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Leave a comment Posted on August 26, 2015 May 18, 2018 1930s, B/W Film, Comedy, Edward Everett Horton, Eric Blore, Erik Rhodes, Fred Astaire, From The Movie Project, Ginger Rogers, Helen Broderick, Mark Sandrich, Movie Reviews, Musical, Reviews, Romance, Top Hat
Title: Top Hat
Director: Mark Sandrich
Studio: RKO Radio Pictures
Genre: Musical, Comedy, Romance
Cast: Fred Astaire, Ginger Rogers, Edward Everett Horton, Erik Rhodes, Eric Blore, Helen Broderick
Words and Music: Irving Berlin
Format: Standard, Black and White
"Oh, that call wasn't for me, it was for you. Somebody has registered a complaint." – Horace Hardwicke (Edward Everett Horton)
"I know! I've just seen the complaint and she's lovely, she's delightful, she's charming, and she wants to sleep." – Jerry Travers (Fred Astaire)
"May I rescue you?" – Jerry
"No thank you. I prefer to be in distress." – Dale Tremont (Ginger Rogers)
"You want this show to last two nights? Get me a plane, now!" – Jerry
"What kind of plane?" – Horace
"One with wings!" – Jerry
Top Hat is a romantic comedy filled with mistaken identities, misunderstandings, and music! Like any farce, it's the type of plot that would be resolved in five minutes if anyone in the cast actually talked to each other for five minutes, rather than making assumptions. But that's not really a negative – because it's light, frothy romance with no harsh realities at all. The sets are marvelously art deco and beautiful – especially the Venice hotel with its waterways and boats.
The story begins in London, with Jerry Travers waiting in a very quiet English gentleman's club for his friend Horace. The club is one where Silence Must Be Observed at all times, and everyone stares at Jerry when he drops something or turns the page of his newspaper. Horace finds Jerry, starts to talk to him, then realizes where he is, and urges Jerry to leave so they can talk. Just as he's leaving, Jerry does a quick tap dance on the floor simply to annoy everyone – and as a joke.
Horace takes Jerry to his hotel, Jerry – excited about seeing Horace, and their new show; begins tapping in his hotel room ("No Strings (I'm Fancy Free)") – waking up the young woman in the hotel suite below. She calls to complain to the manager. Horace takes the call, gets confused, and goes down to the hotel desk to tell the manager he doesn't want a young woman in his hotel room because it wouldn't be proper. Meanwhile, Dale goes to the hotel suite and complains. Dale doesn't introduce herself – and Jerry's so taken with her, he doesn't introduce himself either. This proves to actually be a very important part of the plot.
The next day, Jerry goes to the hotel flower shop and orders that all the flowers be sent to Ms. Tremont's room (by room number) – then charges the very expensive bill to Horace by his room number.
Horace, afraid that Dale might be a "designing woman" sets his valet, Bates, to follow her. This is another part of the plot that's considerably more important than it seems. Horace also warns Jerry off, telling him about a woman he met called Violet who took advantage of him.
Meanwhile, we learn Dale is a social model. A dress designer named Alberto Beddini pays her to wear his dresses, so her friends will see them, ask about them, and he will get more contracts to design dresses and sell more of his designs. But, since he's financially supporting her – this is something not good for Horace to find out as he'd get the wrong idea. Dale is also close friends with his wife, Madge.
Jerry tries to meet Dale again, she rebuffs him – mentioning she's going for a ride in the park. Jerry gives her a ride to her lesson in the park and again tries to get her interested in him without luck. During her ride, Dale gets caught in the rain. She shelters in a gazebo. Jerry arrives and tries to calm her down by telling her a story about clouds. He then sings "Isn't it a Lovely Day? (To get Caught in the Rain)" to her, and the two dance in partner tap. Ginger is wearing jodhpur-pants. Fred and Ginger also mirror each other beautifully when dancing. At the end of their dance, the two sit down on the edge of the raised gazebo platform – and shake hands. It's a gesture between partners.
Later at the hotel, Ginger asks the concierge to point out Horace. The concierge points to "the man with the briefcase and cane" on the walkway. But Horace runs into Jerry and hands him his briefcase and cane – thus making Dale think he's her friend Madge's husband. This type of thing continuously happens – Dale keeps thinking that Jerry is Horace, and thus her friend's husband and a terrible cad to boot.
Jerry is in the middle of his show, changing between acts when Horace reads his wife's telegram and finds out she and Dale are heading off to Venice. Jerry insists they hire a charter plane and go to Venice as well.
The production number, part of Jerry's show, is "Top Hat, White Tie, and Tails" which has Astaire dancing with a chorus of men in formal wear. During the dance, he "shoots" the men with his cane. His short tap dancing routine gets a standing ovation from the audience.
In Venice, Dale meets up with Madge, and they meet the seaplane – but Dale isn't there when Madge says hello to Jerry – whom Madge actually wants to set-up with Jerry. The hotel is full – so Horace and Jerry end up sharing the bridal suite, while Madge and Dale share their own suite.
Bellani, thinking that Horace has designs on Dale confronts him, but Horace has no idea what's going on.
Dale talks to Madge about her husband's flirting. Madge says she knows he flirts, but it doesn't mean anything. Dale decides to "teach him a lesson" and goes to his room to throw herself at him – and again runs into Jerry. Jerry turns the tables and flirts back.
Later, at dinner, Madge, Jerry, and Dale meet – but no introductions are made, as Dale insists she knows who Jerry is (she still thinks he's Madge's husband Horace). Fred and Ginger dance to "Cheek to Cheek", with Ginger in the beautiful, floaty, feather dress. It's ballroom dance that begins with the two in the midst of a crowded dance floor and moves to the two dancing on a patio that resembles an even bigger version of the gazebo from earlier. There is also some side by side and partner tap, with the two mirroring each other beautifully. But when Jerry proposes – Dale thinks he's Madge's husband and slaps him.
Alberto Belleni flirts with Dale and proposes to her. She accepts him but insists they must be married immediately.
Jerry, in a last-ditch effort to get Dale to listen to him, has Horace distract Beddini and goes to talk to Dale. He takes her on a boat ride on the water – and finally explains who he is.
Meanwhile, Bates reports to Horace that Dale and Jerry are drifting out to sea. Horace, Madge, and Belleni go off in a boat to "rescue" Dale and Jerry.
Dale and Jerry return, happy at last but concerned about her quick marriage and how to dissolve it. Dale rushes off. Bates tells Jerry that Madge, Horace, and Beddini went off in a boat from which he'd "removed the gasoline" while disguised as a gondolier. The local police arrest Bates for his impersonation.
There is a production number instrumental of "The Piccolino", which starts with Bugby Berkeley-styled dancers. Then the camera changes to a much happier Dale singing "The Piccolino" to Jerry. Then the perspective switches back to the elaborate production number.
Fred and Ginger dance – tap and ballroom, mirroring each other in tap. Their dance is full frame and uncut. Ginger's dress is sparkly with a trumpet skirt. They dance back to their table, saluting each other with champagne glasses.
Horace, Madge, and Belddini return. That Horace is Madge's husband is confirmed, as is the blossoming romance between Dale and Jerry. Just as everyone is wondering what they will do, Bates arrives and states he had been following Dale everywhere, and he had earlier disguised himself as a clergyman by turning his collar around. Beddini states, "But you were the one who married us!" Dale responds, "Then we were never really married!" And she rushes off in Jerry's arms!
List of Musical Numbers
No Strings (I'm Fancy Free)
Isn't This a Lovely Day (To be Caught in the Rain)?
The Piccolino
