Top Hat

Top Hat is a 1935 American screwball musical comedy film in which Fred Astaire plays an American dancer named Jerry Travers, who comes to London to star in a show produced by Horace Hardwick. He attempts to impress Dale Tremont to win her affection; the film features Eric Blore as Hardwick's valet Bates, Erik Rhodes as Alberto Beddini, a fashion designer and rival for Dale's affections, Helen Broderick as Hardwick's long-suffering wife Madge. The film was written by Dwight Taylor, it was directed by Mark Sandrich. The songs were written by Irving Berlin. "Top Hat, White Tie and Tails" and "Cheek to Cheek" have become American song classics. It has been nostalgically referred to — its "Cheek to Cheek" segment — in many films, including The Purple Rose of Cairo and The Green Mile. Top Hat was the most successful picture of Astaire and Rogers' partnership, achieving second place in worldwide box-office receipts for 1935. While some dance critics maintain that Swing Time contained a finer set of dances, Top Hat remains, to this day, the partnership's best-known work.

An American dancer, Jerry Travers comes to London to star in a show produced by the bumbling Horace Hardwick. While practicing a tap dance routine in his hotel bedroom, he awakens Dale Tremont on the floor below, she storms upstairs to complain, whereupon Jerry falls hopelessly in love with her and proceeds to pursue her all over London. Dale mistakes Jerry for Horace, married to her friend Madge. Following the success of Jerry's opening night in London, Jerry follows Dale to Venice, where she is visiting Madge and modelling/promoting the gowns created by Alberto Beddini, a dandified Italian fashion designer with a penchant for malapropisms. Jerry proposes to Dale, while still believing that Jerry is Horace, is disgusted that her friend's husband could behave in such a manner and agrees instead to marry Alberto. Bates, Horace's meddling English valet, disguises himself as a priest and conducts the ceremony. On a trip in a gondola, Jerry manages to convince Dale and they return to the hotel where the previous confusion is cleared up.

The reconciled couple dance off into the Venetian sunset, to the tune of "The Piccolino". Top Hat began filming on April 1, 1935, cost $620,000 to make. Shooting ended in June and the first public previews were held in July; these led to cuts of ten minutes in the last portion of the film: the carnival sequence and the gondola parade, filmed to show off the huge set were cut. A further four minutes were cut before its premiere at the Radio City Music Hall, where it broke all records, went on to gross $3 million on its initial release, became RKO's most profitable film of the 1930s. After Mutiny on the Bounty, it made more money than any other film released in 1935. Dwight Taylor was the principal screenwriter in this, the first screenplay written specially for Astaire and Rogers. Astaire reacted negatively to the first drafts, complaining that "it is patterned too after The Gay Divorcee", "I am cast as... a sort of objectionable young man without charm or sympathy or humour". Allan Scott, for whom this movie served as his first major project, who would go on to serve on six of the Astaire-Rogers pictures, was hired by Sandrich to do the rewrites and never worked with Taylor, with Sandrich acting as script editor and advisor throughout.

The Hays Office insisted on only minor changes, including the most quoted line of dialogue from the film: Beddini's motto: "For the women the kiss, for the men the sword" which ran: "For the men the sword, for the women the whip." Of his role in the creation of Top Hat, Taylor recalled that with Sandrich and Berlin he shared "a kind of childlike excitement. The whole style of the picture can be summed up in the word inconsequentiality; when I left RKO a year Mark said to me,'You will never again see so much of yourself on the screen.'" On the film's release, the script was panned by many critics, who alleged it was a rewrite of The Gay Divorcee. This was composer Irving Berlin's first complete film score since 1930 and he negotiated a unique contract, retaining the copyrights to the score with a guarantee of ten percent of the profits if the film earned in excess of $1,250,000. Eight songs from the original score were discarded as they were not considered to advance the film's plot. One of these, "Get Thee Behind Me, Satan", was used in Follow the Fleet.

All five songs selected became major hits and, in the September 28, 1935 broadcast of Your Hit Parade, all five featured in the top fifteen songs selected for that week. Astaire recalled. Astaire had never met Berlin before this film, although he had danced on stage to some of his tunes as early as 1915. There ensued a lifelong friendship with Berlin contributing to more Astaire films than any other composer. Of his experience with Astaire in Top Hat Berlin wrote: "He's a real inspiration for a writer. I'd never have written Top Hat without him, he makes you feel so secure."As Berlin could not read or write music, could only pick out tunes on a specially designed piano that transposed keys automatically, he required an assistant to make up his piano parts. Hal Borne – Astaire's rehearsal pianist – performed this role in Top Hat and recalled working nights with him in the Beverly Wilshire Hotel: "Berlin went'Heaven...' and I went dah dah dee'I'm in Heaven' (dah-

Hilyat al-Muttaqin

Hilyat al-Muttaqin is a Hadith book of Muhammad Baqir al-Majlisi. This work is written in Persian about Islamic morality and traditions, it was translated into English by Sayyid Athar Husayn S. H. Rizvi and published by Ansariyan Publications in 2013. According to book's foreword, it was written because of a group of Muslims asked Majlisi to write a Persian book in the Islamic morality and traditions from the hadith of Ahl al-Bayt. According to a manuscript, the date of writing of this work is 1671, But in another book has been mentioned to 1668-9; the book has 14 chapters about individual and collective morality and some Fiqh rulings and practices and had an extra chapter about some etiquette miscellaneous and their benefits. The titles of chapters are mentioned below: Etiquette of clothing, Etiquette of using jewellery for men and women, using Kohl, dyeing with henna and looking in the mirror, Etiquette of eating and drinking, Worthiness of marriage, etiquette of socializing with women and training children, Etiquette of brushing teeth, heckling the hairs, cropping the nails and hair, etc.

Etiquette of perfuming, smelling flowers and anointing, Etiquette of bathing and some ghusls, Etiquette of sleeping and waking, Etiquette of Hijama, benefits of some drugs, treating some diseases and mentioning some related duas, Etiquette with people and the rights of guilds, Etiquette of meetings such as hailing, shaking hands, kissing, etc. Etiquette of entering and going out the home, Etiquette of going on foot, buying, trading and keeping beasts, Etiquette of traveling Some etiquette miscellaneous and their benefits. Akhlaq-i Nasiri Tahdhib al-Ahkam

Gegenbauer polynomials

In mathematics, Gegenbauer polynomials or ultraspherical polynomials Cn are orthogonal polynomials on the interval with respect to the weight function α–1/2. They generalize Legendre polynomials and Chebyshev polynomials, are special cases of Jacobi polynomials, they are named after Leopold Gegenbauer. A variety of characterizations of the Gegenbauer polynomials are available; the polynomials can be defined in terms of their generating function: 1 α = ∑ n = 0 ∞ C n t n. The polynomials satisfy the recurrence relation: C 0 α = 1 C 1 α = 2 α x C n α = 1 n. Gegenbauer polynomials are particular solutions of the Gegenbauer differential equation: y ″ − x y ′ + n y = 0; when α = 1/2, the equation reduces to the Legendre equation, the Gegenbauer polynomials reduce to the Legendre polynomials. When α = 1, the equation reduces to the Chebyshev differential equation, the Gegenbauer polynomials reduce to the Chebyshev polynomials of the second kind, they are given as Gaussian hypergeometric series in certain cases where the series is in fact finite: C n = n n!

2 F 1.. Here n is the rising factorial. Explicitly, C n = ∑ k = 0 ⌊ n / 2 ⌋ k Γ Γ k!! N − 2 k, they are special cases of the Jacobi polynomials: C n = n n P n. in which n represents the rising factorial of θ {\disp