text:
Die k.u.k. Generalität war die Gruppe der ranghöchsten Offiziere  de Landstreitkräfte Österreich-Ungarns 1867–1914. Sie führten größere Truppenverbände und bekleideten  leitende Stellungen bei den Zentralbehörden.

Hierarchie

An der Spitze der Dienstgradgruppe der Generäle stand der Feldmarschall (FM). Letzter Feldmarschall vor dem Ersten Weltkrieg war Erzherzog Albrecht, der 1895 verstarb. Danach wurde dieser Dienstgrad bis zum Ersten Weltkrieg nicht mehr vergeben. (Ausgenommen hiervon war der Kaiser, dem dieser Rang automatisch zustand.)

Unter dem FM folgte der General der Kavallerie, bzw. der Feldzeugmeister. (Die Bezeichnung General der Kavallerie war Offizieren vorbehalten, die aus der Kavallerie kamen. Alle anderen wurden Feldzeugmeister genannt.) Ab 1908 wurde der Rang General der Infanterie eingeführt. Die Feldzeugmeister kamen seitdem nur noch aus der Artillerie bzw. dem Artilleriezeugwesen und dem militärgeographischen Dienst. Diese Ranggruppe stellte die Korpskommandanten (als größte Truppenformation im Frieden).

Die Feldmarschalleutnants bekleideten für gewöhnlich die Stellung eines Divisionskommandanten, und die Generalmajore wurden in der Verwendung als Brigadekommandanten eingesetzt. Der Rang des Generaloberst wurde erst 1915 eingeführt.

Adjustierung, Ausrüstung und Bewaffnung
Unterschieden wurde zwischen deutschen und ungarischen Generälen. Die Uniform der ungarischen Generäle durfte nur von solchen Offizieren getragen werden, die vorher Oberst eines Husarenregiments gewesen waren.

Deutsche Galauniform

Die deutsche Galauniform  bestand aus einem Hut mit Federbusch, weißem Waffenrock und scharlachroten Pantalons mit Goldborten.

 Deutsche Dienstuniform zu Paraden Hut mit Federbusch, hechtgrauer Waffenrock, blaugraue Pantalons mit  scharlachroten Lampassen.

 Deutsche Dienstuniform im Feld, bei Waffenübungen und auf dem Marsch Feldkappe, Waffenrock und Stiefelhose

Ungarische Galauniform

Die ungarische Galauniform bestand aus dem Kalpak mit Reiherbusch, scharlachroter Attila, weißem Pelz, scharlachroter Stiefelhose, Tschismen mit goldener Schnur und Rosette.

 Ungarische Dienstuniform zur Parade Tschako mit Federbusch, hechtgraue Attila, (bei entsprechenden Witterungsverhältnissen  hechtgrauer Pelz) blaugraue Pantalons mit scharlachroten Lampassen.
 Ungarische Dienstuniform im Feld, bei Waffenübungen und auf dem Marsch Feldkappe, hechtgrauer Pelz, hechtgraue Attila, blaugraue Stiefelhose, Tschismen mit lederner Schnur und Rosette.

Die Galauniform war zu tragen bei: Audienzen, bei Hof- und Ordensfesten sowie bei Missionen an fremden Höfen. Sie war nur zu Fuß und nicht im Truppenverband gestattet. Die ungarischen Generäle hatten den Pelz umgehängt zu tragen, ausgenommen andere Generäle erschienen im Mantel, dann musste der Pelz angezogen werden. Der Mantel der deutschen Uniform war anzulegen, wenn die Truppe im Mantel ausgerückt war, die ungarischen Generäle hatten ihn nur bei Regenwetter zu tragen, dann musste er über der Attila angezogen werden.

Adjustierung der deutschen Generäle
Galakopfbedeckung war ein Stulphut nach Art der Militärärzte mit einer goldenen, 8 cm breiten Zackenmusterborte und einem Busch aus grünen Geierfedern. Daneben gab es noch die Feldkappen nach Art der Infanterieoffiziere. Der Galawaffenrock bestand aus weißem Tuch mit scharlachroter Egalisierung und zwei Reihen von gelben Knöpfen im Generalsdessin. Der Waffenrock zur Dienstuniform war aus hechtgrauem Tuch und ähnlich dem Galarock geschnitten.

Die Dienstgradabzeichen der Generäle unterschieden sich von den übrigen Offizieren. Generäle bis zum General d. K. bzw. dem FZM trugen am Kragen eine 3,3 cm und an den Ärmelaufschlägen eine 5,3 cm breite, mit Zackenmuster besetzte Goldborte. Der Generalmajor trug am Kragen einen, der Feldmarschalleutnant zwei und der GdK/FZM je drei silbergestickte Sterne. Der Feldmarschall hatte keine Sterne, sondern je ein goldgesticktes Akanthusblatt links und rechts auf dem Kragen.

Die, mit scharlachroten Parolis ausgestattete, hechtgraue Bluse war nur zum Bürodienst, bei Dienstreisen und entsprechenden Gelegenheiten zugelassen. Feldmarschmäßig war sie nicht zu tragen. Die, zur Galauniform getragenen, scharlachroten Pantalons hatten an beiden Seiten einen Besatz aus Goldborten; die zur Dienstuniform gehörenden blaugrauen Pantalons dagegen an jeder Seite zwei 3,3 cm breite Lampassen. Die Hose der Dienstuniform konnte auch als Stiefelhose (Breeches) ausgeführt werden.

Der Mantel bestand aus blaugrauem Tuch mit scharlachroten Passepoils und Parolis. Das Futter war ebenfalls von scharlachroter Farbe.

Die Generäle führten eine besondere Art der Feldbinde, die aus Goldfäden und mit schwarzer Seide durchwirkt war. Die von der Quaste herabhängenden Fransen bestanden aus gedrehten Steckbouillons. Seitenwaffe war der Infanterieoffizierssäbel.

Adjustierung der ungarischen Generäle
Zur Galauniform gehörte ein Kalpak aus Edelmarder mit einer Höhe von 17 cm. Am Kalpak befand sich der Mützenbeutel aus scharlachrotem Tuch, der bis zum Rand herabreichte und eine Anhängeschnur zur Zierde. Die Anhängeschnur war aus 4 mm dicken, vierkantigen Schnur, die goldfarbig und schwarzgeritzt war. Dazu kamen noch zwei Rundflechten samt Quasten. Die Schnur war doppelt gelegt und in 17 Glieder geflochten. Die Anhängeschnur war mit Hafteln an der rechten Seite des Kalpaks befestigt; der geflochtene Teil hing dabei bogenförmig herab. Vorne wurde der Kalpak mit einem 32 cm hohen, weißen Reiherbusch verziert. Er wurde mit Eichel von mattem Goldgeflecht gehalten, das mit schwarzer Seide meliert war. Abgedeckt wurde der Ansatz durch schwarze gekrauste Federn von 3,5 cm Länge. Zur Dienstuniform wurde ein Tschako mit Federbusch getragen, wie er in der Form für die Husarenoffiziere üblich war, allerdings mit einem schwarzen Tuchüberzug. Der Schirm hatte am vorderen Rand eine Stickerei aus Goldfäden, den Übergang zum Stumpen verdeckte eine goldene Kettenschnur. Der Tschakoadler hatte die Form des Dragoneradlers entsprach in der Größe allerdings dem Adler der Husarenoffiziere. Die Rangborte war 6,6 cm breit und war gleich der Borte an den Ärmelaufschlägen für Generalswaffenröcke. Am Tschako befand sich eine Schnurverzierung aus 3 mm dicken Schnüren, goldfarbig und doppelt gelegt die an den Enden mit je einem Rundgeflecht mit Quaste besetzt waren. Die Rundgeflechte ähnelten denen am Husarentschako. Der Federbusch aus grünen Geierfedern war aufgerichtet befestigt und 15 cm hoch. Oben hatte er eine Breite von 11 cm. Die Feldkappe war ähnlich denen der Infanterieoffiziere.

Die zur Galauniform vorgeschriebene Attila war aus scharlachrotem Tuch hergestellt und glich im Schnitt der Husarenattila. Die Verzierungen waren aus goldenen Kettenschnüren, Oliven und Rosetten mit Gold übersponnen. Anders als bei der gewöhnlichen Offiziersattila hingen jedoch hier die Schlingenenden herab. In der gleichen Form war die weiße Pelzattila hergestellt. Für alle Generäle waren die Ärmel der Attilas mit gezackten Borten besetzt, jene der Feldmarschälle jedoch mit einem Muster nach Art des Akanthusblattes. Zur Dienstuniform gehörte eine hechtgraue Attila, deren Kragen und Aufschläge aus Egalisierungstuch und die Verzierungen aus gold-schwarz melierten Attillaschnüren bestanden. Die hechtgraue Pelzattila war mit weißem Pelz verbrämt und unterschied sich ansonsten nicht von der weißen Pelzattila.

Zur Galauniform wurde eine scharlachrote Stiefelhose mit 2 cm breiten Vitéz Kötés aus Goldborten getragen. An den Schenkelnähten befand sich eine gleiche, 2,6 cm breite Borte. Die blaugrauen Pantalons zur Dienstuniform waren gleich den deutschen Generälen. Sowohl zur Dienst- als auch zur Galauniform gehörte ein Leibgürtel aus Gold- und schwarzseidenen Schnüren mit einer Breite von 4,6 cm. Dieser Gürtel wurde von mit Knebel und Schlinge zusammengehalten.

Fußbekleidung waren die ungarischen Stiefel, sog. Tschismen, die zur Dienstuniform aus unlackiertem Kalbsleder; zur Galauniform jedoch schwarzem Korduanleder bestanden. Letztere waren mit goldener Kettenschnur, Rosetten und Husarensporen versehen.

Der Mantel war der der Kavallerieoffiziere, aus braunem Tuch jedoch mit scharlachrotem Futter. Als Seitenwaffe diente auch hier der Infanterieoffizierssäbel.