Top Hat is a simple, romantic comedy – fueled by mistaken identities, coincidences, and misunderstandings, where, of course, in the end – everything works out. But it features some of Irving Berlin's best songs and Fred Astaire and Ginger Roger's best dances. The sets, especially the boats in the waterway, are wonderful – and the Art Deco just shines. The dances are filmed full-frame and often without cuts. Certainly, there are no cuts to faces and feet – which means one can follow the dance and focus on Fred and Ginger's artistry. There are two ensemble production numbers – Fred's tap dance with a male chorus, which is part of the show he's been hired for as a professional dancer; and "The Piccolino". "The Piccolino" is a wonderful production number – but it seems out of place in Top Hat. It starts as an elaborate production number, switches to show Ginger singing, switches back to a production number, then switches a fourth time to Fred and Ginger dancing. The production part is full of fast cuts, and elaborate patterns, using ribbons. In short, it looks like a Bugsy Berkeley musical. But when "The Piccolino" focuses on Fred and Ginger dancing together, it becomes one of their signature-style dances – shown full frame, in a single shot without cuts, with Fred and Ginger both tap dancing (briefly) and ballroom dancing. So overall, though very elaborate, it works. Top Hat is one of my favorite Fred Astaire and Ginger Rogers films, along with Swing Time and Shall We Dance. For many, it is the quintessential film for the pair.
Recommendation: See it!
Next Film: The Truman Show
Astaire and Rogers Irving Berlin RKO
Leave a comment Posted on January 28, 2013 May 19, 2018 1930s, B/W Film, Betty Furness, Comedy, Eric Blore, Fred Astaire, From The Movie Project, Ginger Rogers, Helen Broderick, Movie Reviews, Musical, Reviews, Romance, Swing Time
Title: Swing Time
Director: George Stevens
Cast: Fred Astaire, Ginger Rogers, Helen Broderick, Eric Blore, Betty Furness
"My talent is gambling, Pop, hoofing is all right, but there's no future in it. I want to spread out."– John "Lucky" Garnett (Fred Astaire)
"Listen, no one could teach you to dance in a million years! Take my advice, and save your money."– Penny (Ginger Rogers) to Lucky
"It's funny how we met… and all that's happened to us since."– Penny
"The way we've been sorta'… thrown together and everything."– Lucky
"As if it were all meant to happen."– Penny
"It's quite an experience."– Lucky
"No, it's more than an experience. It's sorta like… a romance."– Penny
Swing Time is one of my three favorite Fred Astaire and Ginger Rogers musicals (the other two being Shall We Dance and Top Hat). This time, Fred plays John "Lucky" Garnett, a professional dancer who's about to marry his high school sweetheart. The guys in his touring dance troop know they will be out of a job if Garnett leaves the stage for marriage and a serious job, so they arrange for him to be hours late for his own wedding. When he misses the wedding the girl's father actually makes a deal with Garnett… if he can make $25,000 then he will let him marry his daughter. Lucky takes the challenge and goes off to the city to make his fortune.
In a large city, presumably New York, he runs into a girl, Penny Carroll (Ginger Rogers). He follows her and finds out she's an "instructress" at a dance studio. Deciding to have a little fun, he dances badly, causing several prat falls with Penny… who gets so frustrated she tells him no one will ever be able to teach him to dance, he should save his money. Unfortunately, her boss over-hears this and fires her and her maiden aunt (Helen Broderick). Lucky feels bad and decides to show Penny's boss that she has taught him a thing or two and the two dance together. Penny's boss is so impressed he gets them an audition at the Silver Sandles club.
Unfortunately, unbeknownest to Penny, Lucky is flat broke, he only has the wedding clothes he's wearing to his name. He sends his friend Pops to get some money, but Pops isn't as good a gambler as Lucky. He brings a drunken gambler to Lucky's for a game of "strip pichet" (no idea… a card game that looked like some version of gin). Lucky's never played the game before and loses.
Penny gets mad at Lucky for blowing their audition. But he gets them a second tryout. She relents after he sings to her while her hair is covered in shampoo. At the club, they dance together on the crowded dance floor, but before they can perform their number… the orchestra leader cancels and leaves. He's had a crush on Penny for awhile, and refuses to play to see her dance for another man.
Lucky gambles again for the orchestra… and wins it. He and Penny get their audition. Penny and Lucky, with the orchestra, become a star attraction, and the owner of the Silver Sandals offers Lucky 50 percent of the take. Mindful of his deal with his ex-fiancee's father, he argues it down to 25 percent. He'd earlier quit his bets at the roulette wheel because he was afraid of winning too much.
Lucky, Penny, Pop, and Mabel (Penny's maiden aunt) head out to the country to relax, even though it's the dead of winter and it's snowing.
They return to the city and the Silver Sandals is re-opening after it's make-over. Ricardo, the band leader, tries to give Penny jewelry and she refuses it. Mabel challenges Penny to kiss Lucky. She's determined to, loses her nerve, and then they do… off screen, hidden by an open door.
Lucky, with his dancers and chorus girls, dances to "Bojangles of Harlem" as the new opening number of the club.
Margaret, Lucky's ex-fiancee arrives at the club. Pops plays card tricks with some wise guys in the audience of the club. Unfortunately, they are the ones Lucky won the orchestra from. Even worse… they now know Pops palmed the Ace for Lucky… something even Lucky hadn't realized. Confronted with the evidence that he cheated, Lucky decides to re-draw cards and loses.
Penny finds out about Lucky gambling… and losing… and gets really upset, and even more upset when she finds out about Lucky's ex-fiancee.
Ricardo (the orchestra leader) proposes to Penny, and in a fit of pique, she accepts him.
Fred sings "Never Gonna Dance" to her and they dance together, but it is a dance of love and loss, and at the top of the Silver Sandals set, the two part company.
But Margaret is there to give John a "Dear John" letter… she's fallen in love with someone else. Meanwhile Lucky is completely in love with Penny. In the end, Pops and Lucky pull the same gag with cuffed trousers on Ricardo as his band had pulled on Lucky in the prologue, giving Lucky enough time to talk to Penny and stop the wedding.
Pick Yourself Up – Fred and Ginger vocals, and dance – Ballroom & Partner Tap
The Way You Look Tonight – Fred, vocals
Waltz in Swing Time – Fred and Ginger, dance – Ballroom & Partner Tap
A Fine Romance – Ginger and Fred vocals
Bojangles of Harlem – Fred & Chorus – dance
Never Gonna Dance – Fred, vocals – Fred and Ginger – Ballroom Dance
Swing Time is just pure fun. Fred and Ginger are in fine form, and the picture mixes romance with comedy and irony. For example, Fred sings the lovely ballad, "The Way You Look Tonight" to Ginger — while her hair is covered in shampoo and she's annoyed with him, rather than in a traditional romantic setting. "A Fine Romance" is a sarcastic song with both Fred and Ginger spitting lyrics like – "A Fine Romance… with no kisses". The film also uses the RKO Players like Eric Blore and Helen Broderick to fill in the comedy moments of the plot. The only real out of place number is "Bojangles of Harlem" which is, unfortunately, done with Astaire in blackface. Otherwise, it's a fine number (which includes Astaire dancing with three shadows… that suddenly start to not follow him). But yeah, dated, is the kindest word for it. The Silver Sandals set is a lovely two-level art deco set with a black and white dance floor below, and a shining black dance floor above. The two floors are connected by two staircases, one on each side of the main dance area.The picture in the banner of this review is of Fred and Ginger dancing "Never Gonna Dance" on the beautiful Art Deco Silver Sandals set. The set is used particularly well when Fred and Ginger dance to "Never Gonna Dance" — a song of love and loss, that ends with them parting, which at that point in the plot they do. It's lovely.
Next Film: The Thin Man
Astaire and Rogers reblogs RKO
Leave a comment Posted on December 5, 2012 June 2, 2018 1930s, B/W Film, Biography, Drama, Fred Astaire, From The Movie Project, Ginger Rogers, Movie Reviews, Musical, Reviews, The Story of Vernon and Irene Castle
The Story of Vernon and Irene Castle
Title: The Story of Vernon and Irene Castle
Director: H.C. Potter
Genre: Biography, Drama, Musical
Cast: Fred Astaire, Ginger Rogers, Edna May Oliver
Format: B/W, Standard
"Well, we've got our health, we're young, we're in Paris, we're on our honeymoon, what more can we want." — Vernon
"Hey, dance with me." — Vernon
"All the people downstairs?" — Irene
"Look, we can do it quietly, like this, just as if we're walking on air." — Vernon
"War is a man's business, women only do what they're told." — Maggie
