1969). Following the early experiments, they had realised the potential of the NASA tracking antennas for VLBI measurements and set up an interferometer operating between California and Australia. The change in the source visibility that they measured for 3C

Superluminal motion

279, combined with changes in total flux density, indicated that a component first seen in 1969 had reached a diameter of about 1 milliarcsecond, implying expansion at an apparent velocity of at least twice the speed of light. Aware of Rees's model, (Moffet et al. 1972) concluded that their measurement presented evidence for relativistic expansion of this component. This interpretation, although by no means unique, was later confirmed, and in hindsight it seems fair to say that their experiment was the first interferometric measurement of superluminal expansion. In 1994, a galactic speed record was obtained with the discovery of a

Superluminal motion

Terry Wheeler (born 13 March 1955) is a former Australian rules footballer who played for and coached Footscray in the Australian Football League. Wheeler played as a defender during his 157-game career for Footscray from 1974 to 1983. The following season he joined VFA club Williamstown as captain-coach. In five seasons with Williamstown, Wheeler played 94 games, and he led the club to a premiership in 1986 and to Grand Finals in 1985 and 1988. His presence, coupled with that of enthusiastic president Tony Hannebery, was considered critical to attracting big-name players like Barry Round and Tony Pastore to Williamstown,

Terry Wheeler

and to the revival of the club during the 1980s after an indifferent decade during the 1970s. He was appointed to the position of assistant coach to Mick Malthouse at Footscray in 1989. Malthouse left shortly after the season, and shortly before merger between and to form the Fitzroy Bulldogs was announced. Footscray supporters began to fight the merger in court, and on 8 October, Wheeler was appointed senior coach of Footscray for 1990, even though it was not certain there would be a team for him to coach. He was active in the campaign against the merger, which was

Terry Wheeler

ultimately defeated on 23 October when the supporters raised enough money and sponsorship to make the club viable. With twelve wins in 1990 he took Footscray close to a finals spot in his first year at the helm. In 1992 they finished second after the home-and-away season, only missing out on the minor premiership by percentage. They however failed to make the premiership decider after losing in the preliminary final to Geelong, but Wheeler was named as coach of the All-Australian Team. He was sacked in the early stages of the 1994 season following an 88-point loss to Geelong. References

Terry Wheeler

Mut is an ancient Egyptian mother goddess. Mut may also refer to: Mut (political party), in Germany Precinct of Mut, Egypt Mut, Mersin, a district of Mersin Province, Turkey Mut Castle, a castle in the area Mut Wind Farm, a wind power plant in the area MUT may also refer to: Mangosuthu University of Technology, in Durban, South Africa Methylmalonyl-CoA mutase, a mitochondrial enzyme MUT (zinc finger protein), a synthetic zinc finger protein Mauritius Time, a time zone used in Mauritius MultiUser Talk, an obsolete BBS chat program Military University of Technology in Warsaw Manar University of Tripoli, in Lebanon

Mut (disambiguation)

Antonio Botta (10 December 1896 - 10 May 1969) was a Spanish language dramatist and screenwriter. He was born in Brazil, but it was in Argentina that he built his career and made his name. Biography Antonio Botta was born in the Brazilian city of São Paulo. His first important premier came in 1926 with "Falucho", a one-act musical drama vignette, performed at the Porteño Theatre ("Teatro Porteño") in Buenos Aires by the Luis Arata company. Further scripts quickly followed. Stage directors and theatre impresarios with whom he worked included his brother, Américo Botta, Luis César Amadori, Ivo Pelay, José

Antonio Botta

González Castillo, Elías Alippi, Carlos Osorio and Antonio De Bassi. There were also musical collaborations with Antonio and Arturo de Bassi, Francisco Lomuto and Francisco Canaro. Several of Botta's film scripts were co-written with the Italian-born Argentinian Luis César Amadori who then went on to direct the resulting film himself. One relatively early result of that process was Puerto nuevo (film), a tango musical film drama film which had its first showings in a cinema in a Buenos Aires slum quarter ("Villa Miseria"). Three years later, in 1939, Botta himself tried his hand at directing, with his production of Bartolo

Antonio Botta

tenía una flauta (loosely, "Bartolo had a flute"), starring Luis Sandrini. Antonio Botta also wrote a number of radio plays and several songs. He teamed up with the composer-musician Francisco Lomuto to write a number of works, such as the song "Si soy así" (loosely, "Yes, that's how I am"), a slinky tangoesque song of celebration addressed to all women, regardless of age or marital status. The composition caught the spirit of the age: the well known tango performer Carlos Gardel made a recording. Another particularly successful collaboration by Botta and Lomuto, albeit with a very different spirit and them,

Antonio Botta

Marcela Menezes (born 8 June 1986) was a Brazilian group rhythmic gymnast. She represented her nation at international competitions. She participated at the 2008 Summer Olympics in Beijing. She also competed at world championships, including at the 2007 World Rhythmic Gymnastics Championships. References External links http://www.sports-reference.com/olympics/athletes/me/marcela-menezes-1.html Category:1986 births Category:Living people Category:Brazilian rhythmic gymnasts Category:Place of birth missing (living people) Category:Gymnasts at the 2008 Summer Olympics Category:Olympic gymnasts of Brazil Category:Pan American Games medalists in gymnastics Category:Pan American Games gold medalists for Brazil Category:South American Games gold medalists for Brazil Category:South American Games medalists in gymnastics Category:Gymnasts at the 2007 Pan

Marcela Menezes

Traffic classification is an automated process which categorises computer network traffic according to various parameters (for example, based on port number or protocol) into a number of traffic classes. Each resulting traffic class can be treated differently in order to differentiate the service implied for the data generator or consumer. Typical uses Packets are classified to be differently processed by the network scheduler. Upon classifying a traffic flow using a particular protocol, a predetermined policy can be applied to it and other flows to either guarantee a certain quality (as with VoIP or media streaming service) or to provide best-effort