Museale Rezeption
Im Wiener Heeresgeschichtlichen Museum sind zahlreiche Objekte von namhaften Mitgliedern der k.u.k. Generalität ausgestellt. So können beispielsweise der Marschallstab von Feldmarschall Erzherzog Friedrich und die Feldblusen, Orden- und Ehrenzeichen sowie Marschallstäbe der Feldmarschälle Erzherzog Eugen, Boroević von Bojna, Alexander von Krobatin und Kövess von Kövesshaza besichtigt werden. Die Uniform und der Marschallstab von Feldmarschall Conrad von Hötzendorf ist ebenfalls der Öffentlichkeit zugänglich. Darüber hinaus sind die jeweiligen Vitrinen auch mit diversen persönlichen Gegenständen aus dem Besitz der erwähnten höchstrangigen Offiziere befüllt.

Literatur
 Österreichisches Staatsarchiv/Kriegsarchiv in Wien (Adjustierungsvorschrift für das k.u.k. Heer, III. Teil, Wien 1911)
 Glenn Jewison, Jörg C. Steiner: The Austro-Hungarian Land Forces 1848-1918
 Allmayer-Beck, Lessing: Die K.(u.)K.-Armee. 1848–1914. Bertelsmann, München u. a. 1974, ISBN 3-570-07287-8.
 Stefan Rest, M. Christian Ortner, Thomas Ilming: Des Kaisers Rock im Ersten Weltkrieg – Uniformierung und Ausrüstung der österreichisch-ungarischen Armee von 1914 bis 1918, Verlag Militaria, Wien 2002, ISBN 3-9501642-0-0
 Das k.u.k. Heer im Jahre 1895 Schriften des Heeresgeschichtlichen Museums in Wien – Leopold Stocker Verlag, Graz 1997

Weblinks

Einzelnachweise

Generalitat


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Another year has come and gone. I'm doing my art thing, and luckily I still love it. That being said, it can be quite challenging at times.
I seem to learn a big lesson every year, especially through the chaos that is the holiday season. This year was no different, although I would prefer to learn my lessons without feeling like I am dying. I came down with what felt like a small case of the black plague in which I was pretty much incapacitated and struggled to move, let alone work.
Because I am hard headed, I pushed through it and got to work in the studio. Which always ended in me feeling worse and crashing. The next morning I would feel slightly better or worse and I would push myself again. This pattern continued for several days, until I just couldn't push at all.
To my surprise my internal conversation had become vicious. I felt like I was a worthless waste of space because I wasn't working.
I paused for a moment to evaluate my thoughts.
I realized that I was pushing myself hard because I was afraid that if I took time off, I would cause irreparable damage to my art career.
If you're sick, take care of yourself, the hell with work.
If you love what you do, be careful not to turn it into work.
The world will be fine if you take some time off.
Working hard is not the same as working smart.
If you start taking yourself too seriously, stop.
Just have fun, life is too short to be caught up in seriousness.
Don't try to impress anyone, you're already impressive.
You've got nothing to prove, just follow your heart.
I love chicken soup, lime, and cayenne pepper when I'm sick.
It's OK to binge watch Netflicks when you are ill.
You and Klee INSPIRE me (i needed to put that in capital letters). Loving the youtube videos, and all the goood advice. May this year be even better for the two of you.
Awesome advice. I like #5 and 6!


Heather Mickman is the leader for the API and Integration team at Target and a DevOps enthusiast. Throughout her career, Heather has continuously embraced hard technology challenges, from consulting with large Fortune 50 companies on supply chain approach, implementing warehouse automation technologies, running large Ops and support organizations, to establishing enterprise security approaches. She has a passion for technology, building high performing teams, driving a culture of innovation, and having fun along the way. Heather lives in Minneapolis with her two sons and two dachshunds.


Okay so I've searched and searched and I can't seem to find anyone who's been able to pull this off, and every time someone asks, they're referred to Juiced Technology's Exact Form Plus add-on, which I'm sure is great, but that costs money that I don't want to spend, and I think it would be really cool if I could pull this off myself. I've been at it all day and I've gotten pretty far, but now I'm at a roadblock and need help!
in a text area of my exact form. Functionally, this solves my issue, (the query ensures that only the related child records are shown, '36' is the fid of the Related Record field on the child form, and '"+ field["Record ID#"]+"' is the rid of the parent). The problem with this method though is that the report looks just like it does on Qbase, and isn't anything close to how my exact form is formatted.
The problem with this method though, is that I can't figure out how to filter the records so only the related child records show up, so now I have this massive list of unrelated records on my exact form.
What am I doing wrong? Is there an easy way to pull the record ID from QB and place it in my query?
But if I do that, then it's wanting to grab the rid (fid 3) from the child table, when it need to find the parent rid..
I can certainly understand that you would rather not pay an additional charge for functionality like this. However, we've found that most of our clients do not have the time or resources or don't want to spend the time and resources to attempt to perfect this as you are doing. They instead have focused their time and resources on their business and so they appreciate that there are add-ons like Exact Forms Plus available to them that can provide that extra functionality that they want and need. Although embedding the child data as you are trying to do on your own is a powerful feature of Exact Forms Plus, there are many other features that help justify its cost. We at Juiced are always looking to add additional functionality to Exact Forms Plus to make it even more attractive as well.
We are also getting ready to release a new add-on for NO monthly charge...Exact Forms Basic. This will provide a lot of functionality that is not available with native Exact Forms, including the embedded child data formatting that you are working on. It will be a scaled down version of Exact Forms Plus with limits on the number of documents you can create every month and limits on some advanced functionality but it will hopefully be something that a lot of QuickBase users will find a value with.
We plan on offering this add-on for NO monthly charge, just a small one-time setup charge to cover the time it takes to install it in your app. Availability will be on or around December 1. I'll post back here with more details as we get closer to making Exact Forms Basic available.
And a special offer to you Matthew for starting this thread, you can be our first pre-release client on Exact Forms Basic. Let me know if you are interested.
I understand the convenience and capability of EF+, but it's just in my nature to try to accomplish things on my own, sometimes just to see how close I can get.
As of today I've answered my own question. I couldn't get the syntax correct for the query on method 2, so I stepped back and thought about method 1. Using method 1 I was able to properly set up the query to filter and organize exactly what i wanted to display, (which took care of the hard part in my opinion.) Then I had to figure out how to get the formatting correct, so I spent some time reading through stackexchange and W3Schools.com, and basically created my own CSS page with styling code that overrides the CSS page that gets generated by QBase for the embedded table, and after some tinkering I've actually pulled it off! I have an embedded report on my exact form, that actually matches the formatting on the rest of my form, and I did it all myself. Oh and here's a kicker, when I started this, I knew next to nothing about CSS and how it applies to HTML aside from simple in-line stuff.
Now that being said, there is a risk to all of this: if the QBase developers change the way that the CSS or HTML gets generated for these embedded tables, there is a chance that my CSS overrides will stop working. Not the end of the world, but it would take time to try and fix it.
So Keith, I might be interested in the Exact Forms Basic product. I'd like to see what the capabilities and limitations are compared to EF Plus, and get some more info about it. How can I contact you?
Maybe things have changed by now, but can you give any insight into where you edited the CSS to change the embedded table formatting? I've been looking at the w3schools pages, but I haven't had any luck changing the table font through the inline tags or internal style sheet. I tried copying the QB style sheet, changing all the font tags, and changing the CSS reference to my new external version. Nothing has changed the font in the embedded table.
good for you, persistence pays off. Always a good feeling when you can get creative with QuickBase and get it to do what you want it to do.


Colony Construction is a leader in asphalt paving serving the Central Virginia area for 29 years. Founded in 1989, we are now more than 150 employees strong!
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text:
Biografia

È un aborigeno australiano, del distretto di Wimmera.

Progressione

Palmarès

Altre competizioni internazionali
2014
 6º all'IWC Meeting ( Hengelo), lancio del disco - 64,38 m
 6º all'Adidas Grand Prix ( New York), lancio del disco - 62,55 m
 8º all'Athletissima ( Losanna), lancio del disco - 63,23 m
 9º all'ISTAF ( Berlino), lancio del disco - 60,09 m
 8º al Memorial Van Damme ( Bruxelles), lancio del disco - 62,38 m
 5º in Coppa continentale ( Marrakech), lancio del disco - 61,97 m

2015
 8º agli FBK-Games ( Hengelo), lancio del disco - 60,52 m

Voci correlate
 Australia ai Giochi della XXIX Olimpiade
 Coppa continentale di atletica leggera

Collegamenti esterni

Australiani aborigeni

redpajama_set_name: RedPajamaWikipedia


Shop the exact products the pros use on the red carpet.
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The mother of Foula's only school pupil is relieved that her son can finally get back to school now that the building has been declared safe after being closed for four weeks.
Resident Penny Gear was taking 10-year-old Jack to school last month when she noticed one of the school's chimneys was "waving around" in a westerly gale. She reported it to head teacher Jayne Smith, who closed the school, deeming it unsafe.
Workmen finally got into the island on Tuesday and replaced the rusty chimney bracket, enabling the school to re-open. The size of the chimney meant that it could have damaged the roof if it had fallen, or even injured someone.
Since the chimney, which extends 10-feet above the school, came adrift Ms Gear had been educating Jack at home. But neither of them found it satisfactory and would have welcomed more support from the council's education department.
In response SIC education quality improvement officer Jerry Edwards said that Jack had only actually missed six days of school in Foula – the rest of the time he had been on pre-planned trips off the island.
The logistics of Jack commuting to Sound would have been very difficult, she said. Jack would have had to travel with his teacher, [Ms Smith], and accommodation would have had to be found.
That situation, coupled with the infrequency of flights, meant that the suggestion of Jack attending Sound School was unrealistic, said Ms Gear.
Jack does sometimes go to Sound School – for example, when there is a school trip. He also goes there for a week at a time when his mother is at Lerwick's pony sale.
Ms Gear said she liked him going to Sound to "get used to a classroom situation and to help with the transition to Anderson High School". But she did not think he should have to go there for a month while Foula's school was being repaired.
Ms Gear also said the workmen should have come into the island sooner – having been told it was an emergency. Local men secured the chimney with a rope, but the bracket was corroded and needed to be fixed properly.
But, said Ms Gear, the workmen were reluctant to come to the island unless they could get out the same day.
Meanwhile, Ms Smith has had her own problems in her home, the former manse. She had a flood which shorted the wiring, leaving her with no choice but to leave the island.
A temporary repair was carried out on Tuesday, when the workmen also secured the chimney.