The Story of Vernon and Irene Castle is the last musical that Astaire and Rogers did for RKO and it's notable for several reasons. It's one of only two films where Astaire and Rogers played a married couple (the other is The Barkleys of Broadway). It's the only biography the two did, so the only time they played real people. It's the only one of their musicals that's more of a drama than a comedy. And it's the only one with a definite downbeat ending (Vernon Castle (Astaire's character) dies). The film is different from other Astaire and Rogers musicals and that may be why it is not as well known as their other films.
The film opens in 1911, Fred Astaire is Vernon Castle, who at the time is barely working as a vaudeville comedian. He's not even the star of the show he's in, but the second banana who takes all the pratfalls and on-stage abuse from the star. He tries to get the show's leading lady interested in him, but to no avail. However, while at the seaside, he meets Irene Foote (Ginger Rogers) when they both jump into the drink to rescue a small dog. She, it turns out, is an aspiring actress/performer and she performs "The Yama Yama Man" as an audition for Castle.
After the lackluster audition, the two go to the train station, where a group of "bachelors" and their dates are on an excursion. When one of the guys gets up and dances – Vernon shows off his tap dancing skills. On their later dates, Irene suggests that Vernon should give up comedy and become a dancer. Vernon actually agrees with her and the two approach his boss with the idea of being a dance team. But his boss is having none of it. However, two French theatre owners approach Vernon and offer him a job in Paris.
Now married, Vernon and Irene go to Paris… but discover that the job they thought started immediately won't start for six weeks. Irene convinces the theatre owners to give Vernon an advance on his salary so they will have something to live on for six weeks. After the six weeks of waiting goes by, Vernon returns to the theatre — only to discover he's to play his comedy role again. As he explains to his wife, "Well, I refused… I know you don't want me to do, and I didn't want to do it… but he brought up the money we owe him…" Irene accepts this trying to make him feel better by saying, "Well, at least it's a job, maybe not the job you want, but it's a job." To console her, Vernon dances with her, quietly.
Fate intervenes in the person of Maggie, an entrepreneur and agent who walks into their apartment at that moment and sees them dancing. She gets them dinner and an audition at the Cafe de Paris. The audition is a smash success, and other couples imitate the Castles. They are hired by the nightclub as professional dancers. Before long they are back in New York, introducing The Tango to New York. The Castles sell books, records, and dancing lessons. Irene becomes a fashion icon. Their merchandising continues with ladies hats, bon bons, and face cream. Vernon's name goes on cigars and dancing shoes. They introduce the Fox Trot, and the Castle Polka. With both scenes of the Castles introducing their ballroom dances, the shot of the couple dancing is double exposed with sparkles and lights – giving it a dreamy quality. Irene bobs her hair, which causes a sensation and starts a trend. The Castles introduce the Moxie, another dance, at a seaside resort. They then tour nationally. (We see the couple dancing across a map of the US and each place they stop – additional dancers appear). As they return home, Irene and Vernon tell their manager, Maggie, they are tired and want to buy a house and raise a family. However, as they pull into one little town, there's a fuss outside the train — Germany's declared war.
At first, the Castles do retire to their new home, and Vernon agrees with Irene that he won't enlist. But when he's asked to work at a benefit… he sees all the Canadian soldiers and decides to enlist in the Royal Flying Corps. He manages to live through the war, but when he returns home he's sent to Fort Worth at the last minute as one of the pilots in an airshow for a Brigadier General. An inexperienced pilot takes off and flies into his airspace — given the choice of hitting the other plane or trying to avoid the crash he pulls straight up and the plane stalls. Vernon Castle is killed in the plane crash… the young inexperienced pilot in the plane with him survives, in part because Vernon took the seat in front rather than letting the young pilot do it since he knew that the front was the more dangerous seat. After her uncle and Vernon's close friend tells Irene the news she walks into the garden of the hotel her husband had set-up for her and imagines the two of them dancing together in the garden.
Again, The Story of Vernon and Irene Castle is very unusual for an Astaire and Rogers film. It has a downbeat ending, and even the dances are mostly not complete dances … they are excerpts as the story unfolds. Astaire performs well as Vernon Castle… really getting into the role which is quite meaty. Rogers has less to do, mostly following her husband around, and worrying constantly about him after he goes to war. But the film is meant to be a historical film, taking place between 1911 and 1918, when women didn't even have the right to vote so Irene's somewhat shadowed appearance can be understood if not condoned. And it is obvious that this couple loves each other, and Vernon, at least, allows his wife to not only have a say in their decisions but to lead in them (It's Irene who insists he's better than physical comedy; it's Irene who wants them to retire from touring, and it's Irene who at first insists that Vernon not go to war). In a sense, though Vernon dies at the end, the film is not only romantic, but it's a more realistic romance than most movie romances.
The story for the script was written by Irene Castle, based on her autobiographical book about her husband, and she acted as an advisor on the film, especially in terms of Rogers' clothes.
This was not your typical Astaire and Rogers musical, I'd say it's for diehards only, or if you want to see a different type of film starring Fred Astaire and Ginger Rogers. The rating is based on the film not being what you expect out of a musical — for example, there are very few full dances in the film.
Recommendation: Depends.
Rating: Three and a half out of five stars.
Next film: Stripes
Astaire and Rogers RKO
Leave a comment Posted on June 3, 2012 June 2, 2018 1930s, B/W Film, Comedy, Edward Everett Horton, Eric Blore, Fred Astaire, From The Movie Project, Ginger Rogers, Mark Sandrich, Movie Reviews, Musical, Reviews, Romance, Shall We Dance (1937)
Shall We Dance (1937)
Title: Shall We Dance (1937)
Studio: RKO (Radio Pictures)
Genre: Musical, Romance
Music: George Gershwin
Lyrics: Ira Gershwin
Cast: Fred Astaire, Ginger Rogers, Edward Everett Horton, Eric Blore
Format: Black and White, Standard
"I told ya' I haven't even met her … but I'd kinda' like to marry her." — Peter
"If we get married now, I can start divorce proceedings in the morning." — Linda
"I be your pardon, but what are grounds for divorce in this state?" — Linda
"Marriage." — Law clerk
Shall We Dance is one of my three favorite Fred and Ginger musicals — the dialogue is wonderfully witty, the plot, involving a secret marriage that isn't, and then is, is great fun, and the Gershwin score is simply marvelous. The dances are incredible (though I wish Fred and Ginger had actually danced to "You Can't Take That Away From Me" rather than Fred merely singing it to Ginger). Be sure to take note of the wonderful Art Deco set for "Slap that Bass", and Fred and Ginger tap dancing on roller skates to "Let's Call the Whole Thing Off". My other two favorite Fred & Ginger musicals are Top Hat and Swing Time. Though, I must say, there are parts of all their musicals I enjoy.
Fred Astaire plays Peter P. Peters, a dancer who's discovered by Jeffrey (Horton) and becomes the star of a ballet in Paris, under the name, "Petrov". Ginger Rogers, is musical comedy / Broadway star Linda Keene who's sick of the "life" and her stream of unsuitable suitors.
Astaire sees a picture of Linda and falls for her, so he tries to meet her in Paris. But when he over-hears her complaining to her maid about all the unsuitable men who see her picture and then try to win her over, he introduces himself as "Petrov", with a very bad Russian accent, rather than Peter P. Peters from Philadelphia, Pa.