Traffic classification

delivery. This may be applied at the ingress point (the point at which traffic enters the network) with a granularity that allows traffic management mechanisms to separate traffic into individual flows and queue, police and shape them differently. Classification methods Classification is achieved by various means. Port numbers Fast Low resource-consuming Supported by many network devices Does not implement the application-layer payload, so it does not compromise the users' privacy Useful only for the applications and services, which use fixed port numbers Easy to cheat by changing the port number in the system Deep Packet Inspection Inspects the actual payload

Traffic classification

of the packet Detects the applications and services regardless of the port number, on which they operate Lack support for many applications, as Skype, which is badly supported by most classifiers Slow Requires a lot of processing power Signatures must be kept up to date, as the applications change very frequently Encryption makes in many cases this method impossible Matching bit patterns of data to those of known protocols is a simple, yet widely used technique. An example to match the BitTorrent protocol handshaking phase would be a check to see if a packet began with character 19 which was

Traffic classification

then followed by the 19-byte string 'BitTorrent protocol'. A comprehensive comparison of various network traffic classifiers, which depend on Deep Packet Inspection (PACE, OpenDPI, 4 different configurations of L7-filter, NDPI, Libprotoident, and Cisco NBAR), is shown in the Independent Comparison of Popular DPI Tools for Traffic Classification. Statistical classification Relies on statistical analysis of attributes such as byte frequencies, packet sizes and packet inter-arrival times. Very often uses Machine Learning Algorithms, as K-Means, Naive Bayes Filter, C4.5, C5.0, J48, or Random Forest Fast technique (compared to deep packet inspection classification) It can detect the class of yet unknown applications Implementation

Traffic classification

Both, the Linux network scheduler and Netfilter contain logic to identify and mark or classify network packets. Typical traffic classes Operators often distinguish three broad types of network traffic: Sensitive, Best-Effort, and Undesired. Sensitive traffic Sensitive traffic is traffic the operator has an expectation to deliver on time. This includes VoIP, online gaming, video conferencing, and web browsing. Traffic management schemes are typically tailored in such a way that the quality of service of these selected uses is guaranteed, or at least prioritized over other classes of traffic. This can be accomplished by the absence of shaping for this traffic

Traffic classification

class, or by prioritizing sensitive traffic above other classes. Best-effort traffic Best effort traffic is all other kinds of non-detrimental traffic. This is traffic that the ISP deems isn't sensitive to Quality of Service metrics (jitter, packet loss, latency). A typical example would be peer-to-peer and email applications. Traffic management schemes are generally tailored so best-effort traffic gets what is left after sensitive traffic. Undesired traffic This category is generally limited to the delivery of spam and traffic created by worms, botnets, and other malicious attacks. In some networks, this definition can include such traffic as non-local VoIP (for example,

Traffic classification

Skype) or video streaming services to protect the market for the 'in-house' services of the same type. In these cases, traffic classification mechanisms identify this traffic, allowing the network operator to either block this traffic entirely, or severely hamper its operation. File sharing Peer-to-peer file sharing applications are often designed to use any and all available bandwidth which impacts QoS-sensitive applications (like online gaming) that use comparatively small amounts of bandwidth. P2P programs can also suffer from download strategy inefficiencies, namely downloading files from any available peer, regardless of link cost. The applications use ICMP and regular HTTP traffic to

Traffic classification

discover servers and download directories of available files. In 2002, Sandvine Incorporated determined, through traffic analysis, that P2P traffic accounted for up to 60% of traffic on most networks. This shows, in contrast to previous studies and forecasts, that P2P has become mainstream. P2P protocols can and are often designed so that the resulting packets are harder to identify (to avoid detection by traffic classifiers), and with enough robustness that they do not depend on specific QoS properties in the network (in-order packet delivery, jitter, etc. - typically this is achieved through increased buffering and reliable transport, with the user

Traffic classification

experiencing increased download time as a result). The encrypted BitTorrent protocol does for example rely on obfuscation and randomized packet sizes in order to avoid identification. File sharing traffic can be appropriately classified as Best-Effort traffic. At peak times when sensitive traffic is at its height, download speeds will decrease. However, since P2P downloads are often background activities, it affects the subscriber experience little, so long as the download speeds increase to their full potential when all other subscribers hang up their VoIP phones. Exceptions are real-time P2P VoIP and P2P video streaming services who need permanent QoS and use

Traffic classification

excessive overhead and parity traffic to enforce this as far as possible. Some P2P applications can be configured to act as self-limiting sources, serving as a traffic shaper configured to the user's (as opposed to the network operator's) traffic specification. Some vendors advocate managing clients rather than specific protocols, particularly for ISPs. By managing per-client (that is, per customer), if the client chooses to use their fair share of the bandwidth running P2P applications, they can do so, but if their application is abusive, they only clog their own bandwidth and cannot affect the bandwidth used by other customers. References

Traffic classification

The Äskulapstein ("Aesculapius stone") is a Roman votive stone which was found in the sixteenth century at Godesburg. Today it is kept in the Rheinisches Landesmuseum Bonn. Description and history The stone must have served as a consecrated altar. It was made from Drachenfels trachyte, is 110 cm high, 65 cm wide and 39 cm deep and its inscription reads: Thus the stone is dedicated to the healing gods Aesculapius and Hygieia. The donor of the stone, Quintus Venidius Rufus Marius Maximus Lucius Calvinianus had served as legatus in the Legio I Minervia and was at the time of the

Äskulapstein