text:
RC44 Class to Favor Fleet Racing in 2017
Published on October 31st, 2016
A decade since its launch the RC44 Championship Tour will take on a new racing format that fully focuses on fleet racing for the 2017 season. Whereas tour events previously had five days of racing – one day for match racing and four days for fleet racing – the schedule will now be reduced to four days of only fleet racing.
"The bang-bang nature of match racing does a lot to hone the communications and boat handling for the owners and crews in tight situations," explains Principal Race Officer Peter Reggio. "It will still play an important part in the practice day prior to competition, but the new format will now allow the teams to fully focus on their fleet racing game."
With three to four races per day over a four-day regatta, the RC44 Championship Tour offers the fleet more racing each season than any other owner driven racing circuit.
"The match racing is part of the heritage of the Class and something we are keen to keep in the format of racing," added Chris Bake, owner of Team Aqua, who has competed in the Class since 2007. "But adding it into the practice day means less pressure on the owners, one less day each regatta which is more manageable with our schedules, but still the same number of races over the season."
The 2017 season will comprise of five European events. Starting in Sotogrande, Spain (April 27-30), the fleet will return to the iconic Sardinian sailing mecca of Porto Cervo, Italy (June 29-July 2), before moving onto to the Marstrand, Sweden for the 2017 RC44 World Championship (August 9-13).
After three seasons with the fleet Nico Poons, owner of Monaco based team Charisma, commented: "Next year's calendar looks good; I'm looking forward to the world championship event in Marstrand. The wilder conditions, with the strong breeze and big sea, really brings out the best in the design of these boats."
"I don't know if there is something in the snaps or the heavy breeze, but we always seem to perform well in Sweden," added Bake with a smile.
The penultimate regatta of the season will be held in the sailor's favourite stop, Cascais, Portugal (September 28– October 1), with the season finale in November to be announced in the coming weeks.
"The key aspects that first attracted me to this class still holds true – it's one-design, it's a team boat and because of the one-design rule it all comes down to skill to differentiate you from your competitor," notes Bake. "If you are in sync, this class is immediately gratifying, there is nothing else quite like it. The one-design rule is closely managed so leading the fleet is all the feedback you need. Just look at the points, it's ridiculous how close the racing is."
Still to come the final event of the 2016 RC44 Championship Tour is set to take place in Valletta, Malta next month, November 23-27, where the season match and fleet racing champion will be crowned.
The RC44 Valletta Cup is followed by The Yacht Racing Forum, the leading annual conference for the business of sailing and yacht racing, from the November 28-29 in Malta.
2017 RC44 Championship Tour
April 27 – 30 RC44 Sotogrande Cup 2017, Spain
June 29 – July 2 RC44 Porto Cervo Cup, Italy
August 9 – 13 RC44 Marstrand World Championship, Sweden
September 28 – October 1 RC44 Cascais Cup, Portugal
November 23 – 26 RC44 Calero Marinas Cup, Lanzarote
Class details – Facebook
Report by RC44 Class.
Tags: RC44, RC44 Championship Tour
2020 44Cup season cancelled →
44Cup: New venue for 2020 season →
CEEREF does the double at 44Cup Palma →
CEEREF masterful at 44Cup Palma →

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Extract List to list am trying to deserialise a json as below
[{"HereList":{"values":[[13.38,52.51],[13.428,52.523]]},"type":"double"}]

as following
public class HereList
{
    public List<List<double>> values { get; set; }
    public string type { get; set; }
}

can someone guide how to extract the values ([[a,b],[c,d]]) into single List here.
tried some thing like this
HereList ge = new HereList();
        var x = ge.values;

        foreach(var val in x)//[13.38,52.51]
        {
           //Pupulate List<double> with //[13.38,52.51]
        }

A: Use IEnumerable<T>.SelectMany.
HereList ge = new HereList();
var allValues = ge.values.SelectMany(x => x).ToList();

A: Based on your updated question and code example, the following should work.
To extract the inner list (assuming you want to disregard the information you have in the rest of your model) and put all that information in one big list you can do the following:
// Variables from your model
HereList yourCustomModel = new HereList();
List<List<double>> values = yourCustomModel.values;

// Create a new list to store your values in
List<double> allValuesInOneSingleList = new List<double>();

// Loop through each list in values and add it to your one big list
foreach(List<double> innerList in values)
{
    allValuesInOneSingleList.AddRange(innerList);
}

Usage of List.AddRange(collection As IEnumerable(Of T)) method.

A: SelectMany would help if the requirement is just to flatten an jagged array, but as i stated my requirement was Array of array.
I found the answer to be :
double[][] lo = HereList.values.Select(a => a.ToArray()).ToArray();

redpajama_set_name: RedPajamaStackExchange


This question is geared up to allow you to talk about people in your life who you might find interesting or inspiring.
With each actor you choose, think of several examples of how the work they've done has influenced or inspired you - and how you can bring this back to your career.
There were only 28 babies in 2013 called Gary - could you remember this for an interview question?
Remember - if you're naming people because you think they'll make you sound intelligent you won't get anywhere if you've just said a name to sound impressive but don't actually have a clue who they are.


α  The order of the D64 point group is 128, and the order of the principal axis (C64) is 64. The group has 35 irreducible representations.
β  The D64 point group is isomorphic to D32d and C64v.
γ  The D64 point group is generated by two symmetry elements, C64 and a perpendicular C2′ (or, non-canonically, C2″).
ε  The lowest nonvanishing multipole moment in D64 is 4 (quadrupole moment).
This Character Table for the D64 point group was created by Gernot Katzer.


This special report focuses on the events of September 11 2001.
How Britain has been affected by the increased threat of terrorist activity.
News on the military action which followed the terrorist attacks.
The latest on the anthrax alerts around the world.
These guides need Macromedia Flash to work - you can download it here free.
A day-to-day record of events since the terror attacks of September 11.
September 15, Richard Dawkins: Promise a young man that death is not the end and he will willingly cause disaster.
November 11, Anthony Holden: Surely this of all years belonged to traumatised, defiant, heroic New York, now more than ever the epicentre of America and the civilised world.
October 11: Has it? And, if so, how is the one we live in now different? One month after the attacks, 23 eminent figures offer their answers.
November 11: As the sifting of human remains goes on, banks and lawyers join a scramble for the spoils, writes Ed Vulliamy.
November 13: Two months and a day after the apocalyptic attack on the World Trade Centre, New Yorkers were yesterday glued to their TV screens once more, watching plumes of smoke rise from the wreckage of an air crash. Amanda Foreman describes reactions to the city's latest disaster.
September 11: A second plane hits the burning World Trade Centre and the twin towers collapse; witnesses tell what they saw.
September 11: 'Today our way of life came under attack'.
September 11: Rescue workers and a priest in the rubble.
Special report: How the world's media have responded to the events of September 11.
September 20: Guardian cartoonist Martin Rowson explains the dilemmas - and the validity - of rendering tragic and momentous events such as the US terror attacks as satirical illustration.
Postbag: The terrorist attacks in America have led to a substantial increase in our postbag. Here we publish a selection of your letters that have not appeared in the print edition of the Guardian.
Images from the attacks and the immediate aftermath.
Thousands of people died in the devastating terror attacks. Here we publish the names of those known to have perished on the four hijacked airliners, plus unofficial lists of British and Irish nationals unaccounted for.
September 23: Mark Georgiou of BBC's Six O'Clock News on bringing home the reality of Manhattan.
Jo Casley, a Briton working for Reuters in New York, witnessed the attacks on the World Trade Centre from her office before joining the disbelieving crowds on the streets.
Weblog special: Our selection of eyewitness reports, comment and analysis from websites in the US and worldwide.