However, both soon sail for New York on the steamship Queen Anne. It takes Peter a while, but his persistence pays off, and soon Linda falls for him. Yet, when Jeffrey (Horton) tells an unsuitable suitor of Petrov's that he is secretly married to Ms. Keene, and Peter confirms it — she lets the news slip, and soon the "secret marriage" is headline news. When Ms. Keene is seen knitting on the ship deck (she's actually making a sweater for her dog), it adds fuel to the fire. She erupts in anger at the rumors — and blames Peter for them.
In New York, Peter and Linda are booked into adjoining suites, by the concierge (Blore) — who, none-the-less keeps locking the door and pocketing the key as he's told the couple is not married. Linda, however, has her own troubles — the news media hounds her about her secret marriage; her manager wants to keep her on the stage or he'll lose his theatre, and the man she thinks she wants to marry is angry at her for "lying" about her "marriage to Petrov". When the manager uses a mannequin of Linda to take pictures of Linda and Peter in bed (a twin no less) and publishes the pictures — Linda's anger only grows, especially as her boyfriend dumps her.
Linda and Peter go to the park, have a date, and decide to marry in secret in New Jersey, for real, and then publicly divorce so Linda can marry who she wants. But Peter's now in love with her. When Linda finally serves him divorce papers, he finds him dancing with a stage full of "Linda Keenes" (dancers with masks). She's impressed, and in the end, Linda and Peter dance together and decide to stay married.
Musical Numbers
Slap that Bass — Fred, vocals and dance
Beginner's Luck — Fred, vocals
They All Laughed — Ginger, vocals; Fred and Ginger, dance
Let's Call the Whole Thing Off — Fred and Ginger, vocals, Fred and Ginger, tap dance on roller skates
They Can't Take That Away from Me — Fred, vocals
Also, an opening sequence of Fred "practicing" alone, that's tap and ballet, and various other sequences of ballet that are "rehearsals".
Recommendation: See It
Rating: 4.5 of 5 Stars
Next Film: Shall We Dance (2004)
Astaire and Rogers George Gershwin RKO
Leave a comment Posted on April 9, 2012 September 14, 2014 1950s Films, Fred Astaire, From The Movie Project, Jane Powell, Movie Reviews, Musical, Reviews, Romance, Royal Wedding, Stanley Donen, Technicolor Film
Title: Royal Wedding
Director: Stanley Donen
Studio: MGM
Cast: Fred Astaire, Jane Powell, Peter Lawford, Sarah Churchill, Keenan Wynn
Format: Standard, Technicolor
DVD: R1, NTSC
"Do I look like a gentleman?" — Jaime, Anne's father
"Jaime, you look like a banker." — Tom
"But do I look like a gentleman?" — Jaime
Tom (Astaire) and Ellen (Powell) Bowen are a brother-sister Broadway act, with a hit show, "Every Night at Seven". Their show is so successful that their agent gets a call from England, an offer for the two to open their show in London in time for the summer Royal Wedding (of Queen Elizabeth II and Prince Philip). Aboard the steamer ship bound for the UK, Ellen meets Lord John Brindale (Lawford), and the two begin to date once the ship reaches England. Meanwhile, on the first day of casting and rehearsals in London, Tom bumps into Anne Ashmond (Sarah Churchill), and they also begin to date. Eventually, the show, "Every Night at Seven" also opens in London. Tom has one of his contacts check out Anne's American fiance' who had returned to Chicago then failed to contact her – turns out he's now married. This frees up Anne, and she proposes to Tom. Meanwhile, Lord Brindale has also proposed to Ellen. At first, Tom and Ellen are reluctant to marry and break up the act. However, with "wedding fever" in the air because of the Royal Wedding, they quickly change their minds and the film ends with the double wedding of Tom and Anne and Ellen and John.
Royal Wedding seems, in part, to be drawn from parallels to Astaire's own real life — he got his start first in vaudeville and then on Broadway, with his sister Adelle as his dance partner. When she left the stage to marry, he wasn't sure what to do, before someone (thankfully!) suggested Hollywood, and the rest, as they say is history. But by having Powell and Astaire playing brother and sister, rather than having them romantically linked, there's a playful side to this film that is enjoyable. Some of the scenes between the two are quite fun, and more of their teasing and kidding each other could have vastly improved the film. The problem with the film is that MGM and Arthur Freed apparently love to play with toys and don't know when to put them away. In one number, Astaire dances with a coat rack / hat stand and various pieces of gym equipment in the steamer ship's gymnasium while waiting for Ellen to show for rehearsal. In another, the floor Ellen and Tom are dancing on tilts wildly as the ship navigates rough waters. And, finally, this is the film where Astaire dances on the walls and ceiling of a room (as well as Anne's photo). Astaire was a gifted, fluid, and graceful dancer — yet in the "dance on the ceiling" routine, he looks uncomfortable and like he can barely manage the moves — it's painful to watch. Astaire doesn't need tricks – I wish MGM would have just let the man dance in his later films (this is also why I much prefer Astaire's early work, especially when he was paired with Ginger Rogers).
Also, my copy of this film is in horrible shape. There's a "outdoor" scene between Powell and Lord Brindale which is very muddy and overly red. Some restoration work wouldn't come amiss at all.
Finally, Powell sings three solos in this film — and she can't sing. I just don't enjoy her singing voice at all. I will say, though, that her few dance scenes with Astaire, despite make-up and costumes that seem designed to make both her and Astaire look terrible, are good. I do think Jane has better chemistry with Astaire than Eleanor Powell did. The Astiare/Powell brother/sister act is fun.
"Every Night at Seven" — Astaire, Vocals; Astaire and Powell, Dance
Musical number and dance, no vocals (Astaire dances with hat stand, gym equipment)
"How Could You Believe I Love You"/"I'm a Liar" – Astaire and Powell, vocals and dance
"You're the World to Me" — Astaire with Anne's photo, dances on walls, ceiling
"I Left My Hat in Haiti" — Astaire, vocals and dance segues to production number
"Lovely Day for a Wedding" — Background
Recommendation: It's OK, but disappointing
Next Film: Running Scared
Leave a comment Posted on March 4, 2012 May 12, 2017 1930s, B/W Film, Fred Astaire, From The Movie Project, Ginger Rogers, Irene Dunne, Movie Reviews, Musical, Randolph Scott, Reviews, Roberta
Title: Roberta
Director: William A. Seiter
Studio: RKO
Music: Jerome Kern
Book and Lyrics: Otto Horbach
Cast: Fred Astaire, Ginger Rogers, Irene Dunne, Randolph Scott
"But underneath, she's a pearl." — John
"And a pearl, so I'm told, is the result of a chronic irritation on an oyster." — Huck
"John, every day you act worse – but today you're acting like tomorrow." — Huck
Roberta is another RKO musical where Fred and Ginger play second fiddle, this time to Irene Dunne and Randolph Scott. And to make things worse – Irene Dunne sings, four numbers, two that aren't even in English. And she can't sing. Dunne has this awful, trying to sound soprano, warbling sort of voice that's about as irritating as nails on a chalkboard. And unlike Follow the Fleet, which also has the problem of regulating Fred and Ginger to supporting cast behind Randolph Scott, Roberta has no comedy elements hardly at all. The plot revolves around a fashion house matriarch, Scott's Aunt, who dies, and a question is raised as to who will inherit her fashion house and continue to make it a success.
Fred Astaire, as Huckleberry (or Huck), is an Indiana band leader, as well as singer and dancer. He and his band, the Wabash Indianiaians, head to France for a gig. When they arrive, the owner of the club claims he wanted "Red Indians" and refuses to hire them. Wondering what to do, they head to Paris, hoping to find someone who can get them a gig. John (Scott), a member of the band, and friend of Huck's, has an Aunt, Mimi, who runs the Roberta fashion house. They head there and John and Mimi have a happy reunion. John also meets, Stephanie, Mimi's assistant, who he's quite taken with. Mimi is about to help them out. Meanwhile, the band, including Huck, is waiting downstairs. Getting restless they begin to play signals to get John's attention. As they are playing, Huck sees Ginger on a balcony. Their eyes meet.
However, rather than follow the plot of Fred immediately falling for Ginger and trying to woo her — when he gets upstairs to find out why John is taking so long, he finds Ginger putting on a accent and claiming to be a European countess. Once they are alone, however, it turns out that the two know each other, they grew up together, and "Countess Scharwenka" is Ginger's stage name. Huck asks her to get his band a gig. She does.
