text:
Tag Archives: johnny cash
The Ultimate Danzig Song Ranking – Part III
We've covered 80 songs by the band Danzig, but still have 49 to go! We're well past the poor and mediocre and now well into the best songs the band ever recorded. The rankings already have become quite a chore as some of these songs are hard to separate from others, but it must be done!
49. I'm The One (Lucifuge) – Danzig's ode to classic blues, "I'm The One" is basically just Glenn Danzig singing and John Christ playing an acoustic guitar while Glenn rattles off lyrics about being evil. It's pure cheese, but the band takes it seriously and is able to pull it off (as long as you're not watching the video to it in which Glenn wrestles what looks to be a heavily sedated alligator). It's very different to the rest of the band's catalogue so it might be a little polarizing, though I think the majority of fans enjoy it.
48. Warlok (Lost Tracks of Danzig) – Another holdover from Blackacidevil that's a lot better than most of the material on the album. It's possible it was left off because the main riff is basically a fuzzy version of the "Mother" riff, though Glenn says the engineer he was working with at the time just couldn't get the song to where he needed it. It's pretty simple, but catchy and I enjoy the cadence Danzig utilizes for the verse. It's not similar to his other songs in that respect.
On a wicked night everything is red.
47. On A Wicked Night (Deth Red Sabaoth) – The lead single from 2010's Deth Red Sabaoth, "On A Wicked Night" was frequently dedicated to former Type O Negative vocalist Peter Steele at live shows (Danzig's drummer, Johnny Kelly, was the drummer for that band) who passed away shortly before the album came out. It's a slow one that picks up in intensity and has a big, loud, outro. It's a frequently used formula, but one that seems to always work. The only negative about this track is the inconsistent production. The vocals sound great on the quiet parts, but when the song gets loud they get drowned out some. The song also almost overstays its welcome, since it doesn't really have much of a chorus outside of the song's title, but it knows when to call it quits.
46. Angel of the 7th Dawn (Lost Tracks of Danzig) – Lucifuge is often cited as Danzig's best album, so suggesting a change to that song's tracklist feels like sacrilege, but "Angel of the 7th Dawn" has a good case. Even though I'm ranking it ahead of "I'm The One," I wouldn't bump that song for it since that track is pretty unique and has its own flavor. This one also isn't a natural closing track, so I don't know that I'd knock "Pain in the World" off for it either, but I'd happily give "777" the boot. This one is another rock track with a blues undercurrent, like much of the material from that album. It has a fun little story to it with enough, subtle, hooks. It's somewhat similar structurally to "Killer Wolf," so maybe that's why it was left off. Even though it didn't make the final album, the title of the song did get to live on as the name of the official fan club for the band, so at least it has that.
45. Last Ride (Black Laden Crown) – The last track we're going to cover from Black Laden Crown is "Last Ride." The most recent, and possibly last, album from Danzig managed to sneak a track into the top 50 which is pretty good. If Danzig wants to continue making more original music (there is another covers album of all Elvis songs ready to go) then I think "Last Ride" offers a pretty interesting path for the band. It's a slow, atmospheric track that feels like it could have been a Johnny Cash song. It's a voice that fits the current mood of the band which is fronted by a now 60 year old Glenn Danzig. Danzig stays in his range vocally while the band provides a nice backing to his more mature sounding vocals. There's still metal elements present, so we're not talking another twangy blues track here, and the ever present Danzig bottom-end is mostly intact as well. As an aside, every time I hear this one I can't help but think it would make for a cool video package based around WWE's The Undertaker character.
44. Heart of the Devil (How the Gods Kill) – Unapologetically corny, this song makes its outlandish lyrics work. Danzig wails out some impressive vocals that only touch upon that Cookie Monster voice I've been a little tough on. Glenn sings about being evil and he sounds more convincing than ever before. The sound is nice and thick, a testament to old analog recording, and it cracks and sizzle with every beat. There's a violent, sexy undercurrent that the band has often tried to strive for, but doesn't always hit the mark. Here it does.
43. See All You Were (Blackacidevil) – This one might have been the hardest track to rank for me. It contains a lot of the elements from Danzig 5 that a majority of fans hated: the vocals are heavily distorted, the instrumentation is mostly electronic, and it's pretty noisy. It also possesses melody, which a lot of the album decided was no longer cool, and even though it's hard to hear there's a great vocal performance here from Glenn. If only a master track was preserved that contained the vocals pre-distortion. I really think with a different direction this one could have potentially made the top 25, but it will have to settle for where it's at. Probably a polarizing one, as I rarely see it ranked among Danzig 5's best, but it's one I've always appreciated.
42. Son of the Morning Star (Danzig IV) – This is another one that goes with a quiet, slow lead-in that eventually explodes. It's buoyed by an awesome riff on the chorus that's one of the band's better mosh pit songs. Or it would be if the band played this one live often, but it's been relegated more to the filler ranks on Danzig IV. It's another strong vocal performance from Glenn, which the album is full of.
I said the music video was decent, but it's still plenty outlandish.
41. Ju Ju Bone (Deth Red Sabaoth) – It's another song from Deth Red Sabaoth that features a silly sounding name, but like "Black Candy" it also rocks. It even has a decent music video, which is rather rare for a late era Danzig song. It features a throwback riff that could have worked on Lucifuge if the production and tone matched that album. It finds a groove and rides the wave through the song without straying too far from that. Danzig's vocals rise in intensity to give it some variety and finish. It's one of my favorites from that album.
40. Am I Demon (Danzig) – One of the band's earliest headbangers, "Am I Demon" has been a concert staple for 30 years and likely will continue to be. It's an easy song to get into, and especially live, it packs a punch. In sort of a throw-back to old Misfits songs, the lyrics sound like they're ripped right from a horror comic as they paint a cartoonishly evil picture of the main character's visions. If it has a weakness, it's that it probably goes on a bit too long, but at least it's able to maintain its intensity throughout.
39. Little Whip (Danzig IV) – Danzig's ode to BDSM, "Little Whip" takes the start slow and get loud formula and puts it to good use. The song becomes downright relentless towards the end with blast beats and heavy riffs accompanied by Danzig's howls. The song doesn't really have a chorus, it's just the bits I described, but it works because it sounds so ferocious. The band takes itself seriously and avoids straying into cartoonish territory with the lyrics. It's a great track, though I feel like it gets overlooked on the album sometimes.
38. Anything (How the Gods Kill) – This is one of the odder Danzig tracks because it doesn't follow the usual lyrical formula. We have no evil boastings, no mention of demons, or any violent imagery of any kind. It's basically a sweet little love song, though with a hint of desperation. It's wrapped up in a poppy sounding blanket of sound. There's a slight rawness to the vocal production on the louder parts and a very clean guitar tone on the solo. It's atypical Danzig, but it's catchy. It's not the type of song most would probably want the band to revisit again and again, but as something of a one-time deal it works.
37. Halo Goddess Bone (I Luciferi) – Some 16 years after the album's release, I'm still not certain of what the lyrics are to this song. If it was featured in the lyrics book from a few years ago, I've forgotten, and if it wasn't well then maybe it will be in volume 2 (which by the time this entry goes up it may have already been released). Regardless, this is a catchy number from Danzig 7. I don't know what it's about, I have no idea what the title refers to, but I do know it's got some good hooks.
36. Left Hand Rise Above (Deth Red Sabaoth) – The closer to Deth Red Sabaoth, "Left Hand Rise Above" is very similar the closer off of Danzig 7, "Without Light, I Am." Since it's not from that album though, it has a simpler sound to the production and mix. The vocal production is dry, which adds a rawness to the song that gives it more gravitas. It's a bit more believable, though perhaps less impressive overall (hence the ranking where it is), but it's still a stellar way to close out an album.
35. 1,000 Devils Reign (Circle of Snakes) – It feels like it's been awhile since we talked about a song off of Circle of Snakes. That album is fairly top-heavy, which actually makes it similar to Blackacidevil in some respects, even though I think it's overall the superior album. "1,000 Devils Reign" was the lead single, though it didn't receive an actual physical release nor did it receive a music video. It was a showcase track for all of those worrying that Glenn Danzig's voice had deteriorated, and the very clean and simple verse was here to announce that Danzig's trademarked croon was still very much alive. This one mostly maintains a mid-tempo approach. There's a softness to Danzig's croon that injects more melody into the track than is really there, and the wailing chorus is just enough to dress it up. It feels very understated, but it works so well. I wish more tracks from this album featured such an approach.
Jerry Cantrell lent his talents to a few tracks on Danzig V, most prominently on "Come to Silver."
34. Come to Silver (Blackacidevil) – When Danzig 5 dropped, most fans were turned off. The one consistent though was the near universal praise fans heaped on this track, "Come to Silver." Originally written for Johnny Cash, it was either rejected by Cash or just didn't get recorded for one reason or another. Possibly complicating things was Danzig's departure from Cash's label. Either way, it's presented here by Danzig and features some impressive lead guitar work by Alice in Chains axeman Jerry Cantrell. It's similar in approach to the previously covered "Thirteen," but the subject matter is more grounded. And since this is Danzig 5, there's also plenty of industrial elements at play. The vocals are only mildly distorted, which actually gives the song a sort of "cold" feel to it. The drum pattern sounds electronic and it's coated in fuzz, but the guitar work helps to elevate this one. The industrial elements mostly work to add a barren mood to the song, and I actually prefer it to the stripped-down acoustic version present on The Lost Tracks of Danzig.
33. Brand New God (Danzig IV) – Probably the best song Danzig could open a show with. This one is near relentless speed metal, an uncompromising track that's fairly unique for the band. Sure, the band would play fast and heavy at times, but not usually to this degree. "7th House" kind of tried to mimic this one, but it sacrificed all semblance of melody in the process and mostly missed the mark. "Brand New God" knows when to pause and give the listener a break, bringing in a melodic bridge before going right back into the heaviness. It's a total red herring though as an album intro since the rest of Danzig IV is mostly slow and brooding, but what a way to start.
32. Blood & Tears (Lucifuge) – For as heavy and evil sounding as Danzig can be, the band is quite proficient when it comes to ballads. This is the band's first, and in Glenn Danzig's career before this really nothing sounded like it. The closest may have been "To Walk the Night," while another track "In the Doorway" still had yet to be released. "Blood & Tears" has a real 50's vibe to it, a little bit of Elvis with a little bit of The Everly Brothers. It was a real surprise the first time I heard it, and even though I was a hardcore metal kid, I loved it from the start. The main guitar lick is playful yet somber, and Glenn's vocals give the song a morose feel and he's able to resist the urge to take the song some place it's not meant to go. There's just enough power in his voice making this one of the band's best attempts at a ballad.
31. Black Angel/White Angel (Circle of Snakes) – Our last song to rank from "Circle of Snakes" is also the album's final track. "Black Angel/White Angel" is a fairly quick and dirty number, not the usual type of song for the band to go out on, but also not unprecedented. The lyrics are a warning, and the way the song builds underneath them help achieve a crescendo effect when the chorus comes blazing in. The guitar tone and bass are much lighter in tone on this one when compared with the rest of the album making it sound like it's almost from another session. It's some-what surprising it made the album over "Lady Lucifera" for that reason, though given where I ranked that one I'm obviously happy that wasn't the case.
John Christ and Eerie Von are the same person.
30. Her Black Wings (Lucifuge) – Another concert staple is "Her Black Wings." The video is relatively tame so it featured some mild airplay on MTV, though this was well before the band's popularity peaked. Everyone who knows Danzig knows the main riff of this one as it signals the oncoming arrival of this demonic woman who apparently has a pair of impressive wings. This song knows its strengths, and sticks with it, as that driving melody is what sustains the song. It's what brings it in, and what takes it out. Danzig's vocals sound great, and while the chorus may be a tad on the dull side, the whole thing still feels good when it all comes together.
29. Deth Red Moon (Deth Red Sabaoth) – Another track that perhaps borrows a little from "Mother," this melodic little number serving as the mid-point of Deth Red Sabaoth is one of the standout tracks from that album. The vocals are soft and understated, similar to "1,000 Devils Reign," with even the chorus being somewhat reminiscent of that song as well. A catchy verse with a Danzig wailing chorus is a pretty solid formula for a song. It's almost too easy, which is perhaps why there's usually only one or two songs per album that go with that formula.
28. Dying Seraph (Lost Tracks of Danzig) – What an omission this was from I Luciferi! This is a very quiet song with a big chorus. Apparently about a dying angel, there's a mild jazz undercurrent to the verse that's really different for a Danzig song. I can only assume it was left off of the album because Danzig felt it just didn't fit with the rest of the material, but it would have been a real highlight on the album. There's still another song from these sessions we have yet to get to that also should have been included. Other than maybe Lucifuge, I Luciferi was the album that probably had the best songs removed from it. Thank Satan we have The Lost Tracks of Danzig!
27. Left Hand Black (How the Gods Kill) – This is a rebellious hard rock track that probably should be a concert mainstay, but for some reason is not. It's all about challenging the gods with a hand clad in black. Because of that imagery it naturally lends itself to comparisons with the Samhain track "Lords of the Left Hand," but this one is so much better and sounds entirely different. It's one of the faster and heavier tracks on How the Gods Kill (at least with the chorus) and it's in a great position on the album. It would have also been a good lead track if it didn't already have an excellent lead track in "Godless."
26. Dominion (Danzig IV) – I think this one is intended as filler for Danzig IV, but it's one of my favorites from that album and maybe the most overlooked gem of the entire Danzig catalogue. It's fairly somber, but the chorus is damn effective and catchy. It has a similar mood to a lot of the first half of the album as the song's voice is depressing and defeated, but there's also a hidden power there as well. There's also some nice guitar work by John Christ who was possibly taken out of his comfort zone on this album, but still manages to shine brightly (or darkly).
25. Without Light, I Am (I Luciferi) – Another big closer, I consider this the unofficial middle song of a three song trilogy beginning with "Let it be Captured" and ending with "Left Hand Rise Above." This one has more bombast while still being an evil ballad of sorts. A nice riff brings in the chorus, which is a fairly straightforward shouting chorus that belies where the song is heading. This one is all about the outro, where Danzig wails the song's title with ever increasing intensity My only complaint is that it just fades out and I wish there was more finality to the song.
24. Ashes (Blackacidevil) – The closing number to the original Danzig 5, this one is unlike most Danzig closers because it starts quiet and it stays quiet. The song only slightly teases that it might go somewhere else with Glenn's voice rising ever so slightly at times. He also utilizes something closer to falsetto, and this is probably the highest we've ever heard Glenn go. It's a real downer track, so how much you enjoy that mood will likely influence your enjoyment of it. There's no vocal distortion at all, and the music is basically some electronic wind sounds, a very subtle electronic bass, and some piano. I think it's unquestionably the best song on Blackacidevil and also its most interesting, even though the rest of the album sounds nothing like it.
23. Hammer of the Gods (Deth Red Sabaoth) – The polar opposite of our last entry, "Hammer of the Gods" is a heavy intro song that has no interest in compromise or "let-up" in it. As the title implies, it dabbles in Norse mythology which is not well-trod territory for Danzig and it's a nice change of pace. This song really should have taken over as the concert opener, and yet it still plays second fiddle to "Skin Carver." The world is unjust.
A lot of blue in this one.
22. How the Gods Kill (How the Gods Kill) – Is this one not high enough? I'm not sure, but it's the one I feel the most iffy about. It's one of the band's biggest crowd pleasers off of one of its most recognizable albums. I think I've listened to it so much that maybe I'm a little biased against it, but it basically takes the Danzig "big song" formula of slow, quiet intro, into big explosive middle section that goes back to the cool sounding opener to close things out. Also in the middle is a screeching section of pinch harmonics, which it seems some fans are a little down on in the modern Danzig releases, but don't seem to hold against this track. It's a truly classic Danzig cut and if you want to move it up on this list I won't really fight you on it.
21. Bringer of Death (Danzig IV) – Sometimes it's all about placement. I am an album guy, I don't really listen to compilations, greatest hits, shuffle mode, or custom playlists. This track arrives after a series of slow to mid tempo songs with a depressing tone and brings back the Danzig swagger with an explosive sound. Machine gun fire leads into a similar machine-gun-like riff in which Danzig equates God with the Devil. The song pauses briefly for a bridge, before howling back into the speed metal of the first part. It's a similar structure to "Brand New God," and I personally love how the second half of the album starts off similar to the first. It's a great listening experience for you album enthusiasts out there and a reason why Danzig IV is my overall favorite release from the band.
20. Soul on Fire (Danzig) – One of the best songs off of the debut album, "Soul on Fire" has a bit of a sexy swagger to it despite not overtly going for that with its lyrics. It has a deliberate pace and structure, but the play of the verse with the guitar solos and chorus compliment one another perfectly. There's also an understated saxophone on the chorus which should feel out of place, but it's timed just right. It's also arguably the best vocal performance from Glenn on the first album, and the more I think about this one the more I am doubting myself for ranking it here and not higher. I have a feeling I'll be rethinking all of the top 20 as we move along because these songs are just so hard to separate.
Danzig getting political.
19. Cantspeak (Danzig IV) – The lead single for Danzig IV, this song had a lot riding on it since it was the follow-up to "Mother '93" which had been a surprise hit for the band. The label sunk a ton of money into the music video which featured stop-motion effects and some primitive CG. The song itself though was an odd choice. It's a slow, depressing number in which the song's voice is essentially suicidal and is left practically comatose thanks to the state of current events. This was the 90s so depressing was certainly in, but this was depressing without a pop chorus. It felt more like the deep cut fans were supposed to gush about as a reason for buying the album instead of just consuming the singles. Perhaps "Dominion" would have made for a better single as that has more of a pop flourish to pair with its dark tone, but that wasn't the case here. The song itself is really interesting though as the guitar is just the guitar recording for the song "Let it be Captured" played backwards. There's also some vocal distortion on the chorus, and the song always feels like it's building towards a crescendo that never truly comes.
18. Sistinas (How the Gods Kill) – The ballad of Danzig III, "Sistinas" is basically a love song, but it does have a slight darkness to it. It's Danzig's most Elvis sounding song and I've even had more than one person walk in on me listening to it and ask if it was an Elvis track. It's simple, but pleasant, with a nice vocal performance. My favorite thing about this song though is that it was the favorite Danzig song of a friend of mine back in high school. This was a heavy-set kid with a limp, green mohawk more known for listening to crust punk, but he loved Danzig. He would sometimes sing this song aloud, off key, much to my amusement.
17. The Coldest Sun (I Luciferi) – One of the oddest, and best, songs from Danzig 7. It has a very heavy riff that brings the song in before turning into an odd industrial track with some weird vocal distortion. It then brings in a crunchy, heavy section, that gives way to a soaring, epic, chorus that showcases Danzig's vocals. It is perhaps the best chorus he's ever recorded. Without it, the song is probably mediocre, but instead it's one of the best. It's a chorus that I can't get enough of, and the song wisely only gives you a taste of it so it doesn't become diminished. I love it so much that it's been my ringtone for the last 10 years.
16. Snakes of Christ (Lucifuge) – One of the band's early "Jesus is just as bad as Satan" songs, "Snakes of Christ" owes a lot to Black Sabbath as it's kind of groovy in its evil. A fist-thrusting, head banging tune, "Snakes of Christ" has long been a fan-favorite and concert mainstay for the band ever since its release. Years after its release Glenn Danzig would allege that Stone Temple Pilots ripped off this song with "Sex Type Thing," which adds some additional notoriety to it.
If you look closely, you can see Danzig advertised on the cover of Comix Zone.
15. Going Down to Die (Danzig IV) – A showcase for Glenn Danzig's vocals, this song's title also tells you all you need to know about the subject of the song. There's some imagery of the River Styx and a feeling of fatigue as the voice of the song makes its way into the afterlife. I love how the song paces itself, with some drum crashes mid-verse and a big chorus. This song also features one of John Christ's best guitar solos he contributed to the band as it's sweeping and melodic while containing plenty of technical proficiency. If you happened to be a Sega Genesis gamer back in the mid-90s and purchased the game Comix Zone you received a sample CD with this song as the lead-off track. Aside from this song though, the rest of that disc was pretty bad.
14. Godless (How the Gods Kill) – Maybe the best album opener Danzig has recorded, though there are a lot of them and some still to come on this ranking. "Godless" packs a punch right from the start, but it slows things down as the vocals come in. The faster section returns and the song really cooks, to borrow a phrase from the 50s, before ending with a weird prayer of sorts. I love John Christ's guitar work on this one and Chuck Biscuit's drumming is what brings the whole thing together. Danzig's vocals are also great, though a little low in the mix at times. It's a great song though, and the rebellious subject matter made it one of my favorite songs when I was a teen, and some 20 years later, it still does it for me.
Since this is a Danzig list, it feels appropriate to cut this part off here and do a top 13 instead of a top 10. Plus we're over 4,500 words as even though I try to be brief with my description of each track, I apparently still say too much. Check back on Tuesday, as we pause for Dragon Ball Z Movie Monday, when we'll be wrapping this feature up with the best songs of Danzig!
Leave a comment	| tags: chuck biscuits, eerie von, glenn danzig, how the gods kill, jerry cantrell, john christ, johnny cash, lucifuge, samhain, the misfits	| posted in Danzig, Music
The Ultimate Danzig Song Ranking – Part II
Two days ago we covered the first 40 songs of this countdown. In the span of those 40 songs we mostly covered the truly bad, the less bad, and the mediocre. We're now into the songs that I think are objectively good, or at least solid, which bodes well since we still have 89 songs to go! If you're just hopping in and want an explanation for how I arrived at these songs, check out part one, because away we go:
89. Satan's Child (Satan's Child) – Our final entry in part 1 was for the song "Unspeakable," also off of Satan's Child. This song is practically the same. Very sparse verse with an equally simple chorus that's stretched out by elongating a syllable or two. They're so similar it must be why they were pretty far apart on the album. The only real difference for "Satan's Child" is it has a bridging pre-chorus, the "Turn it up/Turn it loose" part. They're both effective tracks, I just prefer this one slightly more.
88. But a Nightmare (Black Laden Crown) – "But a Nightmare" relies on a groove to drive it along. Very 70s sounding, it doesn't attempt to do too much, but what it does it does well. It picks up in intensity as it moves along, and it's just a solid head-banger.
87. Malefical (Lost Tracks of Danzig) – Another big bottom-end song that ended up on the Last Tracks compilation. "Malefical" started off as "Malefical Bride of Hell" and it doesn't sound like the song changed much with the name change as the song is essentially about a malefical (sic) bride of Hell. It's slow, but thunderous, and quite evil sounding. The type of song Glenn has written more than once, but always seems to work on some level.
Danzig with one of the stars of the "She Rides" video.
86. She Rides (Danzig) – The album that inspired this ranking makes its debut in part II. "She Rides" is possibly most famous for its lurid music video that MTV wouldn't air. I also hear it's rather popular in strip clubs. It has a nice groove to it, and while the lyrics are perhaps cartoonishly sexy, they mostly work. It just drags on a little too long and overstays its welcome and might be too on the nose in its approach, but it's mostly a nice little break on the first album since its tempo is noticeably more deliberate than the other songs on the album.
85. Naked Witch (I Luciferi) – Thematically similar to our last entry, "Naked Witch" is a bit of a jam track only held back by some iffy production, in particular the vocals. It rolls along with nice intensity and drummer Joey Castillo is unleashed in a nice showcase. Really, with better production on the vocals and maybe better lyrics on the outro, this one would leap several spots on this ranking.
84. Pyre of Souls (Deth Red Sabaoth) – If the two halves of "Pyre of Souls" are considered one song, then it's the longest Danzig song recorded. It basically relies on a simple melody that is repeated throughout. In part one, that melody is played on an acoustic guitar with some piano flourishes. Part two switches those instruments out for the traditional electric guitar/bass combo while Danzig bellows out his vocals from the back of a flying demon. At least, that's how I picture him in my head with fire flaring all about. It's another good groove track that probably didn't need to be as long as it is, but it mostly works.