text:
NSFW: After Fort Hood, another example of how 'citizen journalists' can't handle the truth
I'd probably feel slightly smug, if I didn't feel so sick.
Smug that after two weeks of me suggesting that social media might not be an unequivocally Good Thing in terms of privacy and human decency, the news has delivered the perfect example to support my view.
Unfortunately it's hard to feel smug – hard to feel anything but sadness and nausea – when thirteen innocent people are dead.
I'm talking, of course, about Thursday's Fort Hood shootings. Better informed and more sensitive commentators than I have written about the massacre itself and what it means for the US army, and in particular for the thousands of Muslim soldiers currently fighting – and dying – for this country. How do you even begin to process the idea of an American soldier shouting the takbir, before mowing down his comrades in arms? On American soil? At the home base of the Combat Warrior Stress Reset program? Yes, that's definitely one for the experts to parse.
And yet, the first news and analysis out of the base didn't come from the experts. Nor did it come from the 24-hour news media, or even from dedicated military blogs – but rather from the Twitter account of one Tearah Moore, a soldier from Linden, Michigan who is based at Fort Hood, having recently returned from Iraq.
When Major Nidal Malik Hasan began his killing spree, commanders immediately put the base into lock-down in accordance with military procedure. Movements in and out were severely restricted, as was the flow of information to the news media. Official statements from army spokesperson Lt. Gen. Robert Cone were the only way for reporters to find out what was happening, while other base personnel focused on treating the wounded, and ensuring the threat had been dealt with. Or at least that's what the commanders thought was happening. In reality Ms Moore's was tweeting minute-by-minute reports from inside the hospital where the wounded were being taken for treatment.
Reports like (in no particular order)…
[T]hey just brought a CART full of boxes w/transplant parts in them. Not good not good. #fthood
Ok we just saw a soldier on a stretcher w/2 armed guards walking by He didnt look like he was in great condition.
Maj Malik A Hassan. He shouldn't have died. He should be in the worst suffering of his life. It's too fair for him to just die. Bastard!
A FUCKING MAJOR? Are you kidding me? A MAJ! For those of ut hat don't know, Army MAJ have pretty serious rank. Dick
Someone just started shooting in Commanche 4 which is on post housing. What are these people thinking?!?
The poor guy that got shot in the balls http://twitpic.com/oejh5
That last twitpic link was particularly amazing: it showed a cameraphone image – of a wounded soldier arriving at the hospital on a gurney – taken by Moore from inside the hospital. Unsurprisingly, Moore's coverage was quickly picked up by bloggers and mainstream media outlets alike, something that she actively encouraged by tweeting to friends that they should pass her phone number to the press so she could tell them the truth, rather than the speculative bullshit that was hitting the wires.
There was just one problem: Moore's information was bullshit too.
As we now know, Major Hassan was not killed, but rather captured alive. Reports of a second – and third – shooter also now appear to be inaccurate. Whether someone was shot "in the balls" hasn't been publicly confirmed and, for the sake the of the victim's privacy, let's hope it never is – but the point is that many of Moore's eye-witness reports weren't worth the bits they were written on. They had no value whatsoever, except as entertainment and tragi-porn.
Two weeks ago, I wrote here about how the 'real time web' is turning all of us into inhuman egotists. How we're increasingly seeing people at the scene of major accidents grabbing their cellphones to capture the dramatic events and share them with their friends, rather than calling 911. Last week I went even further with my doom-mongering, suggesting that the trend of adding people's homes to Foursquare without permission was indicative of a generation that prioritised their own fun over the privacy of their friends.
In the actions of Tearah Moore at Fort Hood, we have the perfect example of both kinds of selfishness.
There surely can't be a human being left in the civilised world who doesn't know that cellphones must be switched off in hospitals, and yet not only did Moore leave hers on but she actually used it to photograph patients, and broadcast the images to the world. Just think about that for a second. Rather than offering to help the wounded, or getting the hell out of the way of those trying to do their jobs, Moore actually pointed a cell-phone at a wounded soldier, uploaded it to twitpic and added a caption saying that the victim "got shot in the balls".
Her behaviour had nothing to do with getting the word out; it wasn't about preventing harm to others, but rather a simple case of – as I said two weeks ago – "look at me looking at this." (I don't know about you, but if I spotted someone taking a picture of one of my friends or relatives in a hospital then they would probably need a hospital bed of their own. "Tell me, Ms Moore, exactly how did the iPhone end up in your lower intestine?")
Perhaps fittingly, I posted some of these thoughts on Twitter yesterday, as events were still unfolding. Many people agreed with me – replying with links to the specific military codes that cover what information solidiers can share, and the HIPAA which deals with patient privacy. But plenty of others felt that by criticising Moore I was advocating censorship.
As one reply put it, sarcastically: "Yes indeed, let's moderate twitter and vet all tweets…" Others pointed out that it was just this kind of photography and 'citizen journalism' that ensured that the truth got out during the Iranian elections. What about the global outrage at the famous YouTube video of Neda Agha Soltan, shown dying after being shot by (alledgedly) pro-government agents?
Yes – what of it?
For all of our talk about "the world watching", what good did social media actually do for the people of Iran? Did the footage out of the country actually change the outcome of the elections? No. Despite a slew of YouTube videos and a couple of thousand foreign Twitter users turning their avatar green and pretending to be in Tehran, Mahmoud Ahmadinejad is still in power. It's astonishing, really. Despite how successful ten million actual voters marching through Washington, London and other major cities in 2003 were in stopping the invasion of Iraq, a bit of entirely virtual cyber-posturing by foreigners didn't lead to real change in Iran.
And so it was at Fort Hood. For all the sound and fury, citizen journalism once again did nothing but spread misinformation at a time when thousands people with family at the base would have been freaking out already, and breach the privacy of those who had been killed or wounded. We learned not a single new fact, nor was a single life saved.
What's most alarming about Moore's behaviour is that she probably thought she was doing the right thing. Certainly, looking at her MySpace page and her Twitter account (before the army finally forced her to lock it down) we see the portrait of a patriot. Someone who clearly cares a great deal about others, and who – despite the rhetorical question "remind me why I joined the army again" on her profile – is proud to serve her country. In tweeting from the scene, and calling out the media for not reporting the rumours from inside the base, I'm sure she genuinely believed she was helping get the real truth out, and making an actual difference.
And that's precisely the problem: none of us think we're being selfish or egotistic when we tweet something, or post a video on YouTube or check-in using someone's address on Foursquare. It's just what we do now, no matter whether we're heading out for dinner or witnessing a massacre on an Army base. Like Lord of the Flies, or the Stanford Prison Experiment, as long as we're all losing our perspective at the same time – which, as a generation growing up with social media we are – then we don't realise that our humanity is leaking away until its too late.
As I've already said – and I'm even starting to bore myself now – the answer isn't censorship (which won't work), but rather in our social evolution catching up with the state of technology. We need to get back to a point as a society where – without thinking – we put our humanity before our ego. With that in mind, and in the hope of hurrying the process along slightly, I'm going to draw these three nay-saying columns to a close, not with yet another appeal to the better nature of social media addicts but rather with two videos that everyone should watch.
The first is a clip from This American Life which I stumbled across on the blog of the comedy writer, Graham Linehan (Father Ted, The IT Crowd). It's a thing of beauty. And absolutely terrifying. Just watch it.
The second video is much less heartwarming, but far more terrifying – because it's entirely real. So real in fact, that I don't want to embed it here. I want you to make a conscious decision to click through and watch it. It's the video of the final moments of Neda Agha Soltan's life.
Even if you've seen the footage before, you should watch it again. But this time bear in mind the following: the cameraman was not a professional reporter, but rather an ordinary person, just like the victim. And what did he do when he saw a young girl bleeding to death? Did he run for help, or try to assist in stemming the bleeding? No he didn't.
Instead he pointed his camera at her and recorded her suffering, moving in closer to her face for her agonising final seconds. For all of our talk of citizen journalism, and getting the truth out, the last thing that terrified girl saw before she closed her eyes for the final time was some guy pointing a cameraphone at her. "Look at me, looking at her, looking back at me."
Here's the link.


We can use PowerShell to discover many SSRS properties, including the different parameters available in a report. This blog post is based on SQL Server 2014 and PowerShell V5.
In the example above, Customer ID is an integer. Order Date From and To are dates. Online Flag is a boolean. Min Total Due is a float. Status is a multi-value text.
Additional properties can be found in the Report Parameter window, including whether the parameter is nullable, if it's multivalued, or if it's visible or hidden, etc.
To do this in PowerShell, the first thing to do is to add the assembly that will allow us to create the ReportViewer object. Note that the version and public key token are specified, so check the version you have on your machine to ensure the accuracy.
This is just the start. You can use this script to discover parameters for multiple reports in a folder, and email you (or your report developers) of a comprehensive list for those reports.


text:
Q: Saving integers within pickle and calling them So this is my code, I would like to save the value 'test' to the file so that it can be called to be used when the program is reopened.
import pickle
test = 0

def Save():
     with open('objs.pickle', 'wb') as f:
         pickle.dump(test, f)

def Load():
    with open('objs.pickle', 'rb') as f:
        test = pickle.load(f)

The problem with this code is that when I reopen the program and run in and then type in Load(), it says that 'test' is still equal to 0. (Missing somehting obvious probably)
And so my question is, how could I fix the problem issued in italics?

A: The global variable test has nothing to do with  test inside the function Load(). Change your function to:
def Load():
    with open('objs.pickle', 'rb') as f:
        return pickle.load(f)

Now this function returns the value it reads from the pickle file.
Call it like this:
print(Load())

Side note: By convention functions names are all lowercase in Python. So the function name should be actually load().
EDIT
The whole program in a better style:
import pickle

def save(file_name, obj):
    with open(file_name, 'wb') as fobj:
        pickle.dump(obj, fobj)

def load(file_name):
    with open(file_name, 'rb') as fobj:
        return pickle.load(fobj)

def main():
    test = 0
    file_name = 'objs.pickle'
    save(file_name, test)
    print(load(file_name))

if __name__ == '__main__':
    main()