Soon, as I said, Mimi dies, leaving her salon to John — even though he knows nothing about fashion or design. John approaches Stephanie (Dunne) and tries to give her the business, but she refuses. The two end-up as partners. They have issues, but eventually put on a musical fashion show together. By the end of the film, John's proposed to Stephanie (after a few misunderstandings, as in all romances), and Huck and Liz (Rogers) are also together.
Let's Begin – Fred (singing) and his band (music). Fred has a soft shoe number with the company.
I'll Be Hard to Handle – Ginger singing. Fred & Ginger — tap, ballroom.
I Won't Dance — Fred (singing). Fred – solo tap.
Smoke Gets in Your Eyes — Irene Dunne singing (no dance).
Lovely to Look At — Irene Dunne singing (no dance).
Lovely to Look At — Fred singing to Ginger.
Smoke Gets in Your Eyes — (Music only) Fred and Ginger, ballroom dance.
Reprise — Fred and Ginger, partner tap.
As stated above, Irene Dunne also has two non-English songs, possibly lullabies, that she sings to Mimi to help her fall asleep for her afternoon nap.
Fred and Ginger's ballroom number, "Smoke Gets In Your Eyes", is wonderful. It's slowly paced, beautiful, and eloquent. Ginger shows an incredible sense of balance throughout the dance. It's also, conceptually, unusual for a ballroom number, especially a Fred and Ginger number, in that for most of the dance, both the opening and the closing, they aren't touching each other. They are mirroring, and dancing ballroom moves, but without actually holding hands — which means Ginger had to have had an incredible sense of balance — not depending on her partner's strength to hold her up. The middle of the dance does have Fred holding Ginger's hand to spin her, as well as moving into a more traditional ballroom hold, but it's an incredible dance to watch. Plus it is choreographed perfectly to the music.
The reprise is nearly the opposite of the main dance — it's very fast paced partner tap. Fred and Ginger fly through their moves. Ginger's moving so fast she actually has to hold the skirt of her very long, silky, black gown (the same one from the "Smoke gets in your Eyes" number) up as she dances, though she does hold it in such a way as to not reveal her knees. After their dance, it's Liz (Ginger) who says to Huck (Fred), "So, you were going to propose, right? I accept." Basically, proposing to him!
Not one of the best Fred and Ginger films by a long shot, but the "Smoke Gets In Your Eyes" dance and the reprise tap dance are both worth waiting for.
Recommendation: If you want the complete Fred Astaire and Ginger Rogers collection, see this, otherwise look to one of their better films.
Next Film: Robin Hood: Men in Tights
Astaire and Rogers Jerome Kern RKO
Leave a comment Posted on May 31, 2011 June 2, 2018 1930s, Alice Brady, B/W Film, Betty Grable, Comedy, Edward Everett Horton, Eric Blore, Erik Rhodes, Fred Astaire, From The Movie Project, Ginger Rogers, Mark Sandrich, Movie Reviews, Musical, Reviews, Romance, The Gay Divorcee
The Gay Divorcee
Title: The Gay Divorcee
Genre: Musical, Romance, Comedy
Cast: Fred Astaire, Ginger Rogers, Alice Brady, Edward Everett Horton, Erik Rhodes, Eric Blore, Betty Grable
"Guy, you're not pining for that girl?" — Egbert Fitzgerald
"Pining? Men don't pine, girls pine. Men just suffer." — Guy Holden
"Chance is the fool's name for Fate." — Guy Holden (becomes a catch-phrase of the film)
Guy Holden (Fred Astaire) is a professional dancer, who bumps into Mimi Glossop (Ginger Rogers) quite accidentally. He's taken a steam ship to England for vacation. She's only on the ship after boarding to pick-up her Aunt, who is dragged off by a custom inspector. Prior to leaving, Mimi's aunt, Hortense Ditherwell (Alice Brady), accidentally locks her skirt in her steamer trunk – then runs off with the key. Guy happens by, tries to help, but only succeeds in ripping her skirt. Mimi is upset so he lends her his coat. But he's smitten. Mimi returns the coat but without an address for him to reach her. He searches London for her, but has no luck. After two weeks, Guy's good friend, a lawyer named Egbert (Edward Everett Horton) convinces him to leave London and go to Brighton for a nice seaside vacation.
Meanwhile, Mimi has seen Egbert as well, in his official capacity as a lawyer. She wants a divorce, but her husband, whom she's barely seen over the last two years, won't grant her one. Egbert suggests her only recourse is to go to a seaside resort, to get caught in flagrante delicto with a correspondent (a man who makes his living doing this). Mimi also heads to Brighton.
Mimi and Guy run into each other, and begin to get along. Then Guy casually tells her, "Chance is the fool's name for fate". Unfortunately, he'd used the phrase before with Egbert, who liked it so much that he told Mimi that would be the password of her correspondent. Meanwhile, he tells the correspondent (Erik Rhodes) the password, but the poor man is Italian, and his English is very bad, so he mangles the phrase every time he repeats it to various women at the resort. Mimi invites Guy to her room so they can get caught, but due to the misunderstanding with the catch-phrase, she misunderstands many of the things Guy says, and she gets more and more mad at him.
Aunt Hortense, and Guy's friend, Egbert, end up finding the correspondent and bring him to Mimi and Guy, the mess with Mimi's mistake is straightened out and Astaire and Rogers dance the show-stopping "The Continental". The next morning, Mimi's husband arrives, but finding her with the Italian refuses to believe there was an affair, and forgives her. Mimi brings in Guy and he starts to waver. Then the waiter comes in and points out that "Mr. Brown" had been at the resort before with his wife (not Mimi), and thus the divorce will be granted. The finale is a reprise of "The Continental" as Guy and Mimi dance together having now been married (probably, from their clothes and the fact that they seem to be sharing a hotel room).
Don't Let It Bother You – Vocals – Chorus
Don't Let It Bother You – Dance, Astaire (Fast tap, solo)
A Needle in a Haystack – Vocals – Astaire, Dance – Astaire
Let's Knock K-nees – Vocals – Chorus and Edward Everett Horton, Dance – Chorus
Night and Day – Vocals – Astaire, Dance – Astaire and Rogers
The Continental – Vocals – Rogers,
The Continental – Dance – Astaire and Rogers
The Continental – Dance full chorus ensemble
The Continental – Dance Astaire and Rogers (Finale)
"The Continental" is one of the few Busby Berkley-styled numbers in an Astaire and Rogers film – and this is only the second film they did, chronologically. The number is very impressive but doesn't have the intimacy of later dances in other films. However, "Night and Day" is the film's sweet, romantic dance between Astaire and Rogers, as he's finally found this woman he's fallen for, and she's slowly drawn to him. "The Continental", by contrast, is a very showy, impressive dance, and both the Astaire/Rogers portions and the chorus portion (with the strong, contrasting black and white dresses and full suits with tails) are an excellent example of not only really good Broadway-style dancing but also excellent black and white photography and use of contrast. The lines of dancers in alternating black and white, and even dresses that are half black/half white form patterns and are just impressive. Directors at the time knew how to use black and white photography to their advantage. However, the short reprise of "The Continental" with Astaire and Rogers dancing in their hotel room, including, over a breakfast nook table, is very romantic and intimate, and beautifully shot. This film also has two separate dances where Fred performs his "triple" as I call it — both feet off the ground, body absolutely straight, including both legs, angled to the floor, and a triple scissor flourish. It's a fantastic move because Astaire is completely off the ground so long, he almost appears to hang in the air. The man was that good. And, yeah, it's like he could float on air.
The plot of The Gay Divorcee is that of a light, romantic comedy. The film is based on a Broadway play, which had also starred Astaire, and was actually titled The Gay Divorce. The Hollywood production code actually made a note on the film that, "there is nothing happy about divorce", and thus forced the change in the title. This film also showcases many of the bit players (Alice Brady, Eric Blore, Erik Rhodes, Edward Everett Horton) and ensemble actors who are sometimes but not always in the Fred Astaire, Ginger Rogers RKO musicals. Though I wouldn't call it one of the three best Fred & Ginger musicals, it could easily place fourth.
Next Film: Get Smart