83. Lilin (Satan's Child) – Apparently we're in the part of the list of slow, brooding, groove tracks because we have another here in "Lilin." This one separates itself by being more of an industrial rock track, one of the more overtly so from Satan's Child. It's another long track too, by Danzig standards, and might also have the best lyrics of any song from this album as they're very descriptive and work well to conjure an image in one's mind. Yes, it's about another sexy snake girl, though with a tragic spin as there's a slight hint of sorrow in Danzig's vocals. It's enough to vault this one up a few pegs, and the chorus is really catchy.
82. Lick the Blood Off My Hands (Lost Tracks of Danzig) – I'm still unclear if this is a Danzig 5 holdover or a Danzig 6 one, either way it probably should have been included on the album it was recorded for. This song is, stop me if you've heard me say this before, another groove track that rests in a slow to mid-tempo range. It doesn't boast much variety, but it works with what it does. I can't decide if the song should have featured a true crescendo towards the end or if it was better to resist and keep it in its lane.
81. Blackness Falls (Black Laden Crown) – A lot of Black Laden Crown offers solid structuring without much reliance on hooks or even a chorus. "Blackness Falls" is no different in that regard, but it follows the script a bit better than some of the other songs on the album and it has a nice punch to it.
Johnny Cash was the first to record the song "Thirteen," even though it was written by Glenn.
80. Thirteen (Satan's Child) – The only song written and performed by Danzig that was first recorded and released by someone else. That someone being Johnny Cash for his album American Recordings. For his version, Danzig restored a verse Cash omitted and added some atmospheric elements which creates an image of a sullen vagabond roaming through a desert or something. There's a lot of wind effects which makes me think of dryness, but maybe it was supposed to create a cooling feeling. Director of The Hangover Todd Phillips must agree with me since he used the song over a desert montage to open that film. The song's placement there lead to a minor renaissance for it and Danzig started playing it live, which was pretty cool. It may have also lead to it being a little overrated since that was the most exposure a Danzig song has received since "Mother."
79. Girl (Lucifuge) – Maybe the best example of filler from Danzig II, "Girl" is more or less a straight up rock track. It's trying to be sexual in the same manner as "She Rides," though its probably less successful. It's catchier though, but I wish it had more of a chorus as Danzig kind of just wails like he didn't know what to do. A filler track for Lucifuge is still a pretty good track though.
78. Five Finger Crawl (Satan's Child) – We're almost out of tracks from this album, but this one was the lead-off hitter, so to speak. There's some slight distortion on the vocals, and the omnipresent whisper track is utilized, but it all builds to an excellent outro where Glenn's vocals are freed from all of that. I kind of wish more of the album sounded like this one, or at least the last 30 seconds of it, but beggar's can't be choosers.
77. The Mandrake's Cry (Lost Tracks of Danzig) – This one is a bit an odd duck as the subject matter, a mandrake, doesn't strike me as Danzig material. It feels more like Harry Potter, though since this was recorded for Danzig IV I think we can rule out any influence there (plus I very much doubt Danzig partakes in that franchise). It's a fun little track, and for awhile it was one of my favorites from disc one of this collection. I think I got a little sick of it, but it gets my head bobbing every time I revisit it. It's also another track that may have necessitated some new vocals before release as Glenn sounds more like 2007 Glenn than 1994 Glenn.
76. The Violet Fire (Thrall-Demonsweatlive) – One of two original tracks from the Thrall EP, I also waver between which of the two I prefer. They're both kind of quick and dirty songs that probably didn't spend much time in the cooker. They both work though, and "The Violet Fire" separates itself from its album-mate by having a slower tempo in which Glenn practically purrs his vocals throughout the verse. There's some nice drum work in the end by Chuck Biscuits which brings the whole thing home.
A still from the "Black Hell" video that closes out The Legacy TV Taping.
75. Black Hell (The Hangover II Motion Picture Soundtrack) – The only song from a movie soundtrack to appear on our list, "Black Hell" has yet to have an opportunity to jump to a proper Danzig release. It did get a music video as part of The Legacy TV Taping which was trapped on Vimeo, but is now unavailable (I think). It's similar to "Thirteen" in that it seems to be channelling some Johnny Cash imagery, but it's a more fully fleshed-out Danzig tune. I wish I could say the rest of the soundtrack was good, but if you're a Danzig fan I guess it won't matter. It's also probably pretty cheap at this point if you're looking for used copies.
74. Cold Eternal (Satan's Child) – The last song from Satan's Child to appear in our list, giving that album a bit of a dubious honor as its the first to be completed. This also means it's the best song from that album. It's probably the most unique as it's very slow, somewhat sorrowful, and features an abundant use of slide guitar. Session guitarist Jeff Chambers apparently used a ginseng bottle to achieve the effect, and it sounds pretty neat as it's slightly unpleasant which adds to the song's mood. A solid, though perhaps understated, vocal performance rounds things out. It's a song that never explodes, and it doesn't need to.
73. Until You Call on the Dark (Danzig IV) – Another Danzig song, another music video rejected by MTV. This one is notable since it came after "Mother," and the video wasn't all that bad. I think it did end up getting shown a few times, but not as much as "Cantspeak" or "I Don't Mind the Pain." This is a slow jam with a nice guitar lick. Glenn keeps in time with the drum pattern and the chorus features a simple, but catchy, guitar riff as well. If on a lesser album, it might have stood out more, but on Danzig IV it ends up being one of the lesser tracks.
72. Skulls & Daisies (Black Laden Crown) – Danzig conjures up the mystique of an old story-teller on this one, recounting some tale about a girl picking skulls and daisies. Like a lot of Danzig lyrics, it's probably inspired by some old folktale or B-movie, but I'm not certain of where it comes from. This is a song that manages to be catchy without having a chorus. It's reminiscent of "Ju Ju Bone," though that song is able to place higher because it actually does feature a chorus. Nonetheless, this song was frequently cited by fans as being one of the standout tracks from the most recent Danzig release.
71. Skull Forest (Circle of Snakes) – This haunting little tune from Circle of Snakes was supposedly inspired by a dream Glenn had in which he saw his father's head imbedded in a tree. Pretty creepy, but perhaps tame compared to his other dreams? This one has Glenn almost talking over the verse rather than singing, but it builds into a trademarked wailing Danzig chorus. Simple and effective.
Most fans were introduced to "When Death Had No Name" via the band's home video.
70. When Death Had No Name (Lost Tracks of Danzig) – Originally released on the first Danzig home video, the song was properly released as a B-Side to "Dirty Black Summer" in 92, albeit a different version. Both versions were included on The Lost Tracks of Danzig and of the two I would say the 1992 version is superior. It's slightly slower, but more methodic. It leans heavy on its main riff for much of the song's duration before things pick up towards the end. Perhaps a little too long, it's still a really cool track with some biblical imagery with a neat story to it.
69. Pain in the World (Lucifuge) – This is a song I've always wanted to like more than I do. It's the closing track on Danzig II, and it's meant to be an epic track with a similar style to "When Death Had No Name." It's just never quite clicked for me, and maybe it's because I think it's better than it is I'm ranking it this high. As someone who enjoys long compositions, I find myself losing interest in this one about halfway through. It might just a be a case of this being the most overtly Black Sabbath-like of all of the tracks on Lucifuge, when the rest of the album really didn't sound like a Sabbath inspired release. Maybe it should have been flipped with the closer to How the Gods Kill, the more bluesy "When the Dying Calls," and it would have felt more at home. Or maybe it's just a failing in my own personal taste.
68. It's Coming Down (Thrall-Demonsweatlive) – The other original track from the Thrall EP, "It's Coming Down" is the more popular of the two because it's been played live during many tours and also received a rather infamous music video (don't watch it if you can't stomach genital mutilation). This one is more up-tempo than "The Violet Fire," making it a more natural setlist inclusion. It comes in, blows off the doors, and exits fairly quickly before you can get tired of the formula. A quick and dirty piece of early 90s metal.
67. Black Laden Crown (Black Laden Crown) – The title track from what is currently the last Danzig album, "Black Laden Crown" is one part album opener and one part bitching metal track. The first half of the song has a sort of black mass kind of vibe to it (not to be confused with the song of the same name), while the second half is an instrumental head-banger. I love the mood it sets for the album, but I'm not sure the rest of it lives up to the beginning. I also wish there was some sort of vocal pay-off during that last part. Even with the flaws, I think it would have made for an interesting way to start the live shows on that tour, as opposed to sticking with "Skin Carver."
66. Angel Blake (I Luciferi) – Thematically, this one is a throwback to The Misfits days of song-writing for Glenn as its origins are in some campy movie. Musically it's not at all like a Misfits track, and even by Danzig standards, it's fairly unique. There's a clean guitar tone used on most of it with Glenn's voice doubled or tripled-up on. It has that ethereal quality I mentioned on "Firemass" because of its lighter tone. The chorus brings in a crunchy bottom-end though, so this one does pack a punch. The recorder solo might also be a first for Danzig.
65. End of Time (Danzig) – This is probably the softest track from the debut album, though the subject matter is hardly fluffy. "End of Time" is about a damned individual and it starts off as a fairly straight-forward rock track which brings in this sweet sounding lyrical bridge before a thunderous chorus. It's perfectly paced, and in the right spot on the album too. I suppose it would be considered album "filler," and if so it's certainly a quality filler track.
64. Dirty Black Summer (How the Gods Kill) – This one was probably the first single to get any sort of consistent airplay on MTV. It was hardly a hit, but if you tuned into Headbanger's Ball around release you probably saw it. It features what I would call a typical Danzig riff, but it dresses it up enough to form something catchy. Glenn does this odd vocal hiccup in between lines during the chorus, which definitely is a unique touch for the song. I know a few who find this one a bit annoying as it might be the most commercial sounding song Glenn has ever released, but I've always found it rather catchy.
63. Pull the Sun (Black Laden Crown) – The closing track from Black Laden Crown follows the same general format as a lot of Danzig closers. It's a slow to mid tempo track with a wailing chorus, though the chorus isn't leaned on as heavily as it is with "Left Hand Rise Above" or "Without Light, I Am." The novelty of this song structure has some-what worn off as a result, which is why this one is ranked behind those two tracks. It's a great song on its own though that is perhaps just missing one special, hard to pin down, ingredient to make it truly exceptional which is how I feel about a lot of the material from this album.
62. Satan's Crucifiction (Lost Tracks of Danzig) – This one is essentially a joke song, but it's so heavy and so evil that it actually works. This song is all about the bottom end and it's particularly brutal. And I think knowing the lyrics were intended as a joke makes them work better than if they seemed sincere. Truly, they're not all that much more campy than some of the "real" songs Danzig has put out. And in case you need a refresher, this one was recorded after the success of "Mother" when the label requested the new album not be "Satanic." Supposedly, the joke had the desired effect.
61. Rebel Spirits (Deth Red Sabaoth) – One of the more understated songs from Deth Red Sabaoth, "Rebel Spirits" settles into that mid-tempo groove we know so well but it kicks things up with the chorus. The vocal production could have been better, but it's not as bad as other Danzig songs out there. It has this apocalyptic quality to the drumming compliments of Johnny Kelly and the subject matter is very appropriate for Danzig.
60. I Luciferi (I Luciferi) – This is one of Danzig's shortest songs, but it does all that it needs to in its brief runtime. "I Luciferi" takes a fun guitar riff and dresses it up with cartoonishly Satanic imagery that morphs into a hard-hitting chorus complete with a nice, dense, crunchy, guitar riff. I've always enjoyed this rockin' little number and it makes for a good title track.
59. Possession (Danzig) – Originally recorded with Samhain, "Possession" might be known more for featuring guest backing vocals by Metallica's James Hetfield. The version from Danzig is much better than what was included in the Samhain Box Set. It has that simple blues-rock base to it featured prominently on the debut album with a rolling, thunderous chorus. The subject matter may border on misogyny, but it's more of a power fantasy than anything. It definitely was more effective at captivating me as a teenager than as an adult.
The video for "Crawl Across Your Killing Floor" featured a rather interesting concept, but the execution was pretty lackluster.
58. Crawl Across Your Killing Floor (Lost Tracks of Danzig) – Guitarist Todd Youth dazzles on this piece of atmospheric, vagabond, music. It's the best song to come out of the Danzig 6 sessions, and yet I kind of understand why it was left off the album. It doesn't fit well with the rest of the album. I suppose they could have bumped "Thirteen" for it and it would have made for a similar closer, but at least it finally saw the light of day with The Lost Tracks of Danzig.
57. Liberskull (I Luciferi) – Another kind of "off its era" cut from I Luciferi, "Liberskull" relies on a "Korn" riff to hum along and leans heavy on its catchy chorus. The chorus is similar in structure to "Satan's Child" in that it relies on a long wail, but it's arguably what Glenn Danzig does best. The very nu-metal sound to this one used to lead to me referring to it as a guilty pleasure, but now I feel I've grown beyond such silly notions and it's just a song I like.
56. The Revengeful (Deth Red Sabaoth) – Pinch harmonics city! If you dislike Danzig's reliance on that guitar technique, then "The Revengeful" might grate on you a bit. I have neither a strong dislike nor a particular fondness for them, and "The Revengeful" straddles the line of practical taste. It's a good fist-pumper that really helps sustain the momentum of Deth Red Sabaoth following the rocking opener "Hammer of the Gods." It was also the B-Side to the album's first single though surprisingly it never became a concert staple where it feels like a role it was born to play.
55. NetherBound (Circle of Snakes) – "NetherBound" is often cited as a favorite from Circle of Snakes. It has a somber tone and enjoys existing in the mid-tempo range. It's very simple with a dry production sound that gives it an older texture, which fits the song's mood. The melody is pleasant, and Danzig's vocals are almost sweet sounding, a good penultimate track for the album.
54. Stalker Song (Danzig IV) – One of Danzig's creepier songs, the title basically lets you know what it's about. Glenn lets his vocals take center stage, something it feels he was more willing to do during this era of the band, and it's what helps carry the song. It's fairly simple in its execution, but those Danzig wails that sustain the closing moments are what puts it all together. I liked this song more as a teen when the subject matter felt more risqué, but as an adult I still start belting out the lines with Glenn when I'm driving in my car (alone).
53. When the Dying Calls (How the Gods Kill) – A little southern sludge closes out Danzig's third album, and if it weren't for the inconsistent production, it possibly could have rated higher. Danzig's vocals have an almost R&B flow to them throughout the verse that gives the song a very playful quality and it courses along to a big finish. It's during that big finish where the vocal production sounds off, as if Danzig is going louder than the master intended. I suppose it's not surprising this album had some issues in that department since it was the first Rick Rubin supposedly had little involvement with. It's a minor thing though as the song still rocks.
52. Black Candy (Deth Red Sabaoth) – The title may seem off-putting and silly, but this is one heavy-ass track. Glenn handles the drumming, and it's like he had something to prove. It's not a complex drum pattern utilized, but it is loud and powerful. He really beats the Hell out of the skins and relies a lot on the double bass and it's what gives the song its character. Danzig's voice is able to keep up with it too and manages to not get drowned out. Glenn must have really admired Chuck Biscuits when he was with the band as his style is a little similar with a no fills approach. The rest of the song is appropriately dense and this one is almost a sonic overload which makes up for its lack of true hooks.
A band shot from the video for "Dirty Black Summer" during the How the Gods Kill era.
51. Do You Wear the Mark? (How the Gods Kill) – Almost a straight rip-off of Sabbath's "Into the Void," "Do You Wear the Mark?" at least does well by that old riff in crafting another dangerously dark Danzig tune. It's so blatant though which is why I've never had much sympathy for Glenn anytime he mentions someone ripping him off (most notably Stone Temple Pilots). This one has always worked really well as a concert song, and the finish is great. I don't know why, but I love the inclusion of the word "darling" amongst the song title's question. Maybe because it subconsciously reminds me of "Die, Die, My Darling" or maybe because it just works. I'll always associate this song with my first Danzig show in 2000 when an old guy probably in his sixties strutted into the show late. Wearing his white hair in a ponytail and clad in a beaten up leather jacket, he stood stoically as the band went through its set. When this song hit though that man opened up and just started going off. I hope he's still rocking out to Danzig somewhere.
50. Not of this World (Danzig) – One of the band's old concert staples that usually closed out shows, this one is the second track off the band's debut album and it still kicks a lot of ass today. The production on the studio version is almost a bit too simple and bare bones. It has its tempo and it works well with it, but live the band plays it faster and that's where it really comes alive. If they could have captured that intensity for the studio it probably would have vaulted the song higher, but it's still a great track no matter how you experience it.
We're going to cut this one off here. We've got 49 songs left to get through and I anticipate that being split into two parts. Check back tomorrow for Part III as we continue our sonic exploration of every Danzig song ever.
Leave a comment	| tags: chuck biscuits, glenn danzig, how the gods kill, james hetfield, joey castillo, johnny cash, lucifuge, metallica, rick rubin, satan's child, the hangover, todd phillips, todd youth	| posted in Danzig, Music
Danzig 6:66 Satan's Child
Danzig 6:66 Satan's Child (1999)
Following the critical and commercial failure of Danzig 5: Blackacidevil, Danzig was returned to the underground. The 9 figure record deals were no longer out there, few promising bands were looking to open for the group, and the band members became as unstable as ever. There was a tour for Blackacidevil that even included a spot on the main stage at Ozzfest but after that Glenn Danzig was seldom heard from. He focused more time on his independent comic book company, Verotik, and found himself in court battling with the executives at American Recordings for the rights to the unreleased material from his days at that label. Eventually, Glenn would set his sights on recording the next Danzig record, the one that would become Danzig 6:66 Satan's Child and would be the first of many to be heralded as a "return to form" for the band.
When an album bombs as bad as Blackacidevil did, it makes sense for the artist to reexamine the approach taken on previous efforts compared with that one. For Danzig, this was simple enough. The early records were rooted in the blues and could best be described as hard rock or heavy metal. Yes, there were things about each album that separated them from one another but the core was mostly the same. For Danzig 5, that core was loosely interpreted. And while it could be argued the foundation was mostly the same, the layers on top certainly were not which helps define Blackacidevil as an industrial record with some techno and metal elements thrown in. A confident producer would explain that to Glenn and would push him away from that approach as it clearly just didn't work. It would be one thing if the album was conceptually brilliant, but commercially misunderstood, but that really wasn't the case. The problem is, Glenn was no longer working with a big producer, and is a very prideful man. For awhile, he insisted that Blackacidevil was his favorite record and spent more time defending it than he has anything else he has done. Regardless, even he had to admit the best way to promote a new record was as a back to basics kind of thing. The problem was, that wouldn't really describe Satan's Child too well.
More than three years elapsed between Danzig 5 and Danzig 6, so when Satan's Child arrived in the fall of 1999 the core fan base that had stuck with Danzig was eager to get a listen. This was before mp3 had really exploded so most fans, myself included, were mostly left in the dark until the album was released. Before release, Danzig's new label E-Magine, a young label hoping to better utilize the internet as a legitimate means of distribution, released the album's first single online, "Five Finger Crawl," as well as a snippet of "Unspeakable." It's actually a bit confusing which one truly was the first single. "Five Finger Crawl" was made into a video and some metal-oriented radio stations were playing it while others received CD singles of "Unspeakable." Either way, "Five Finger Crawl" was my introduction to Danzig 6 and I mostly enjoyed it. This was the era where nu-metal was dominating the heavy music scene. Drop D tuning was in fashion to add a pervasive heavy-ness to most records. Danzig opted to tune even lower, to C, for this record. And while Danzig 6 is not an industrial record, it does contain more effects than the previous 4 albums. There's an eeriness to "Five Finger Crawl," accentuated by Glenn's whispering vocal delivery, particularly the line "You leave me cold."
The limited edition picture disc release, featuring the internet only cover of the CD version by Martin Emond.
The mood of the track is still decidedly Danzig, in the end. The thing that had fans talking though were the vocals. Glenn whispers throughout much of "Five Finger Crawl" before hitting a shouting chorus. On that chorus, his vocals sound deep and slightly hoarse. This had fans worried about what kind of shape Glenn's vocal chords were in. The song alleviates some of those fears to a degree with the close, where an unfiltered Danzig wails the "You leave me cold," line, but there's still a hint of hoarseness on there as well. We would find out during the press tour of the album, that Glenn opted to record his vocals digitally this time, and offered up the excuse that he augmented his vocals to sound the way he hears them when he sings to himself. The result is a deeper Glenn on this record, but he also uses a whisper track on many songs which create a hoarse quality. The whisper track is cool when used a bit conservatively, but it probably is overused on this record. With most things Danzig though, the truth often lies somewhere in the middle. He may have chosen to record his vocals in a certain way, but perhaps he also did that to help mask the fact that they just weren't what they used to be. The tour would confirm as much. The good news is that later records would show improvement, but unfortunately Danzig 6 marks a low point for vocals on a Danzig record.
That is not to say the vocals do not have any shining moments here. On the contrary, I already mentioned the close of "Five Finger Crawl" as being exceptional, but songs like "Lilin" and "Cold Eternal" showcase Glenn's vocals just as well. There are low moments though, such as the thunderous "Apokalips," a decent enough song, but one where Glenn's vocals border on annoying as he has a shrill quality to his shouts. Overall, the vocals are not a make or break thing for the record, and perhaps actually end up being the album's best feature, because unfortunately it ends up lacking in several others.
For one, the structure of the songs are perhaps too basic. There are really no memorable guitar riffs and very few guitar solos to liven things up. Josh Lazie's bass is audible, but not spectacular. Joey Castillo's drumming is solid, if not a bit restrained. He's capable of so much more. I assume Glenn thought little of session guitarist Jeff Chambers, which helps explain why the guitars come across as an afterthought at times. Or perhaps creatively he was just in a funk. The band recorded over 20 tracks for this album which tells me that Glenn was really indecisive with this one and was probably at some-what of a crossroads with his band. I should take the time to point out that the slide guitar on "Cold Eternal" is a nice touch and does add some nice texture to that track.
If the approach musically was a bit boring, then it makes sense that the finished songs are as well. There are some nice tracks here that I have already mentioned. One I didn't was the closer "Thirteen," the song Glenn penned for Johnny Cash in the early 90's and finally recorded himself. It would later show up in the hit film "The Hangover." It's a simple but cool little track and it's lyrics suit the public persona of Glenn Danzig. Sadly, the lyrics on that one represent the album's peak in that department, for in some instances they're just bad. "Cult W/Out a Name" is a decent enough rocker, but the lyrics there are just embarrassing. Some, such as "I am teeth of fire/taste a thousand shames" annoy because they don't make sense, but others annoy me because they're just stupid "I am street designed." "Belly of the Beast" is one where the ending of each line rhymes with the next, just for the sake of doing so. Again, if the music accompanying these lyrics was more interesting they could be overlooked, but here they're hard to ignore.
The back of the picture disc, also the back cover of the CD version. Apparently Glenn was really into black and pink around this time. They had to kick Jeff Chambers out of the band to include more devil chicks.
Thankfully, most of the tracks are absent the industrial fuzz that permeated Blackacidevil, but not all. "East Indian Devil (Kali's Song)" is a track that could have fit on Blackacidevil, which isn't a good thing. The vocals are heavily distorted, and there's little melody to the song structure. It's one I am happy with skipping over.
In the end, was Danzig 6:66 Satan's Child a return to form for the band? Only in the sense that it left behind most of the industrial elements of Danzig 5. This is still a rather weak output when compared with the rest of the Danzig catalogue. It's an okay listen, but there's just few standout tracks. It's no surprise that this album is hardly ever featured in the live set these days, and future releases would improve upon it.
Five Finger Crawl
Cold Eternal
1 Comment	| tags: Danzig, e-magine, johnny cash, metal	| posted in Danzig, Music