text:
Apr 21, 2017, 07:49am EDT |
Friday Tech Wrap: Google Home Improves, Musk's Brain Interface, Verizon Profits Tumble
Parmy OlsonFormer Staff
AI, robotics and the digital transformation of European business.
Elon Musk wants to link the human brain with computers in the next four years with his new company... [+] Neuralink. (AP Photo/Ringo H.W. Chiu, File)
Google has announced that its smart home device can now support up to six different accounts, meaning it can distinguish between six different human voices and tailor its answers accordingly for each one. Forbes contributor Kevin Murnane says this solves a deal killer that put many people off Google Home in the first place: "If you lived with others, every interaction with Home was incorporated into the account of the person who set Home up. Home was a household assistant and the primary user's account became a household account."
The device essentially switches between different accounts based on who says "Okay, Google" or "Hey, Google." The multi-user function for Google Home users rolls out in the U.S. this week, and to the U.K. in the coming months.
As if he wasn't busy enough running Tesla and SpaceX, Elon Musk says he wants to link the human brain with computers in the next four years with Neuralink, the latest company he founded. Musk said in an interview with Tim Urban's Wait But Why blog that the company wants to build a product that can help with severe brain injuries due to illnesses like stroke and cancer. The technology would allow people to have "consensual telepathy" through brain implants that bypass language itself.
Verizon's bottom line has suffered from the ultra-competitive telco wars. It's profits dropped by 20% in the last quarter as wireless subscribers ditched it for competing networks, Forbes' Lauren Gensler reports. The numbers sent Verizon's shares down by 8% on Thursday. Verizon revealed that it had lost 307,000 retail postpaid subscribers in the quarter, even though the company has pledged to bring back its unlimited data plan to better compete with rivals like T-Mobile and Sprint. Verizon, which is in the process of buying Yahoo's core business, said its revenue for the quarter had fallen by 7% to $29.8 billion, which was below analysts' forecasts for $30.5 billion.
Ride sharing companies like Uber and Lyft are being challenged by an upstart newly flush with cash, though its business model is a little different. San Francisco-based startup Getaround just raised $45 million in its latest funding round, Forbes' Brian Solomon reports. The company allows users rent out their own cars to others by the hour by day. Getaround has around 500,000 monthly active users and plans to spend the new money on expanding further into North America.
Parmy Olson
I cover developments in AI, robotics, chatbots, digital assistants and emerging tech in Europe. I've spent close to a decade profiling the hackers and dreamers who are
I cover developments in AI, robotics, chatbots, digital assistants and emerging tech in Europe. I've spent close to a decade profiling the hackers and dreamers who are bringing the most cutting-edge technology into our lives, for better or worse. I'm the author of "We Are Anonymous: Inside the Hacker World of LulzSec, Anonymous and the Global Cyber Insurgency", (Little Brown, 2012) which The New York Times called a "lively, startling book that reads as 'The Social Network' for group hackers." Having worked out of Silicon Valley I'm now based in London and am obsessing over developments in AI, artificial voice technology, chat bots, messaging and robotics. I've written several cover stories for Forbes magazine including profiles on the founders of WhatsApp and Yahoo, and the Russian Facebook backer Yuri Milner. Before all this I cut my teeth in local radio and the BBC. You can watch me plug my book with Jon Stewart on 'The Daily Show' here. If you have a story idea or tip, e-mail me at polson@forbes.com or follow me on Twitter: parmy.


When applying for a job position, an individual should present a resume to the employer with his necessary details and at least three (3) character references. Employers want to avoid recruiting bad hires into their company since this can affect the company's overall performance. They may filter out the qualified applicants by knowing who he is and asking his past immediate supervisor a few questions that may lead to either his hiring or the dismissal of his application.
Here are some Reference Questionnaire Forms that will help you, as an employer, go through the job application process efficiently.
The prepared questionnaire will ease the conversation between the HR and the past company of the applicant.
It will verify the accuracy of the applicant's information.
The form will serve a good purpose for documentation in the company by efficiently collecting data directly through the phone.
There are no limits on when and how a questionnaire form can be used, but the best time is when the applicants have been through multiple stages of their employment. This part of the selection process will aid the employer in arriving at the final set of qualified applicants for the job offer.
Same as with Reference Questionnaire, Survey Questionnaire Forms are given and asked to know information on a certain thing. To view samples of this form, click on the highlighted text.
Know the Job Position. Different applicants apply for different job posts. When making the questionnaire, it is handy to know what job position the person is applying for.
Include the relationship status. The level of knowledge for the applicant's characteristics depends greatly on whether he has a close relationship with his reference or not. The new employer will know how the applicant handles the job through his immediate supervisor, while his social being will be determined by a co-worker or a professor.
Include a blank area. This is for comments from the previous employer of the applicant. He may tackle things that are not indicated in the questionnaire but are important facts for the new employer to know. This can be placed at the last part of the form.
As an employer, being able to come up with questions for an interview that will keep the conversation going but still informative is hard. To ease the difficulty, we also have Interview Questionnaire Forms if you wish to gain a couple more ideas on how to craft your questions.


text:
U of T ENGINEERING
Pre-University / Outreach Programs
Engineering Alumni & Friends
Engineering CONNECT
Faculty & Staff Hub
Department of Chemical Engineering & Applied Chemistry (ChemE)
Department of Civil & Mineral Engineering (CivMin)
Division of Engineering Science (EngSci)
The Edward S. Rogers Sr. Department of Electrical & Computer Engineering (ECE)
Department of Mechanical & Industrial Engineering (MIE)
Department of Materials Science & Engineering (MSE)
Institute of Biomedical Engineering (BME)
Institute for Aerospace Studies (UTIAS)
Institute Transdisciplinary Engineering Education & Practice (ISTEP)
U of T Engineering CONNECT
Engineering Alumni Network
EAN Awards
Celebrating Generosity
Iron Ring
Skule™ Lunch & Learn
Disruptors & Dilemmas
Celebrate a Century of Skule Nite
Disruptors & Dilemmas Speaker Series
Disruptors & Dilemmas in the next evolution of U of T Engineering's highly successful alumni panel series, BizSkule. As U of T Engineering alumni continue to evolve and innovate, Disruptors & Dilemmas seeks to address today's biggest issues by featuring alumni and friends, discussing innovative solutions for the future. D&D encompasses the global reach of the work being done by engineers, as well as welcome perspectives in associated industries such as business, law, healthcare, and public policy.
If you are interested in volunteering as a speaker or moderator at a future D&D event, please the Engineering Advancement Office.
The Disruptors & Dilemmas Speaker Series is presented by Bennett Jones
Upcoming Events › Disruptors & Dilemmas
No matching events listed under Disruptors & Dilemmas. Please try viewing the full calendar for a complete list of events.
View information on previous events from the BizSkule speaker series here.
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This is the category page for the former and current captains of the Gotei 13.
As a new captain, Zaraki was begrudgingly forced to learn Kendo, something he hated ... The Bleach Official Bootleg databook ranks his talent in the former as zero.
Aizen is an extremely powerful combatant, well above many captain-level Soul Reapers. ... He also has his own Bleach Beat Collection, a brief CD of character image songs.
Bleach (????, Bur?chi?, romanized as BLEACH in Japan) is a manga series authored ... She is also Byakuya Kuchiki�s little sister who is captain of sixth squad.


The competition: Annette Bening's high-strung life partner (The Kids Are All Right), Nicole Kidman's grieving mother (Rabbit Hole), Jennifer Lawrence's tough young caretaker (Winter's Bone), Natalie Portman's overworked ballerina (Black Swan), and Hilary Swank's determined lawyer-in-training (Conviction).
For your information: While Swank has eclipsed Bening at both Oscars ceremonies where they've gone head to head, Bening actually won on the first outing (in 1999 for "American Beauty") here, while Swank took it the next time (in 2004 for "Million Dollar Baby"). Each have received an additional TV nod in the past. This is Kidman's second individual nomination, after "The Hours" in 2002. This is the first nomination for both Lawrence and Portman. Bening and Portman are also nominated this year as members of their ensemble casts. Everyone in this category but Swank earned an Oscar nomination this year.
Who will win: Pitting Bening vs. Portman will produce interesting results. Though Portman has won most of the trophies this award season, it's worth looking at past SAG history. In past musical vs. drama competitions (not quite the same as comedy vs. drama), Renee Zellweger (Chicago) beat Nicole Kidman (The Hours) and Julie Christie (Away from Her) beat Marion Cotillard (La Vie en Rose). Both SAG losers went on to win Oscars. I think Bening takes the win here, though it could just as easily be Portman.


text:
Q: python - compare two csv files and generate report I am new to python & trying to compare two large CSV files (300 Million rows & 50 Columns). wondering how to do this in pandas if it is a better option. The input & output expected are given below
file 1:
key,field1,field2,field3
001,belgium,1000,123.56
002,usa,200,345.65
003,canada,3000,675.00

file 2:
key,field1,field2,field3
001,belgium,500,0
002,usa,200,345.65
004,Brazil,2500,458.00

output (with comparison indicators)
(s-same values, C-value changed, O-value changes from nonzero to zero, record deleted in new file, N- record newly added in new file)
Output expected:
key,field1,field2,field3
001,S,C,O
002,S,S,S
003,D,D,D
004,N,N,N


This past January, O'Neill and Associates was approached by Teamsters Local 633, a New Hampshire-based labor union of employees in the transportation and delivery industry. The Teamsters were concerned by the pending passage of "Right to Work" legislation in the New Hampshire State House. The proposed bill was expected to significantly weaken the strength of labor unions in NH. With only a few weeks until a final vote, O'Neill and Associates was able to launch a high-impact, month-long campaign to mobilize the Teamsters' 4,700 members against Right to Work. O'Neill and Associates, in collaboration with the Teamsters, focused engagement efforts on three areas: traditional media, social/digital media, and member-to-member communication.
O'Neill and Associates helped generate news stories and editorials urging the House of Representatives to vote Right to Work down by targeting outreach to reporters, editors and freelance journalists on the hazards of the bill.
In addition to targeting traditional media outlets, O'Neill and Associates helped Teamsters Local 633 leverage their Facebook account to create and maintain online activism – motivating supporters and providing them with easy-to-understand action items. The Teamsters' Facebook page was used to post low-dollar paid promotions as well as organic content, and served to amplify the key messages of the campaign and convert awareness into targeted action.
Finally, O'Neill and Associates was able to engage the union's own members through an internal email campaign. This campaign provided members with news updates, calls to action and contact information for key legislators.
The energy and enthusiasm throughout this one month campaign against Right to Work paid off. On the day of the vote, a significant minority of New Hampshire House Republicans joined almost all House Democrats to block passage of the bill, in spite of a last-minute lobbying push by the Governor and Speaker of the House. The final outcome in New Hampshire was an outlier to the national trend of Republicans efforts to successfully implement Right to Work in many states, This campaign can now be a model for other labor unions around the country on how to defeat Right to Work in their communities.


A new report by Sylvia Allegretto at IRLE and Lawrence Mishell at EPI finds that in 2015, public school teachers' weekly wages were 17% lower than those of comparable workers (a gap that has widened from 1.8% in 1994).
There are many reasons for the pay gap between public school teachers and similarly-educated workers, including the same gender pay gap that affects workers throughout the public and private sectors. But there's no doubt that the widening gap between teachers and other college educated workers is a direct consequence of our rapid disinvestment in public services, which has hit school districts harder than any other segment of the public workforce. I'd be interested to see a similar study of other public workers and their similarly-situated private counterparts.
Next PostWhy is recovery taking so long—and who's to blame?