text:
Faliraki () is the primary seaside resort village on the Greek island of Rhodes, in the Dodecanese. It is situated on Faliraki Bay, on the northeastern coast, about 14 km south of the town of Rhodes and 10 km southeast of the airport. It is part of the municipal unit Kallithea.

Tourism
Faliraki is a popular tourist destination with a 5 km stretch of sand and 12 FEE Blue Flags. At the Southern end of Faliraki beach there is an official naturist beach called Mandomata Beach, which has a small tavern as well as a couple of public toilets. Faliraki has rediscovered itself as a cosmopolitan, vibrant centre of tourism catering to many nationalities and all age groups. Faliraki boasts the largest water park in Greece, a state-of-the-art bowling park, a history park, and a fun-park for families and younger children. The centre of the town, particularly in July and August, is buzzing with younger children and families. As well as traditional Greek cuisine there are restaurants specialising in Chinese, Mexican, Italian and British cuisine. Along the beach front there are taverns, bars, restaurants, cafeterias and tourist shops. The fishing harbour of St Apostolos is a hub of activity especially in the morning, whilst the fishing boats unload their catch, the day cruisers (direct to  Lindos, Rhodes Town & beaches) depart and locals congregate for their coffee.

References

External links
 Faliraki Municipality at the Greek Tourist Board`

Populated places in Rhodes

redpajama_set_name: RedPajamaWikipedia


El Portal Inn is conveniently located in the popular Tagbilaran area. The hotel offers guests a range of services and amenities designed to provide comfort and convenience. Facilities like free Wi-Fi in all rooms 24-hour security daily housekeeping taxi service 24-hour front desk are readily available for you to enjoy. Television LCD/plasma screen mirror towels closet internet access – wireless can be found in selected guestrooms. The hotel's peaceful atmosphere extends to its recreational facilities which include massage. Friendly staff great facilities and close proximity to all that Bohol has to offer are three great reasons you should stay at El Portal Inn.