TALLAHASSEE, Fla. (July 13, 2018) – Florida's economy hit a new milestone today when the state's Gross Domestic Product (GDP) topped $1 trillion, the Florida Chamber Foundation's Chief Economist announced. Putting it into perspective, if Florida was an independent country, Florida's $1 trillion economy now ranks us as the 17th largest economy in the world – ahead of Saudi Araba, the Netherlands, Switzerland and Argentina.
Earlier this year, Dr. Jerry Parrish, Florida Chamber Foundation Chief Economist, forecasted that Florida would reach the new $1 trillion economy in 2018. In fact, the milestone was achieved this week. Now, according to Dr. Parrish, Florida is adding $2.74 billion each day to the state's GDP.
According to TheFloridaScorecard.org, Florida has created 180,200 jobs over the past year, and has steadily kept unemployment rates below the national average. At the same time, achievement gaps are closing in Florida's Pre-K-12 system, Florida continues to break visitation records, and our state is continuing to diversify its economy.
While this growth is positive news, challenges and opportunities for Florida still remain.
The Florida Chamber Foundation's Florida 2030 research initiative (being released this year) shows the gaps Florida must close in order to continue to be globally competitive and grow smarter by 2030 and beyond. Consider that while achievement gaps are closing, 43 percent of 3rd graders aren't reading at or above grade level. And while 1 in 14 jobs in the nation are created in Florida, our state's 14.8 percent poverty rate includes 21.3 percent of children under age 18. While Florida is better than most states in these areas, the Florida Chamber will continue to lead reforms that create economic opportunity.