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Have You Previously Applied with Mclain's?
Why Do You Want To Work for McLain's?
In connection with my application for employment and as a condition of continuing employment, I understand that investigative background inquiries may be made on me including previous employers, schools, consumer credit, criminal convictions, motor vehicle and other reports. These reports will include information as to my character, work habits, performance, education, compensation and experience along with reasons for termination of employment from previous employers. Furthermore, I understand that the company may be requesting information from various federal, state and other agencies which maintain records concerning my past activities relating to my driving, credit, criminal, civil and other experiences as well as claims involving me in the files of insurance companies. I authorize without reservation, any party or agency contacted to furnish the above mentioned information and release all parties involved from liability and responsibility for doing so. I hereby consent to obtaining the above information from McLain's Painting and/or any of their agents. This authorization and consent shall be valid in original, fax, digital or copy form. All applications will be kept on file for ninety (90) days.
All hiring and employment at McLain's Painting is at will. I understand this application is not an employment contract, nor can it be used to create one. Employment by McLain's Painting has no specific term and may be terminated by the employee or McLain's Painting with or without notice. I acknowledge that McLain's Painting has not made any promises or representations that differ from those contained in this paragraph. I understand I must provide satisfactory documents to establish my identity and right to work in the United States, if i am offered a position with McLain's Painting, and that failure to provide this evidence will result in termination of my employment. I release and agree to hold harmless any individual, company, business, institution or government agency from all liability with regard to furnishing information to McLain's Painting. I agree to release and hold harmless McLain's Painting from all liability with respect to the receipt of such information. I certify that the information I have furnished on this application form is true and complete. I understand that if any misrepresentation has been made by me verbally or in writing, any offer of employment made to me may be withdrawn or my subsequent employment with McLain's Painting may be terminated.