text:
package com.github.thomasfischl.efxlight;

import java.util.ArrayList;
import java.util.HashMap;
import java.util.Iterator;
import java.util.List;
import java.util.Map;
import java.util.Map.Entry;

import org.eclipse.core.resources.IFile;
import org.eclipse.core.runtime.IProgressMonitor;
import org.eclipse.jdt.core.ICompilationUnit;
import org.eclipse.jdt.core.IField;
import org.eclipse.jdt.core.IJavaElement;
import org.eclipse.jdt.core.IJavaProject;
import org.eclipse.jdt.core.IMethod;
import org.eclipse.jdt.core.IPackageFragment;
import org.eclipse.jdt.core.IPackageFragmentRoot;
import org.eclipse.jdt.core.IType;
import org.eclipse.jdt.core.JavaCore;
import org.eclipse.jdt.core.JavaModelException;
import org.eclipse.jdt.core.ToolFactory;
import org.eclipse.jdt.core.formatter.CodeFormatter;
import org.eclipse.jdt.ui.JavaUI;
import org.eclipse.jdt.ui.actions.OrganizeImportsAction;
import org.eclipse.jface.viewers.IStructuredSelection;
import org.eclipse.jface.viewers.StructuredSelection;
import org.eclipse.swt.widgets.Shell;
import org.eclipse.text.edits.TextEdit;
import org.eclipse.ui.IEditorPart;
import org.eclipse.ui.PartInitException;

public class FXMLControllerUpdater {

  private IProgressMonitor monitor;
  private IPackageFragment pack;
  private ICompilationUnit cu;
  private String className;

  public FXMLControllerUpdater(IFile fxmlFile, IProgressMonitor monitor) throws JavaModelException {
    this.monitor = monitor;

    className = fxmlFile.getName().substring(0, fxmlFile.getName().indexOf("."));

    IJavaProject javaProject = JavaCore.create(fxmlFile.getProject());
    IJavaElement packageFolder = JavaCore.create(fxmlFile.getParent());

    IPackageFragmentRoot root = null;

    if (packageFolder.getParent() instanceof IPackageFragmentRoot) {
      root = (IPackageFragmentRoot) packageFolder.getParent();
    }

    if (root == null) {
      for (IPackageFragmentRoot fragment : javaProject.getPackageFragmentRoots()) {
        if ("src".equals(fragment.getElementName())) {
          root = fragment;
        }
      }
    }

    if (root == null) {
      throw new IllegalStateException("No source folder found for project '" + javaProject.getElementName() + "'.");
    }

    root.open(monitor);

    pack = root.getPackageFragment(packageFolder.getElementName());
    pack.open(monitor);
  }

  public void updateClass(FXMLAnalyser analyser) throws JavaModelException {
    cu = pack.getCompilationUnit(className + ".java");

    if (!cu.exists()) {
      cu = createControllerClass();
    }

    addImports();

    IType type = cu.getType(className);
    if (!type.exists()) {
      String baseClass = analyser.getBaseClass();
      if (baseClass == null) {
        baseClass = "Pane";
      } else if (baseClass.contains(".")) {
        baseClass = baseClass.substring(baseClass.lastIndexOf(".") + 1);
      }
      type = cu.createType("public class " + className + " extends " + baseClass + " {}", null, true, monitor);
    }

    Map<String, String> controlFields = new HashMap<>(analyser.getControllerElements());
    updateFields(controlFields, type);

    List<FXMLListener> controlActions = new ArrayList<>(analyser.getControllerActions());
    updateActions(controlActions, type);

    updateConstructor(type);
  }

  private void updateConstructor(IType type) throws JavaModelException {
    boolean hasConstructor = false;

    for (IMethod method : type.getMethods()) {
      if (method.isConstructor()) {
        hasConstructor = true;
      }
    }

    if (!hasConstructor) {

      StringBuffer sb = new StringBuffer();

      sb.append("public " + className + "() {");
      sb.append("  FXMLLoader fxmlLoader = new FXMLLoader(getClass().getResource(\"" + className + ".fxml\"));");
      sb.append("  fxmlLoader.setRoot(this);");
      sb.append("  fxmlLoader.setController(this);");
      sb.append("  try {");
      sb.append("    fxmlLoader.load();");
      sb.append("  } catch (IOException e) {");
      sb.append("    throw new IllegalStateException(e);");
      sb.append("  }");
      sb.append("}");

      type.createMethod(sb.toString(), null, true, monitor);
    }
  }

  private void updateFields(Map<String, String> controlFields, IType type) throws JavaModelException {
    Iterator<Entry<String, String>> it = controlFields.entrySet().iterator();

    IField[] fields = type.getFields();
    while (it.hasNext()) {
      Entry<String, String> entry = it.next();

      for (IField field : fields) {
        if (entry.getKey().equals(field.getElementName())) {
          it.remove();
          break;
        }
      }
    }

    IField lastField = null;
    if (fields != null && fields.length > 0) {
      lastField = fields[fields.length - 1];
    }
    for (Entry<String, String> entry : controlFields.entrySet()) {
      lastField = type.createField("@FXML private " + entry.getValue() + " " + entry.getKey() + ";", lastField, true, monitor);
    }
  }

  private void updateActions(List<FXMLListener> controlActions, IType type) throws JavaModelException {
    Iterator<FXMLListener> it = controlActions.iterator();

    IMethod[] methods = type.getMethods();
    while (it.hasNext()) {
      FXMLListener entry = it.next();

      for (IMethod method : methods) {
        if (entry.getNormalizedName().equals(method.getElementName())) {
          it.remove();
          break;
        }
      }
    }