To promote organic cultivation of vegetables and other crops, governments should launch attractive schemes for farmers, by which farmers get benefits.
Join in and write your own page! It's easy to do. How? Simply click here to return to Stories About Growing Organic Vegetables.
Return to Organic Vegetable Cultivation: Need of Today, Demand of Yesterday.


text:
Clary clinches
London 2012 - Tyler Clary of the USA clenches his fists and clinches a spot in the final with a win in his semifinal 200m backstroke heat.
Clary clearly happy
London 2012 - Tyler Clary beams as he holds a gold medal earned in the 200m men's backstroke. USA teammate Ryan Lochte won the bronze and Japan's Ryosuke Irie took the silver medal.
Thursday, August 2, 2012 3:30 PM | Photo
YAAHJ003
Sydney 2000-Swimming-200m backstroke-Heat 6-KRAYZELBURG Lenny (USA) 1st
Tuesday, September 19, 2000 10:00 PM | Photo
Lenny Krayzelburg Aaron Peirsol and Matthew Welsh stand on the podium
21 Sep 2000: Gold medalist Lenny Krayzelburg of the USA (centre), silver medalist Aaron Peirsol of the USA (lleft) and bronze medalist Matthew Welsh of Australia celebrate with their medals after the Mens 200m Backstroke Final during the Sydney 2000 Olympic Games at the Aquatic Centre, Olympic Park, Sydney, Australia. DIGITAL IMAGE. Mandatory Credit: Ross Kinnaird/ALLSPORT
Wednesday, September 20, 2000 10:00 PM | Photo
Irie gets ready
Ryosuke Irie of Japan prepares to race in the men's 200m backstroke at the Aquatics Centre. Irie took silver to add to a bronze in the 100m backstroke
Monday, July 30, 2012 2:30 PM | Photo
SAAGE094
Amsterdam 1928-BRAUN Maria (NED) 1st in 100 m backstroke and 2nd in 400 m free style
Saturday, December 31, 1927 11:00 PM | Photo
Swimming - Men's 200m Individual Medley Final
Michael Phelps of the United States competes in the Men's 200m Individual Medley Final on Day 6 of the Rio 2016 Olympic Games at the Olympic Aquatics Stadium on August 11, 2016 in Rio de Janeiro, Brazil.
Swimming - Women's 200m Breastroke FInal
Taylor McKeown (L) of Australia leads Rie Kaneto of Japan in the Women's 200m Breaststroke Final on Day 6 of the Rio 2016 Olympic Games at the Olympic Aquatics Stadium on August 11, 2016 in Rio de Janeiro, Brazil.
Rie Kaneto of Japan leads the field in the Women's 200m Breaststroke Final on Day 6 of the Rio 2016 Olympic Games at the Olympic Aquatics Stadium on August 11, 2016 in Rio de Janeiro, Brazil.