text:
SIR GEORGE SHEARING (1919 - 2011)
George Shearing, one of the most brilliant Jazz artists and composers ever, passed away of heart failure Monday at the age of 91.
George Shearing was born to working class parents in London, England in August 1919. The youngest of nine children, Shearing was blind from birth. He began playing piano at the age of three and the extent of his formal musical training were the four years spent at the Linden Lodge School For The Blind.
At the age of 16, Shearing was playing at a London pub for "25 bob a week" (which is the equivalent of working for $2.00 a week today). But Shearing loved to play and had a great ear for jazz and classical music. Shearing met Jazz producer and historian Leonard Feather and soon thereafter, in 1937, began appearing on radio and recording. By 1940, Shearing had joined popular bandleader Harry Parry and was working several projects on the side, including a stretch with Stephane Grappelli, as the exiled violinist made his comeback. In the decade, Shearing was to win 7 consecutive Melody Maker polls.
Shearing emigrated to America is 1947 and, in no time at all, became even more popular than he had been in his own country. Be-Bop was the emerging sound of the day and Shearing put his own stamp on the genre, forming the George Shearing Quintet and developing the "Shearing Sound" in 1949. The "Shearing Sound" owed as much to George's "block chord" style of play (where the two hands essentially play the same melody in two vastly different registers) as it did to its instrumental makeup--guitar, bass, drums, piano and vibraphone. In 1952, Shearing composed perhaps his best known song, "Lullaby Of Birdland", which would eventually be sung by every one from Ella Fitzgerald to Bill Haley. Shearing composed the tune in about 10 minutes. But, as Shearing told the Christian Science Monitor in 1980, "I always tell people it took me 10 minutes and 35 years in the business. Just in case anybody thinks there are any totally free rides left, there are none!" In all, Shearing composed more than 300 original songs and recorded more than 100 albums.
In 1978, Shearing stopped performing and recording with the quintet for the most part. Feeling he'd done about all he could in that form, Shearing felt that performing solo (or with only bass accompaniment) would allow him room to breathe, creatively--it gave him what he called "pianistic freedom". In 1983 and 1984, a pair of successive album collaborations with Mel Torme received Grammy Awards. In 2004, "Lullaby of Birdland: The Autobiography of George Shearing" was published. That same year, Shearing suffered a fall and all but ceased performing publicly thereafter. In 2007, Shearing was knighted by Queen Elizabeth II of England.
With a catalog of over 100 albums stretching back to the 40s, I can't claim to know the entirety of Mr. Shearing's Christmas work. However, there should be little doubt that the 1998 Telarc release, "Christmas With The George Shearing Quintet", should be a staple of any Christmas music library. It succeeds very well on both pure jazz and traditional levels, and that's an uncommon feat. In his liner notes for the album, the pianist professes a great love for Christmas music. "In Christmas music," he said, "there is always a smile somewhere."
An early Christmas track, "Snowfall" recorded with Billy May, was included on the out-of-print 1960 Capitol LP "The Shearing Touch". A 1970 recording of "Let It Snow" appears on the album "Out Of This World" (issued on CD in 2000 by Koch). A quartet version of "Away In A Manger" was included in the 1994 compilation "Santa's Bag" and, in 2002, Shearing recorded "Sleigh Ride" for the Mack Avenue comp, "Jazz Yule Love". Beyond that, there are a scattering of recordings that could be used in a seasonal context, such as "Heart Of Winter", "Moonlight In Vermont", and the ever controversial "My Favorite Things".
But, honestly, "Christmas" is such an exquisite album that there's no real need to search beyond. It's a solid listen at any time of year. Make sure you have a copy in your Christmas library.
FITZ & THE TANTRUMS - L.O.V.
Happy Valentines Day, y'all. You can still pick up "L.O.V." free at Amazon MP3.
FREE MUSIC FOR VALENTINE'S DAY (#4)
1. Sister Sister
2. Dear Love
3. You Could
4. It's Not Me, It's You
5. I've Heard
6. Like You Do
7. Strangers
8. When I'm Alone
9. Forget It
DOWNLOAD FREE AT NOISE TRADE
As I've previously noted, pretty much any music qualifies as Valentine's Day music; most music is about love and heartbreak, after all. But, of the free music I've picked up in the last couple of weeks (excluding those comps we've previously posted here), I really liked this one, have listened to it repeatedly, and the cover and title make it a fine fit.
Katie Carlene is an Indie artist out of Oregon and "Dear Love" is an acoustic freebie you can pick up on Noise Trade. Broadly speaking, it's Indie Folk/Pop, but there's a nice little Roots Americana sound running through this, as well, that helps it fit into the unintentional Valentine's Day theme we seem to be following. I'm unfamiliar with Ms. Carlene, overall, though her debut record is available on Amazon MP3 and iTunes, but I found her voice quite enchanting and her lyrics were simply marvelous. I especially enjoyed "You Could", "It's Not Me, It's You" and "When I'm Alone". From the latter: "You can have my heart for the weekend if you think you can get it to beat again, cause I've tried everything I can think of." Wonderful stuff! And, hey, it's free! So check it out, if you get the chance. I know I'll be keeping an ear open for any Christmas music Ms. Carlene might grace us with down the road.
POLY STYRENE - VIRTUAL BOYFRIEND
BILL JUSTICE (1914 - 2011)
Legendary animator for Walt Disney and the man who helped provide the animatronics for such Disneyland features as The Haunted Mansion and The Hall of Presidents, Bill Justice passed away yesterday of natural causes at the Arbor View nursing home in Santa Monica, California, one day after his 97th birthday.
Bill Justice was born in Ohio in 1914. He was raised in Indianapolis, Indiana, and studied to be a portrait artist at Indiana's John Herron Art Institute. Following his graduation in 1935, Justice moved to California where The Walt Disney Studios hired him as an animator in 1937.
Justice served as the animator for some legendary Disney films including "Fantasia", "Alice In Wonderland", and "Peter Pan". He is perhaps most widely known for his work with Disney characters Chip n Dale and as the animator of Thumper in the Disney film "Bambi".
In the fifties, Justice directed the iconic "Mickey Mouse March", seen at the beginning of each episode of The Mickey Mouse Club. He also directed a number of experimental shorts, three of which were nominated for Academy Awards. Multi-talented, Bill Justice also designed the floats and costumes for the first Disneyland Christmas Parade in 1959. In the early sixties, Justice was one of the team members providing the stop-motion animation, a painstaking process, for such classic live-action films as "Babes In Toyland", "The Parent Trap" and "Mary Poppins". In all, Bill Justice contributed his talents to 57 shorts and 19 Disney features.
In 1965, Walt Disney tapped Justice to join its Imagineering team. There, he helped program the animatronics for The Haunted Mansion, The Country Bear Jamboree, Mission to Mars, The Hall of Presidents and--a personal favorite of his because of the challenges involved--The Pirates of The Caribbean. And Bill also painted the huge mural of characters for the Exposition Hall at Walt Disney World.
Justice retired from Disney in 1979, after 42 years with the company, and authored a book about his experiences entitled "Justice For Disney". Bill was formally inducted as a Disney Legend in 1996.
Bill never tired of drawing characters such as Mickey Mouse and was known for drawing on linen napkins at functions he attended whenever anyone would ask. "Have you seen me draw Mickey upside down?" he would say, and then he would do so.
Bill also never tired of sharing his memories and reminiscing about his years with Disney. He was a frequent guest at Disneyana Conventions. In his final years at the Arbor View Wellness and Rehabilitation Center, Justice was said to have a failing short-term memory, but any mention of a name from "the old days" would bring the light to his eyes, a smile to his face, and suddenly the memories he could relate were as clear as a bell.
Among the 57 shorts Bill Justice worked on while with Disney is "Pluto's Christmas Tree", a classic from 1952 that you'll find at the top of this post.
MARVIN SEASE (1946 - 2011)
The man known as The Candy Licker after his racy ten minute track of the same name, Marvin Sease, passed away Tuesday, a week shy of his 65th birthday, following a lengthy battle with pneumonia.
Marvin Sease was born in Blackville, South Carolina on February 16, 1946. He began his singing career, like many other Southern soul stars, in church. Still in his teens, Sease joined a local gospel group, The Five Gospel Crowns who were popular in the Charleston area. At the age of 20, Sease took his gospel singing north to New York. But, as a young man in a very big city at a time when soul music was perhaps at its peak (James Brown, Otis Redding, Aretha Franklin, etc, etc), Sease found himself drawn to the secular R&B music and clubs. He soon put his own R&B band together, Sease, which featured his brothers on backing vocals. When the brother act broke up, Marvin turned to singing pre-recorded backing tracks for the dance clubs. He self-released a handful of 45s and, by the mid-80s, Marvin held down a regular gig at Brooklyn's Casablanca bar and night club.
In 1986, having cultivated a sound and style very much in the mold of Johnny Taylor and Tyrone Davis, Marvin self-released his debut album, "Marvin Sease". The album and it's single, "Ghetto Man", generated enough interest in both the north and south that Mercury records signed the 40 year old and re-released the set nationally on their London label. The re-release featured a single new track, a ten minute ode to oral sex called "Candy Licker". The song begins with the declaration "I'm not ashamed.... I want to do the thing that your lover never did before, girl". Then, unashamed, Sease explains what it is he wants to do. With its single-entendre lyrics and smooth, soulful beat, the record became an underground hit. Underground because no radio station would touch it, yet it immediately earned Sease a legion of forever devoted fans--mostly women, not surprisingly. And Sease used this new found fame to build a career headlining the so called "Chitlin' Circuit", from Memphis to Mississippi.
The "Chitlin' Circuit" is a mostly black Soul and Blues club circuit that covers the south, though, in recent years, it's extended into the north as well. It began to form in earnest following World War II--a place where African-Americans could see revue styled shows featuring multiple artists performing music that can't be heard on the radio--often because the lyrics are too sexual in nature. It's been mostly black owned and run, as well. In spite of perception, the clubs on the circuit frequently outdraw their mainstream counterparts. Audiences are multi-generational; it's not at all uncommon to see three generations of women from the same family attending shows together. The pay is better than many would think, with headliners pulling in 12 thousand dollars a night or more--still far less than half of what their mainstream counterparts make in the mainstream clubs. But the schedules on the circuit are difficult, consisting mostly of one nighters, with endless travel from town to town by bus and car. Artists working the circuit often perform as many as 300 shows a year. You'll find Blues on the circuit as well as R&B--Southern Soul is the label of the moment. Some call it Soul Blues or Folk Funk. Singer Bobby Rush calls it "a black thing", saying "do what you do for the audience that will listen to you." And Sease told Memphis Magazine a few years back, "There ain't even a category for what we do."
Riding the success of "Candy Licker", Sease became not just a staple of the Chitlin' Circuit, but one of it's biggest stars. He followed that explicit single with many others on the same theme--"Candy Licker 2", "Do You Need A Licker?", "I Ate You For My Breakfast", "A Woman Would Rather Be Licked", "Sit Down On It", "I Wanna Do Ya"--but also with songs that were more sensual than sexual and the equal of many charting soul records. His album catalog numbered more than 20, and sales were generally solid, but the lack of airplay kept Sease at arm's length from the charts more often than not. His highest charting single, "Tonight", reached only #86 on the R&B charts in 1991.
A year earlier, in 1990, Marvin Sease made his contribution to the holiday season, releasing a 12" EP entitled "It's Christmas Time". The EP featured a holiday greeting, the songs "Merry Christmas" and "Funky Christmas", a Christmas version of his single "Do It Tonight" and the song "Take A Look Around You". "It's Christmas Time" has never been released on CD, though "Funky Christmas" has been included on Sease's entry into the "20th Century Masters/Millennium Collection" series.
Marvin Sease played the circuit pretty much up to the time of his death, in spite of pneumonia he'd been fighting on and off over the last year or so. He had a string of dates lined up for this month and next. Sease's final album, released in 2008, "Who's Got The Power", included his musical tribute to other R&B giants who have passed on. At the age of 64, the great and underapreciated Marvin Sease has joined their number. Marvin Sease has "Gone On".
1. Valentine's Day - Sue Foley & Peter Karp
2. Love On The Dial - Stone River Boys
3. We've Still Got Time - Greg Trooper DOWNLOAD FREE AT ALTERNATE ROOT
4. Love Gone Good - Cindy Bullens
5. The Whole World - Randy Thompson
6. Put Your Hands On Me - Addie Brownlee
7. What Do I Know About Love? - Twilight Hotel
8. Clarence & Brandine - The Wild Rumpus
9. Love Comes And Goes - Kate Jacobs
10. Ann Marie - A.J. Downing & Buick 6
11. Lend The Devil A Hand - Stacie Collins
12. Without You - The Famous
13. Soul To Soul - Geoff Atchison
14. Love Won't Be Denied - Renee Wahl
15. I've Been Thinkin' - Bedhead & Blondy
16. Waterloo - The Trappers
17. Away From You - James Choukas-Bradley
18. The Second Time - Tony DiSimone
19. Baby Don't Speak - Karyn Oliver
20. Love In A Jar - David Philips
21. Weather The Storm - Sarah Mac Band
22. Love And Stone - James Popik & Ten Foot Tall
23. Who Will Love You - Pesky J. Nixon
24. Cooper House Blues - Bryan Titus
25. Just As Surprised As You - Michael Whitworth
26. The Arrow - The Black Lillies
27. That Man Drives Me Wild - Sunday Wilde
28. Sunshine On A Saturday - Beleza Brasil
29. Season Of Plums - Behlye
30. The Urge - Jefferson Fox
31. For The Sake Of Love - Honey Don't
32. Saving The Best Of My Love - Bob Woodruff
33. How To Be Your Girl - Lara Ewen
34. Three Years Ago - Chuck Schaeffer
35. All Girls Break Hearts - Pawn Shop Saints
36. Song To Move Me - Brian Ashley Jones
37. A Promise I Can Keep - Lawrence Lebo
38. Last Dance Mine - The Problems
39. The Nest - Pillowfighters
40. Never Really Loved You - Rich McCulley featuring Amy Farris
41. There's Only You - My Cousin The Emperor
"Love Is In The Air" is Alternate Root's 2nd Annual Valentine's Day Sampler. No doubt, you'll recall their smashing Christmas collection--a virtual vacation-land of Roots and Americana. And, for me, this Sampler falls short of those admittedly high standards. But Alternate Root's goal is to expose you to artists and music you might otherwise not know about and, on that score, they succeed admirably. With 41 free tracks, you're bound to find some great new treasures and artists to follow. The ones that struck a sweet spot with me, on a quick listen through, included "Baby Don't Speak" by Karyn Oliver, "Weather The Storm" by the Sarah Mac Band, "A Promise I Can Keep" by Lawrence Lebo, "I've Been Thinkin'" from Bedhead & Blondy, "Love On The Dial" from the Stone River Boys, and Michael Whitwoth's "Just As Surprised As You". Great to hear from the legendary Cindy Bullens again. And, if you had to pick out the hands-down BEST song on this comp--the one that makes the whole thing worth a download--it would have to be Sunday Wilde's "That Man Drives Me Mad". I can't say enough about how hot that track is.
Now the way Alternate Root puts these things together is also a test of an artist's fan base and I have to say that, to my ears, there are one or two stinkers on here that don't belong on anybody's ipod or iphone or whatever (I won't mention any names); but it could be I'm just upset that a couple of the songs I really dug didn't make the cut. And so, in the spirit of the thing, I'm also going to link you up to Wendy Rich, whose "It's Up To You" should be here (IMHO). But, really, how can you quibble with 41 free songs? Pick your faves and put a disc together any way you want to. Begin your voyage of Valentine discovery now at The Alternate Root.
More free Valentine's Day music from Amazon MP3. Not a comp, this time, but a playlist. And while it didn't wow me as much as the Bloodshot "Lonely Hearts" Sampler, it's a fairly impressive cast nonetheless--featuring everything from the Christian Bluegrass of Cherryholmes to Jazz Vocals from Anna Wilson to the Blue-Eyed Soul of Fitz & The Tantrums and, yes, all the way up to something new from The Drive-By Truckers. So dig in, everybody. It's free!
1. No One's Gonna Love You - Band Of Horses
2. When U Love Somebody - Fruit Bats
3. Valentine's Day - Matt White
4. You And I - Secondhand Serenade
5. L.O.V. - Fitz & The Tantrums
6. One Time For Love - Ginuwine
7. It's Your Love - Cherryholmes
8. You Don't Know Me - Anna Wilson
9. Believe - Brian Courtney Wilson
10. I Will Be Waiting - Daphne Willis
11. God Gave Me You - Dave Barnes
12. Next To Me - Civil Twilight
13. Everybody Needs Love - Drive-By Truckers DOWNLOAD FREE AT AMAZON MP3
14. Love Let Me In Again - Kelley Stoltz
SAVE YOU FOR LAST - HILARY GRIST
Send an e-card and/or download this song free at http://www.hilarygrist.com/.
I don't usually bother much with Valentine's Day music. Let's face it, 90% or better of all the songs that have ever been written are songs about love and/or heartbreak. But, as I've often said, free is free; and there just happen to be a couple of excellent Valentine's themed compilations available for free download this year. First up....
1. I Told Her Lies - Robbie Fulks
2. Valentine - Bobby Bare, Jr.
3. That's All I Need - Andre Williams
4. Falling In - Ha Ha Tonka
5. Itchin' For You - Trailer Bride
6. Wreck My Car - Scott H. Biram
7. Your Love And His Blood - Wayne Hancock
8. Love Letters - Nora O'Connor
9. W-I-F-E - Old 97's
10. Sparks Fly Out - Paul Burch
11. Wedding Day - Alejandro Escovedo
DOWNLOAD FREE FROM AMAZON MP3
Bloodshot records is a fairly awesome Roots Americana label. Bloodshot is actually one of the very few labels I have bookmarked for reasons having nothing to do with Christmas music. Sometimes, label samplers are just thrown together without much thought, but Bloodshot did a great job, here, with some exceptional material from some of the best artists in their stable. The set opens with Robbie Fulks' Country Swing number "I Told Her Lies", follows on to Bobby Bare Jr.'s Rock infused Alt Country anthem "Valentine" and then to Andre Williams' soulful "That's All I Need", the title track from his latest release. Now if those 3 tracks were the entirety of the sampler, you'd still walk away feeling Bloodshot had done you a solid. But there are 8 more wonderful gems, here, offering up the holiday of love as much more than gooey eyes and chocolates. Trailer Bride, for example, has some of the most original analogies I've ever heard in song ("It's like poison ivy under polyester pants/do a little two-step like I'm standing in ants/cause I'm itchin' for you"). My personal favorite, though, was the more traditional retro torch song "Love Letters" from Nora O'Connor. Point is, if you like Roots or Americana, you're likely to find something on the "Lonely Hearts Valentine's Day Sampler" to set your heart aflutter. And it's free at Amazon MP3. And, should you discover an artist you want to hear more of, Bloodshot has the albums from whence these songs came on sale for cheap through the month of February.
I love Christmas, music, and cats. What more do you need to know?
Anyone wishing to contact Stubby's for any reason may do so by emailing:
 stubbyschristmas@gmail.com.
Readers should assume that any item reviewed on this site has been provided by the artist or label in exchange for promotional consideration, whether or not that is actually the case. If you are the copyright holder for any song or image appearing here and wish that item to be removed, please let me know via email and I will remove it forthwith. My intentions are to inform and interest people in your work, so that they might purchase it; not to provide anyone a way to avoid doing so.
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text:
Gopal Chandra Saha vs Abdur Rahim Biswas And Ors. on 11 November, 1926
Posted On November 11, 1926 by &filed under Calcutta High Court, High Court.
Equivalent citations: AIR 1927 Cal 492, 103 Ind Cas 538
Author: Suhrawardy
Suhrawardy, J.
1. A preliminary objection is taken on behalf of Respondent No. 1 to the hearing of this appeal. The facts on which it is based are somewhat peculiar. The appellant brought a mortgage suit against Respondent No. 1 with a further prayer that in case it was found that any amount was paid to the pro forma defendants who are the heirs of the original mortgagees and from whom the plaintiff purchased the mortgage, that amount might be decreed as against those defendants. The defence was a plea of payment of a certain amount by the Defendant No. 1 to the original mortgagees, the predecessors of the other defendants. The Munsif in the first Court did not believe the plea of payment and passed a preliminary mortgage decree against the Defendant No. 1. On 18th July 1923 that decree was made absolute. The Defendant No. 1 preferred an appeal against the preliminary decree to the District Judge who, by his order, dated the 11th March 1924, set aside the preliminary decree in so far as it disallowed the plea of payment taken by the Defendant No. 1. Against that decision of the District Judge this appeal was lodged in this Court on 2nd May 1924.
2. It appears that on the 26th April 1924 the order of the appellate Court varying the preliminary decree was forwarded to the Munsif in the first Court who on the 26th April 1924 set aside the previous final decree passed by his predecessor and passed a final decree in terms of the judgment of the lower appellate Court. No step appears to have been taken by the appellant against the order passing the final decree. On these facts it is urged on behalf of the Defendant No. 1 who alone appears before us that the present appeal so far as he is concerned is incompetent inasmuch as the final decree passed by the Munsif on the 26th April 1924 remained unaffected. In my judgment, this contention should prevail. It has been held in several cases which are considered and followed in Nanibala Dasi v. Ichhamoyee Dasi that an appeal against a preliminary decree after the final decree is passed becomes infructuous. In that case the preliminary decree and the final decree were passed, by the same Court. Despite this distinction I do not think that there is any difference in principle. The principle underlying the law as laid down above is that where an appeal is preferred against the preliminary decree after the final decree is passed, the latter decree cannot be held to be contingent or dependent on the result of the appeal against the preliminary decree. Hence where no steps are taken to have the final decree set aside, the appeal against the preliminary decree must be held to be infructuous. This principle was more fully, explained in Jogendra Narayana Das v. Satyendra Chandra Ghosh Mullik . I am accordingly of opinion that the appeal as against Defendant No. 1 must be held to be incompetent and must fail. But the learned vakil appearing for the appellant asks us to treat the decree passed by the Munsif on the 26th April 1924 as a nullity because he never asked for a final decree under Order 34, Rule 5. We are not prepared to agree with thi3 submission. We are not in possession of all the facts relating to the passing of the decree. The appeal against the Defendant No. 1 must, therefore, be dismissed with costs.
3. As against the other respondents it is argued that the learned District Judge was wrong in not allowing a decree against them to the plaintiff. In the deed of assignment executed by the mortgagee in favour of the plaintiff it is stipulated that if any sum is subsequently-found to have been paid to the assignor over and above the amounts entered on the back of the bond, the assignor will return such amounts to the plaintiff. It has now been finally found by the lower appellate Court that the sum of Rs. 460 was paid by the mortgagor to the mortgagee which was not entered on the bond. The decree which is now passed in favour of the plaintiff is therefore reduced by the sum of Rs. 460 under the decree of the lower appellate Court. In the plaint the plaintiff prayed for an alternative decree against the defendants other than Defendant No. 1 claiming the entire amount which he paid by way of compensation. He is clearly not entitled to it but he is in equity and justice entitled to recover the amount which they took from the mortgagors and did not wrongfully disclose to the plaintiff at the time of the deed of assignment. The learned District Judge did not take this part of the plaintiff's case into consideration as he ought to have done.
4. In this view we are of opinion that the decree passed by the lower appellate Court as regards respondents other than Respondent No. 1 should be discharged. A decree should be passed in favour of the plaintiff as against those respondents for the sum of Rs. 460 with proportionate costs. The amount so decreed will in the event of non-realisation bear interest at the rate of six per cent per annum.
Duval, J.
5. I agree.