redpajama_set_name: RedPajamaCommonCrawl


The following events, as depicted in my upcoming memoir, may or may not have happened depending on your definition of absolute truth, imagination, the art of possibility, memory repression, literary license, embellishment, Oprah-baiting, or telling lies for money.
…..I may or may not have eaten all the chocolate frosting off my birthday cake when I was four years old and all of my relatives were in the back yard getting drunk.
…..All of my relatives have drinking problems.
…..I drink, but it's not a problem.
…..My favorite sister is Avis.
…..I love my husband, but if Clive Owen asked me to run away with him, I'd have to think about it.
…..I have never in my life been naked in a hot tub, even when I lived in southern California.
…..The most reckless act I ever do in my life now is maybe every couple of years I take half an Ambien after drinking a glass of Pinot Noir.
…..I may or may not have directed murderous thoughts at my husband after he has snored like a freight train for two hours straight.
…..I love to hear my husband snore because the cessation of snoring would mean that I had put a pillow over his face while I was in an Ambien and Pinot-fueled trance.
…..My children and sisters can't wait until I die or get Alzheimer's so they can write their own memoirs.
…..I have never liked dogs, and have always had to pretend otherwise.
…..I met my second husband when we were abducted by pirates from a "singles" cruise ship going from Los Angeles to Baja. We communicated by passing notes written on tissues and a stub of a pencil I had tucked in my bra for just such an emergency.
…..If I am sitting in the exit row of an airplane and it catches on fire, I'm really not sure I will help others out first. I'd like to say I would, because I really like exit row seats, but I'm just not one hundred percent on this. For purposes of this memoir though, let's just say I would.
…..I have never been in rehab or had my stomach pumped or been imprisoned against my will. My parents were actually not all that bad. My kids seem to be normal so far. Or maybe I'm just making that part up!
Previous Article Pre-Writing: Real Work or Daydreaming?


Thought-provoking events that tackle real challenges.
This course covers the IfM's proven approach to improving product design to make production line assembly as easy as possible.
Grow your people. Grow your capability. Grow your business. Professional development courses at the IfM.
New thinking about manufacturing. Putting those new ideas into practice today. Educating the manufacturing leaders of tomorrow.
We threw open our doors once again this year for an exciting afternoon for families, with robots, lasers, microscopes and virtual reality.
Tim Minshall provided an enthusiastic keynote at the Business Weekly Awards, celebrating Cambridge's 3Cs - creativity, collaboration and change.
A tour of the IfM included a visit to our robot lab, photonics, and a chance to try out our virtual reality gear.


Moon phase on 14 May 2016 Saturday is First Quarter, 8 days young Moon is in Virgo.
First Quarter is the lunar phase on 14 May 2016, Saturday . Seen from Earth, illuminated fraction of the Moon surface is 58% and growing larger. The 8 days young Moon is in ♍ Virgo.
* The exact date and time of this First Quarter phase is on 13 May 2016 at 17:02 UTC.
Lunar disc appears visually 4.6% narrower than solar disc. Moon and Sun apparent angular diameters are ∠1813" and ∠1898".
Next Full Moon is the Flower Moon of May 2016 after 7 days on 21 May 2016 at 21:15.
The Moon is 8 days young. Earth's natural satellite is moving through the first part of current synodic month. This is lunation 202 of Meeus index or 1155 from Brown series.
8 days after point of perigee on 6 May 2016 at 04:14 in ♉ Taurus. The lunar orbit is getting wider, while the Moon is moving outward the Earth. It will keep this direction for the next 4 days, until it get to the point of next apogee on 18 May 2016 at 22:06 in ♎ Libra.
Moon is 395 309 km (245 634 mi) away from Earth on this date. Moon moves farther next 4 days until apogee, when Earth-Moon distance will reach 405 934 km (252 236 mi).
11 days after its descending node on 3 May 2016 at 01:27 in ♓ Pisces, the Moon is following the southern part of its orbit for the next day, until it will cross the ecliptic from South to North in ascending node on 15 May 2016 at 20:39 in ♍ Virgo.
4 days after previous North standstill on 9 May 2016 at 21:54 in ♊ Gemini, when Moon has reached northern declination of ∠18.447°. Next 9 days the lunar orbit moves southward to face South declination of ∠-18.539° in the next southern standstill on 24 May 2016 at 11:16 in ♑ Capricorn.
After 7 days on 21 May 2016 at 21:15 in ♏ Scorpio, the Moon will be in Full Moon geocentric opposition with the Sun and this alignment forms next Sun-Earth-Moon syzygy.


text:
Investigation Reveals Cook County Infant Died Of COVID-19
By Mariah Woelfel
June 10, 2020, 1:41 p.m. CT
Courtesy of the Centers for Disease Control, Prevention
Cook County public health officials confirmed Wednesday that a 9-month-old baby whose March death garnered the nation's attention as possibly the youngest novel coronavirus victim did, in fact, die from complications related to COVID-19.
The Cook County Medical Examiner's Office reported that Joseph Myles died March 23 due to viral pneumonia that was caused by COVID-19 and another strain of coronavirus known as NL-63, which primarily affects children or people with underlying conditions, according to a study published by the National Institutes of Health.
"A family member found Myles unresponsive … and notified authorities," according to a medical examiner's press release. "The family reported that Myles had a history of a cold and cough."
Nasal swabs taken on the day of Myles' death, and in the days following, were tested by the Illinois Department of Public Health and the Centers for Disease Control.
Although initial test samples gave conflicting results, the CDC ultimately confirmed COVID-19 was present, along with the other coronavirus strain, NL-63.
Myles was the first known infant to die from COVID-19, according to health officials who announced his death, which was suspected early on to be from the novel coronavirus.
"There has never before been a death associated with COVID-19 in an infant," said IDPH Director Dr. Ngozi Ezike at the time. "A full investigation is underway to determine the cause of death. We must do everything we can to prevent the spread of this deadly virus."
Read more: All of WBEZ's coverage of the COVID-19 outbreak in Chicago and the region
Myles is one of more than 6,000 Illinoisians to die from coronavirus. The second youngest Cook County victim was a 12-year-old boy, Ernesto Guzman, who died in May.
Mariah Woelfel is a general assignment reporter and producer at WBEZ.


text:
Kathleen Prescott
Kathleen "Kathy" Prescott, 58, of Amarillo died Friday, Jan. 27, 2012.
Services will be at 10 a.m. Monday in Schooler Funeral Home Brentwood Chapel. Arrangements are by Schooler Funeral Home, 4100 S. Georgia St.
Kathleen Prescott was born Jan. 3, 1954, in Denver to Kellogg and Rosemary Lyndes. She received a nursing degree from Amarillo
College in 1982. She dedicated her nursing career to Heritage Convalescent Center for 27 years. Her life's true passion was caring for the elderly and improving the quality of their lives. She spent her free time with her patients on special outings and activities that brightened their lives, because that is what meant the most
to her.
She was an avid animal lover who believed in animal rescue. She donated to the American
Society for the Prevention of
Cruelty to Animals and the animal rescue center regularly.
Kathy was an amazing mother and grandmother who loved and cherished her family, friends and Heritage family more than words can describe.
She was preceded in death by her parents; and a great friend, Rue C. Davidson on Nov. 7, 2004.
Survivors include a daughter, Jammie Fladebo of Amarillo; two sons, Jason Fladebo and Scott Fladebo, both of Amarillo; a sister, Mary Glyn and husband Gary of Missoula, Mont., and their
children, Kelsey and Connar; two brothers, Kelly Lyndes and Chris Lyndes, both of Missoula; a
granddaughter, Riley Kae Sims of Amarillo; her best friend, Gena Davidson; and all the staff
members of Heritage.
The family suggests memorials be to ASPCA, P.O. Box 1014,
Amarillo, TX 79105; Animal Rescue Center, 12500 S. Farm-to-Market Road 1541, Amarillo, TX 79118; or Heritage Convalescent Center, 1009 Clyde St., Amarillo, TX 79106.
Sign the online guest book at www.schoolerfuneralhome.com.
Amarillo Globe-News, Jan. 29, 2012


text:
Four suspects in murder of teen cousins granted station bail
By News Source Guyana on September 11, 2020
In a statement last evening, the Police Force would only say that the four were released after the 72-hour period of them being in custody had expired and they are expected to return to the Police station today.
Four of the suspects who were arrested earlier this week in connection with the gruesome murder of teen cousins, Joel and Isaiah Henry have been released on station bail, according to the Guyana Police Force.
The Force offered no other detail and despite repeated questions, would not say how many other suspects remain in custody.
In announcing the arrest of seven suspects earlier this week, the Police Force had also indicated that investigators were on the hunt for three other suspects. It is unclear whether those three suspects were ever arrested.
A post-mortem examination on the bodies of the two teenagers revealed that they were repeatedly chopped to their bodies including to their backs which severed their spine.
The family has indicated that the cousins will be laid to rest on Sunday, one week after their mutilated bodies were discovered in the Cotton Tree Backdam. The two were last seen alive the day before when they left their home to pick coconuts in the Backdam.
Police investigators have claimed that no murder weapon has been found as yet. But bloodstains were found in an area away from the bodies, indicating that the bodies were moved around in the backdam.
The murder of the teenage cousins has led to widespread protests across the West Berbice area. Meanwhile, the Police Force has indicated that it is still probing the murder of the grandson of one of the suspects in the double murder.
The body of 17-year-old Haresh Singh was found in the #3 village backdam on Wednesday. There has been no arrest in that case.
All suspects in murder of Henry cousins released on station bail; DNA evidence gathered for testing
Brother of murdered Berbice teen now wanted for murder of elderly Berbice man
Police disputes Henry family's assault claims during traffic stop; Family stands by story
Police Reward is admission of failure in Berbice teen murders probe; Govt. needs to bring in specialist investigative team -Family Attorney
Harmon calls out Benn and Police for lack of updates on probe of teenage murders
Teens likely murdered away from where bodies were discovered


Description:100% Brand New and High Quality. 1. Rectangular shape and siz..
Type:metal desktop storage boxMaterial: cold-rolled steel Color: orange,red,blue,greenSize: 18.6*10.2*9.5cm (7.3*4*3.7in) Package includes: 1pc*desktop storage box Feature: ..
Item type: storage box Material: plastic Color: orange, rose red, yellow, , green..
12 Grid Plastic Jewelry Storage Box Rhinestone Organizer Container Case Nails Art Supplies For Women Men Plastic Storage Box Color:black/pink/transparent/white Material: Plastic S..
2018 Beautiful Practical Clear Acrylic Rose Flower Box Organizer Cosmetic Container Makeup Tools Holder Useful Flower Gift Box Description&Specification: Material: Acrylic Color: Clear It also..
Specifications Material: Bamboo Color: As picturesSize: As picturesPackage Included:1* tableware storage boxFeature 1.Keep silverware and cutlery neat and organi..
5pcs Portable Toothbrushes Head Cover Holder Travel Hiking Camping Brush Cap Case We don/'t offer the choice of color and style,we will send the product at random,hope you can understand Feature: ..
Thermal Insulated Lunch Box Tote Cooler Bag Bento Pouch Lunch Container Feature: Size(No Tape): 17*15*18 cm(L*W*H) / 6.7*5.9*7.1 inch Quantity: 1 Material: L..
Type:portable travel jewellery organizer caseMaterial: PU Color: red, dark blue, brown, white, pinkSize: 10.8*9.5*5.8cm (4.2*3.7*2.3in) Package includes: 1pc*jewelry storage ..
Item type: storage box Material: plastic Color: orange, rose re..