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redpajama_set_name: RedPajamaGithub


A few months prior to the release of Last Days significant chatter emerged on the Internet. It seems that fans of either Michael Pitt or Kurt Cobain had located an MP3 file of the song "From Death to Birth." Sung by Pitt—in character as a shadowy Cobain analogue named Blake—the tune forms something of a sonic centerpiece to the film. Much frantic web activity focused on deciphering the lyrics—no mean feat since some are mumbled with appropriate Cobain-esque unintelligibility. Anyone who has struggled with interpreting the aural poetry of a Nirvana song knows the sensation—and (most likely) enjoys it.
Speaking of pleasure: if you are looking for a modicum of narrative satisfaction Last Days will—by design—deny it. There is no story. The tragic tabloid elements that inspired the film are fairly well known, but Van Sant cannily chose a sharply oblique angle: the key narrative crux—Cobain's will-to-death decision—is something that occurs prior to anything seen onscreen. We, the viewers, are privy only to the aftermath, i.e., the events that occur after the man has made up his mind to kill himself. A moment of soul-shattering significance is presented as a mere denouement—or, perhaps more appropriately, as an echo. The mumbling and stumbling Blake makes his way through the fading shockwaves of his own private volition.
Van Sant's Elephant, Gerry, and Last Days form a trilogy of films sharing similar structural strategies. All three are blessed with the roving kino-eye of DP-extraordinaire Harris Savides. Each relies on the exquisitely nuanced sound design of Leslie Shatz. Attentive listeners will note that Elephant and Last Days share music by composer Hildegard Westerkamp, specifically her "Türen der Wahrnehmung" ("Doors of Perception"). It's a song that can perform wonders as a visceral enhancement to uneasy states of mind. The piece is actually defined as "a radio environment" and was originally commissioned for the 1989 edition of the annual Austrian experimental sonic showcase, Ars Electronica. In Last Days the use of Westerkamp achieves hyper-poignancy: Blake, the tortured musician, lives in a ramshackle mansion where, for example, doorbells and ringing telephones are aspects of a constantly invasive sound environment. They are irritating reminders of the outside world—a place that exists only to make impossible career demands on Blake's fragile psyche. When we hear the first tones of "Doors"—a series of grandfather clock chimes—the sounds could easily be mistaken for diegetic phenomena originating from within the walls of the rock star's crumbling estate. But soon after they start, the timbres slow with Doppler shiftiness, melt in the air, and add an almost palpable liquid queasiness to our hero's rudderless drifting. Blake frequently appears on the verge of literal disintegration—and those moments are always accompanied by a hovering background of sound effects, all ready to be summoned to serve as psychic solvents.
Westerkamp's 1974 article "Soundwalking" provides a few handy pointers to her spatiotemporal acoustic process, insights that could be interpreted (retroactively) as motivations for some of Blake's peregrinations in Last Days: "Start by listening to the sounds of your body while moving. They are closest to you and establish the first dialogue between you and the environment. If you can hear the quietest of these sounds you are moving through an environment that is scaled to human proportions. In other words, with your voice or your footsteps you are 'talking' to your environment, which in turn responds by giving your sounds a specific acoustic quality." The idea of a symbiotic play between personal noise and the contextual ambience of location is a type of interaction—I would argue it is the defining component—experienced in Van Sant's trilogy. Think of the sonic sense of the hallways in Elephant; or the duet of crunching footfalls in Gerry's extraordinary salt-flats tracking shot; or poor Blake, haunting the stairwells of his decrepit domicile, aided, abetted, and finally undone by the atmospherics of Westerkamp.
Last Days is a strange creature: it's an extremely abbreviated biopic with zero details, a tribute to a man and his music without a trace of his songs, a tragedy without an arc, etc. It's also dynamite artistry. It understands the unlimited potential for sound to advance thought and emotion into the filmic firmament. And, in its own odd way, it rocks.