text:
namespace AutoMapper.Mappers
{
    using System;
    using System.Collections.Generic;
    using QueryableExtensions.Impl;
    using System.Linq;
    using System.Linq.Expressions;
    using System.Reflection;
    using Configuration;
    using Execution;

    public class ExpressionMapper : IObjectMapper
    {
        public object Map(ResolutionContext context)
        {
            var sourceDelegateType = context.SourceType.GetTypeInfo().GenericTypeArguments[0];
            var destDelegateType = context.DestinationType.GetTypeInfo().GenericTypeArguments[0];
            var expression = (LambdaExpression) context.SourceValue;

            if (sourceDelegateType.GetGenericTypeDefinition() != destDelegateType.GetGenericTypeDefinition())
                throw new AutoMapperMappingException("Source and destination expressions must be of the same type.");

            var destArgType = destDelegateType.GetTypeInfo().GenericTypeArguments[0];
            if (destArgType.IsGenericType())
                destArgType = destArgType.GetTypeInfo().GenericTypeArguments[0];
            var sourceArgType = sourceDelegateType.GetTypeInfo().GenericTypeArguments[0];
            if (sourceArgType.IsGenericType())
                sourceArgType = sourceArgType.GetTypeInfo().GenericTypeArguments[0];

            var typeMap = context.ConfigurationProvider.ResolveTypeMap(destArgType, sourceArgType);

            var parentMasterVisitor = new MappingVisitor(context.ConfigurationProvider, destDelegateType.GetTypeInfo().GenericTypeArguments);
            var typeMapVisitor = new MappingVisitor(context.ConfigurationProvider, typeMap, expression.Parameters[0], Expression.Parameter(destDelegateType.GetTypeInfo().GenericTypeArguments[0], expression.Parameters[0].Name), parentMasterVisitor, destDelegateType.GetTypeInfo().GenericTypeArguments);

            // Map expression body and variable seperately
            var parameters = expression.Parameters.Select(typeMapVisitor.Visit).OfType<ParameterExpression>();
            var body = typeMapVisitor.Visit(expression.Body);
            return Expression.Lambda(body, parameters);
        }

        public bool IsMatch(TypePair context)
        {
            return typeof (LambdaExpression).IsAssignableFrom(context.SourceType)
                   && context.SourceType != typeof (LambdaExpression)
                   && typeof (LambdaExpression).IsAssignableFrom(context.DestinationType)
                   && context.DestinationType != typeof (LambdaExpression);
        }

        internal class MappingVisitor : ExpressionVisitor
        {
            private IList<Type> _destSubTypes = new Type[0];

            private readonly IConfigurationProvider _configurationProvider;
            private readonly TypeMap _typeMap;
            private readonly Expression _oldParam;
            private readonly Expression _newParam;
            private readonly MappingVisitor _parentMappingVisitor;

            public MappingVisitor(IConfigurationProvider configurationProvider, IList<Type> destSubTypes)
                : this(configurationProvider, null, Expression.Parameter(typeof(Nullable)), Expression.Parameter(typeof(Nullable)), null, destSubTypes)
            {
            }

            internal MappingVisitor(IConfigurationProvider configurationProvider, TypeMap typeMap, Expression oldParam, Expression newParam, MappingVisitor parentMappingVisitor = null, IList<Type> destSubTypes = null)
            {
                _configurationProvider = configurationProvider;
                _typeMap = typeMap;
                _oldParam = oldParam;
                _newParam = newParam;
                _parentMappingVisitor = parentMappingVisitor;
                if(destSubTypes != null)
                    _destSubTypes = destSubTypes;
            }

            protected override Expression VisitConstant(ConstantExpression node)
            {
                if (ReferenceEquals(node, _oldParam))
                    return _newParam;
                return node;
            }

            protected override Expression VisitParameter(ParameterExpression node)
            {
                if (ReferenceEquals(node, _oldParam))
                    return _newParam;
                return node;
            }

            protected override Expression VisitMethodCall(MethodCallExpression node)
            {
                return base.VisitMethodCall(GetConvertedMethodCall(node));
            }

            protected override Expression VisitExtension(Expression node)
            {
                if ((int)node.NodeType == 10000)
                    return node;
                return base.VisitExtension(node);
            }

            private MethodCallExpression GetConvertedMethodCall(MethodCallExpression node)
            {
                if (!node.Method.IsGenericMethod)
                    return node;
                var convertedArguments = Visit(node.Arguments);
                var convertedMethodArgumentTypes = node.Method.GetGenericArguments().Select(t => GetConvertingTypeIfExists(node.Arguments, t, convertedArguments)).ToArray();
                var convertedMethodCall = node.Method.GetGenericMethodDefinition().MakeGenericMethod(convertedMethodArgumentTypes);
                return Expression.Call(convertedMethodCall, convertedArguments);
            }

            private static Type GetConvertingTypeIfExists(IList<Expression> args, Type t, IList<Expression> arguments)
            {
                var matchingArgument = args.Where(a => !a.Type.IsGenericType()).FirstOrDefault(a => a.Type == t);
                if (matchingArgument != null)
                {
                    var index = args.IndexOf(matchingArgument);
                    if (index < 0)
                        return t;
                    return arguments[index].Type;
                }

                var matchingEnumerableArgument = args.Where(a => a.Type.IsGenericType()).FirstOrDefault(a => a.Type.GetTypeInfo().GenericTypeArguments[0] == t);
                var index2 = args.IndexOf(matchingEnumerableArgument);
                if (index2 < 0)
                    return t;
                return arguments[index2].Type.GetTypeInfo().GenericTypeArguments[0];
            }

            protected override Expression VisitBinary(BinaryExpression node)
            {
                var newLeft = base.Visit(node.Left);
                var newRight = base.Visit(node.Right);

                CheckNullableToNonNullableChanges(node.Left, node.Right, ref newLeft, ref newRight);
                CheckNullableToNonNullableChanges(node.Right, node.Left, ref newRight, ref newLeft);
                return Expression.MakeBinary(node.NodeType, newLeft, newRight);
            }

            private static void CheckNullableToNonNullableChanges(Expression left, Expression right, ref Expression newLeft, ref Expression newRight)
            {
                if (GoingFromNonNullableToNullable(left, newLeft))
                    if (BothAreNonNullable(right, newRight))
                        UpdateToNullableExpression(right, out newRight);
                    else if (BothAreNullable(right, newRight))
                        UpdateToNonNullableExpression(right, out newRight);

                if (GoingFromNonNullableToNullable(newLeft, left))
                    if (BothAreNonNullable(right, newRight))
                        UpdateToNullableExpression(right, out newRight);
                    else if (BothAreNullable(right, newRight))
                        UpdateToNonNullableExpression(right, out newRight);
            }

            private static void UpdateToNullableExpression(Expression right, out Expression newRight)
            {
                if (right is ConstantExpression)
                    newRight = Expression.Constant((right as ConstantExpression).Value,
                        typeof (Nullable<>).MakeGenericType(right.Type));
                else
                    throw new AutoMapperMappingException(
                        "Mapping a BinaryExpression where one side is nullable and the other isn't");
            }

            private static void UpdateToNonNullableExpression(Expression right, out Expression newRight)
            {
                if (right is ConstantExpression)
                    newRight = Expression.Constant((right as ConstantExpression).Value,
                        typeof(Nullable<>).MakeGenericType(right.Type));
                else if (right is UnaryExpression)
                    newRight = (right as UnaryExpression).Operand;
                else
                    throw new AutoMapperMappingException(
                        "Mapping a BinaryExpression where one side is nullable and the other isn't");
            }

            private static bool GoingFromNonNullableToNullable(Expression node, Expression newLeft)
            {
                return !node.Type.IsNullableType() && newLeft.Type.IsNullableType();
            }

            private static bool BothAreNullable(Expression node, Expression newLeft)
            {
                return node.Type.IsNullableType() && newLeft.Type.IsNullableType();
            }

            private static bool BothAreNonNullable(Expression node, Expression newLeft)
            {
                return !node.Type.IsNullableType() && !newLeft.Type.IsNullableType();
            }

            protected override Expression VisitLambda<T>(Expression<T> expression)
            {
                if (expression.Parameters.Any(b => b.Type == _oldParam.Type))
                    return VisitLambdaExpression(expression);
                return VisitAllParametersExpression(expression);
            }

            private Expression VisitLambdaExpression<T>(Expression<T> expression)
            {
                var convertedBody = base.Visit(expression.Body);
                var convertedArguments = expression.Parameters.Select(e => base.Visit(e) as ParameterExpression).ToList();
                return Expression.Lambda(convertedBody, convertedArguments);
            }

            private Expression VisitAllParametersExpression<T>(Expression<T> expression)
            {
                var visitors = new List<ExpressionVisitor>();
                for (var i = 0; i < expression.Parameters.Count; i++)
                {
                    var sourceParamType = expression.Parameters[i].Type;
                    foreach (var destParamType in _destSubTypes.Where(dt => dt != sourceParamType))
                    {
                        var a = destParamType.IsGenericType() ? destParamType.GetTypeInfo().GenericTypeArguments[0]: destParamType;
                        var typeMap = _configurationProvider.FindTypeMapFor(a, sourceParamType);

                        if (typeMap == null)
                            continue;

                        var oldParam = expression.Parameters[i];
                        var newParam = Expression.Parameter(a, oldParam.Name);
                        visitors.Add(new MappingVisitor(_configurationProvider, typeMap, oldParam, newParam, this));
                    }
                }
                return visitors.Aggregate(expression as Expression, (e, v) => v.Visit(e));
            }

            protected override Expression VisitMember(MemberExpression node)
            {
                if (node == _oldParam)
                    return _newParam;
                var propertyMap = PropertyMap(node);

                if (propertyMap == null)
                {
                    if (node.Expression is MemberExpression)
                        return GetConvertedSubMemberCall(node);
                    return node;
                }
                SetSorceSubTypes(propertyMap);

                var replacedExpression = Visit(node.Expression);
                if (replacedExpression == node.Expression)
                    replacedExpression = _parentMappingVisitor.Visit(node.Expression);

                if (propertyMap.CustomExpression != null)
                    return ConvertCustomExpression(replacedExpression, propertyMap);

                Func<Expression,IMemberGetter,Expression> getExpression = (current, memberGetter) => Expression.MakeMemberAccess(current, memberGetter.MemberInfo);

                //if (propertyMap.SourceMember.ToMemberGetter().MemberType.IsNullableType())
                //{
                //    var expression = getExpression;
                //    getExpression = (current, memberGetter) => Expression.Call(expression.Invoke(current,memberGetter), "GetValueOrDefault", new Type[0], new Expression[0]);
                //}
                //else if (propertyMap.DestinationPropertyType.IsNullableType())
                //{

                //}

                return propertyMap.GetSourceValueResolvers()
                    .OfType<IMemberGetter>()
                    .Aggregate(replacedExpression, getExpression);
            }

            private Expression GetConvertedSubMemberCall(MemberExpression node)
            {
                var baseExpression = Visit(node.Expression);
                var propertyMap = FindPropertyMapOfExpression(node.Expression as MemberExpression);
                if (propertyMap == null)
                    return node;
                var sourceType = propertyMap.SourceMember.GetMemberType();
                var destType = propertyMap.DestinationPropertyType;
                if (sourceType == destType)
                    return Expression.MakeMemberAccess(baseExpression, node.Member);
                var typeMap = _configurationProvider.FindTypeMapFor(sourceType, destType);
                var subVisitor = new MappingVisitor(_configurationProvider, typeMap, node.Expression, baseExpression, this);
                var newExpression = subVisitor.Visit(node);
                _destSubTypes = _destSubTypes.Concat(subVisitor._destSubTypes).ToArray();
                return newExpression;
            }

            private PropertyMap FindPropertyMapOfExpression(MemberExpression expression)
            {
                var propertyMap = PropertyMap(expression);
                if (propertyMap == null && expression.Expression is MemberExpression)
                    return FindPropertyMapOfExpression(expression.Expression as MemberExpression);
                return propertyMap;
            }

            private PropertyMap PropertyMap(MemberExpression node)
            {
                if (node.Member.IsStatic())
                    return null;

                var memberAccessor = node.Member.ToMemberAccessor();
                var propertyMap = _typeMap.GetExistingPropertyMapFor(memberAccessor);
                return propertyMap;
            }

            private void SetSorceSubTypes(PropertyMap propertyMap)
            {
                if (propertyMap.SourceMember is PropertyInfo)
                    _destSubTypes = (propertyMap.SourceMember as PropertyInfo).PropertyType.GetTypeInfo().GenericTypeArguments.Concat(new []{ (propertyMap.SourceMember as PropertyInfo).PropertyType }).ToList();
                else if (propertyMap.SourceMember is FieldInfo)
                    _destSubTypes = (propertyMap.SourceMember as FieldInfo).FieldType.GetTypeInfo().GenericTypeArguments;
            }

            private Expression ConvertCustomExpression(Expression node, PropertyMap propertyMap)
            {
                var replaced = new ParameterReplacementVisitor(node);
                var newBody = replaced.Visit(propertyMap.CustomExpression.Body);
                return newBody;
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Subscribe to Print & E-Edition
Augusta Area Times
Buffalo Journal
Cochrane-Fountain
Courier-Wedge
Lewiston Journal
Mondovi Herald
Plainview News
St. Charles Press
Tri-County News
Wabasha Herald
Wabasha Weather
Veterans Day, Fri., Nov. 11th
In Plainview:The Elementary School (Grades K-3) and High School (9-12) will celebrate Veterans with a program beginning at 8:15 a.m. in the high school gym. The Plainview Legion Color Guard will be...
Small town warmth & hospitality at The Magnolia Cottage
By Cheryl Nymann, Editor A local business has changed its' name,is offering different product, but is still providing that great small town shopping experience. Uptown Interiors and Floral has...
Jaxon Stucky heading to State Cross Country Meet
The Bulldogs cross country team traveled to Northern Hills Golf Course on Thursday, October 27th to compete in this year's Section 1A Championships. The weather was about ideal with temperatures in...
Wigham Services from Eyota receives snow bid contract with school district
By Cheryl Nymann, EditorThe regular October School Board meeting was called to order by chair Mike Hamilton at 6:00pm on Monday, October 10th. After the Pledge of Allegiance was recited the Agenda...
Lucas Mestad living the dream in the world of hunting as he films and produces shows
By Cheryl Nymann, Editor You could say that hunting is in his veins. The son of Cindy and the late Daryl Mestad of Elgin, a 2011 graduate of PEM High School, Lucas has been hunting all his life....
Knitted Knockers created locally by Dianne Lutzi
By Cheryl Nymann, Editor Dianne Lutzi of Plainview is using her special gift of knitting to help women who have experienced a mastectomy. After knitting for many years, and having two sisters (along...
Immanuel Lutheran School celebrates 95 years
By Cheryl Nymann, Editor This is the year that Immanuel Lutheran School will be celebrating 95 years in Plainview. Thanks to an enormous amount of leg work from Lisa Hoekstra, there is a great deal...
Elgin High School Class of 1958 holds reunion
When the Elgin High School Class of 1958 graduated from Elgin High When this group of people graduated from Plainview High School, Dwight D. Eisenhower was the President of the United States. In a...
Plainview High School class of 1951 held 65th Class Reunion
By Cheryl Nymann, Editor When this group of people graduated from Plainview High School, Harry S. Truman was the President of the United States. As the Plainview High School graduates from 1951...
Friends of Seniors at Green Prairie Rehabilitation Center kicked off the "Chair'itable Affair" on October 2 with an apple pie and ice cream social
Friends of Seniors (FOS) at Green Prairie Rehabilitation Center kicked off on October 2 with an afternoon of an apple pie and ice cream social for residents and their families. The afternoon was...
GMD Media
See Contact Button at top left for each office Phone Number,
200 Industrial Court
PO Box 109, Wabasha, MN 55981


We are an authorized dealer for quality brand name professional sound, audio, lighting, video and staging products.
Through our very personal sales style, we help you make informed choices that fit your needs exactly. We don't believe in just making a sale, and we simply will not sell you something you don't need.
Ask about our free shipping within Saskatchewan and Alberta on most new products!
Scroll down to see a partial list of the brands we are licensed to sell. If you don't see what you're looking for, let us know.


Fifth-grader Malin Glade, 11, shows off her T-shirt design for Top of the World Elementary School's Waste-Free Wednesday event.
Many Top of the World Elementary School students said goodbye on Wednesday to one-time-use plastic bags, brown sacks and Lunchables.
Instead, students came with colorful lunch boxes, Tupperware of all sizes, and a few kids even had Tiffins.
"I was really surprised," said student council member Spencer Collins, 11. "I thought there was only going to be a couple of kids, but there was like 80. There was a lot of kids. We should keep doing it."
The K-5 school kicked off its newest Green Team initiative, Waste-Free Wednesdays, to encourage kids to live more sustainability at least one day a week.
"We're encouraging the children to bring lunches in things that are waste-free," said parent Kimberly Leeds, who also is the Green Team chairwoman for the school's Parent Teacher Assn.
The student council members were on the lookout at lunch for their peers who were following the waste-free guidelines. They handed out special tickets to those who did. The tickets give students a chance to win prizes in drawings and a special T-shirt designed by fifth-grade student Malin Glade.
"It will be exciting to see my classmates wear it," said Malin, who won a design contest.
The T-shirts are sponsored by Hobie Sports owner Mark Christy, who has pledged one T-shirt for every student and teacher who participates. The Laguna Beach resident has also promised a surprise at the end of the year, Leeds said.
The Laguna Canyon Foundation is also supporting the program by donating prizes throughout the year, like maps and Keep it Wild T-shirts, that students can win by earning raffle tickets for participating after they earn the first T-shirt.
Leeds, a long-time naturalist and educator, came up with the idea for Waste-Free Wednesdays.
She said most one-time-use containers are plastic, which are petroleum-based, and that finite resource should be reserved for more important uses. Plastic also isn't recycled enough and ends up in landfills and waterways, where it stays forever because it isn't biodegradable, Leeds said.
"We have to make some changes, and this is a good start," she said.
Fifth-grade student Kendra Nugent, 10, brought her lunch in her usual purple lunch pail, but instead of plastic baggies, she used the rarely used Tupperware her family already had.
"It's fun and a way to make sure we don't have waste," Kendra said. "I'm going to try to do it every day."


text:
Q: asp label visible false and true in telerik grid depends on combo box selected item depends on the  selected telerik combox item i would like to display the label name and text box when im writing the code like this in aspx page
<telerik:GridTemplateColumn DataField="DeductionCode"   Visible="false" UniqueName="DeductionCode"  HeaderText="DeductionCode">
                                    <ItemTemplate>
                                        <asp:Label runat="server" Visible="false" ID="lblDeductionCode"   Text='<%# Eval("DeductionCode") %>'></asp:Label>
                                    </ItemTemplate>
                                    <EditItemTemplate>
                                        <telerik:RadTextBox ID="txtDeductionCode" Visible = "false" runat="server" Text='<%# Bind("DeductionCode") %>' MaxLength="2"></telerik:RadTextBox>
                                        <asp:RequiredFieldValidator  ControlToValidate="txtDeductionCode" ID="rfvtxtDeductionCode" Display="Dynamic" runat="server" ></asp:RequiredFieldValidator>
                                        <asp:RegularExpressionValidator id="revtxtDeductionCode"
                                               ControlToValidate="txtDeductionCode"
                                               ValidationExpression="^[a-zA-Z0-9'`-´\s]{2}$"
                                               Display="Dynamic"
                                               ErrorMessage="Please Enter 2 charecters only"
                                              runat="server"
                                              SetFocusOnError="True" />

                                    </EditItemTemplate>
                                </telerik:GridTemplateColumn>

when im trying to write the on page_load lbldeduction= false the label name is displaying error message..another way i trying to visible false and true in selectedindexed function on compiling time displaying the error like lbldeductioncode is having null value but texbox is working fine like visible false and true..only the problem is i cant able to do the label name visible false and after selected combox item label name visible true..

A: I found a demo on the Telerik site that can give you a head start with your implementation - take a look at it here.
Dick

redpajama_set_name: RedPajamaStackExchange


An Evening with Bill Rauch and Stephen Greenblatt | A.R.T.
On Wednesday January 9, American Repertory Theater Members were invited to an exclusive conversation with Oregon Shakespeare Festival artistic director Bill Rauch and John Cogan University Professor of the Humanities at Harvard Stephen Greenblatt. The conversation centered around the themes, motifs, and issues raised in the 2018/2019 A.R.T. production of Othello.
Shakespeare's most intimate tragedy explores society's polarizing struggles with difference.