    IMethod lastMethod = null;
    if (methods != null && methods.length > 0) {
      lastMethod = methods[methods.length - 1];
    }
    for (FXMLListener entry : controlActions) {
      String methodCode = null;
      String methodName = entry.getNormalizedName();
      if ("onAction".equals(entry.getMethodType())) {
        methodCode = "@FXML private void " + methodName + "(ActionEvent e) { \n //TODO implement me \n}";
      }

      if (methodCode != null) {
        lastMethod = type.createMethod(methodCode, lastMethod, true, monitor);
      } else {
        System.out.println("No method template for type '" + entry.getMethodType() + "' available.");
      }
    }
  }

  private void addImports() throws JavaModelException {
    String[] imports = { "javafx.fxml.FXML", "java.lang.*", "java.util.*", "javafx.geometry.*", "javafx.scene.control.*",
        "javafx.scene.layout.*", "javafx.scene.paint.*", "javafx.event.*" };
    for (String importPackage : imports) {
      cu.createImport(importPackage, null, monitor);
    }
  }

  public void formatCode() throws JavaModelException {
    CodeFormatter formatter = ToolFactory.createCodeFormatter(null);
    TextEdit formatEdit = formatter.format(CodeFormatter.K_COMPILATION_UNIT, cu.getSource(), 0, cu.getSource().length(), 0, null);
    cu.applyTextEdit(formatEdit, monitor);
  }

  public void save() throws JavaModelException, PartInitException {
    cu.save(monitor, true);
    IEditorPart editor = JavaUI.openInEditor(cu);
    if (editor != null) {
      editor.doSave(monitor);
    }
  }

  public void organizeImports(Shell shell) {
    Runnable job = new Runnable() {
      @Override
      public void run() {

        IEditorPart editor;
        try {
          editor = JavaUI.openInEditor(cu);

          OrganizeImportsAction org = new OrganizeImportsAction(editor.getSite());
          IStructuredSelection selection = new StructuredSelection(cu);
          org.run(selection);

        } catch (PartInitException | JavaModelException e) {
          String name = "unkown";
          if (cu != null) {
            name = cu.getElementName();
          }
          LogFacade.logError("An error occurs during organize imports of class '" + name + "'.", e);
        }
      }
    };
    shell.getDisplay().syncExec(job);
  }

  private ICompilationUnit createControllerClass() throws JavaModelException {
    StringBuffer buffer = new StringBuffer();
    buffer.append("package " + pack.getElementName() + ";\n");
    buffer.append("\n");
    return pack.createCompilationUnit(className + ".java", buffer.toString(), false, null);
  }

}

redpajama_set_name: RedPajamaGithub


text:
Q: Kendo UI - custom grid filter: checkbox doesn't work on each click [UPDATE]
After I did as in:
http://dojo.telerik.com/aqIXa
 when I click for example ProductName filter, and then select and deselect all items, go to other fields example Unit Price,click select and deselect all I turnback to Product Name field, and in filter is now:

You can see that Select All combobox is created once more and it will continue to create after I repeat the steps. Does anyone has the Idea why is it happend?
I'm currently working in Kendo and try to make custom grid filter for each column.
I used this example:
http://dojo.telerik.com/iwAWU
inside initCheckboxFilter function I added, which created checkbox for select all.
var selectAllCheckbox= $("
<input type='checkbox' id='checkAll' checked/> Select All
").insertBefore(".k-filter-help-text");

and outside that function I implemeted:
function clickMe(){
   $("#checkAll").click(function () {
    if ($("#checkAll").is(':checked')) {
        $(".book").prop("checked", true);
    } else {
        $(".book").prop("checked", false);
    }
});
}

(.book is class for template inside:
 var element = $("

").insertAfter(helpTextElement).kendoListView({
          dataSource: checkboxesDataSource,
          template: "
<input type='checkbox' class='colDefFilter'  value='#:" + field + "#' checked />#:" + field + "#
",
        });

)
I also added UnitPrice and UnitInStock fields:
function onFilterMenuInit(e) {
        debugger;
        if (e.field == "ProductName" || "UnitPrice" || "UnitInStock") {
          initCheckboxFilter.call(this, e);

        }
      }

This looks like:

The first time I click Select All  checkbox on some column filter, it check and uncheck all items and it works fine. When I try to do it on other column, the event is not trigger. Does anyone has idea what is wrong?
Thanks!

A: Your problem is that you are using id for check all checkbox that's why jquery always select check-box from first drop-down (Product)
you need to use checkAll as class not id then change your clickMe() function like this and it will work :
function clickMe(){
       $(".checkAll").click(function () {
        if ($(this).is(':checked')) {
           $(this).closest('.k-filter-menu').find(".book").prop("checked", true);
        } else {
            $(this).closest('.k-filter-menu').find(".book").prop("checked", false);
        }
    });
    }

Here is working example http://dojo.telerik.com/aqIXa
Edit :
the way you are using to add Select all checkbox should be like this
var selectAllCheckbox= $("
<input type='checkbox' class='checkAll' checked/> Select All
").insertBefore(e.container.find(".k-filter-help-text"));

insted of this
var selectAllCheckbox= $("
<input type='checkbox' id='checkAll' checked/> Select All
").insertBefore(".k-filter-help-text");

otherwise it will add multiple Select All check box for previously initialized filter-dropdowns.
Here is updated demo :http://dojo.telerik.com/aqIXa/4

redpajama_set_name: RedPajamaStackExchange


ON the 16th of October 2017, the Erasmus+ students arrived in Fălticeni. Most of their work was done at Mihai Băcescu Technical College, the host school. Once everyone had taken a seat and the speeches were made, the students exchanged information with the newer participants. During the last mobility, the entrepreneurship and tourism groups signed an official contract, the joint venture agreement, which combined the strengths.
This mobility's focus was to divide the jobs into six specific departments consisting of people from both groups. The department of finance started to expand the financial plan they had made last year and wrote an analysis on future competition. Researching the exact details of publishing an app and writing the terms and conditions for the app was the law department's job. The IT people started working on new features for the app while they collaborated with the marketing department for the Facebook and Instagram pages. In collaboration with Human Resources, the CEO created an organizational chart. It was used to make sure everyone was working efficiently, as well as set deadlines until the next mobility.
In conclusion, everyone tried their hardest to do as much possible in the given period of time during which the constant connection between both divisions and groups was crucial. While it may have been tiring, in the end everyone had something in front of them they could call their own work. Now we are looking forward to see what they will do for the next mobility.


The city of Lyon is not far from my husband's home village and we like to hang out there when we go to France. The two rivers, the Saône and the Rhône, divide the arrondissements (neighborhoods) into three sections. Vieux Lyon, in the 5th arrondissement, has amazing Renaissance architecture and I think we discover something different with each visit.
Lyon has a history in the silk industry and the Saint Georges section is where the silk weavers first settled in the beginning of the 16th century.
For instance, the last time we were there, we popped into la Soierie Saint-Georges. (11 rue Mourguet – 69005 Lyon) It's a silk shop that has a little museum inside.
It was beautiful and fascinating to see the looms, threads, and incredible fabric. It was so hot outside, and I have to admit that it was also a welcome break from the heat!


text:
exports.createSocket = createSocket;

var util = require('util')
  , stream = require('stream')
  , pcap = require('pcap')
  , events = require('events')
  , os = require('os')
  ;

function createSocket(type, callback) {
  if (type !== 'udp4') {
    throw 'udpghost only supports udp4';
  }
  return new Socket(callback);
}

function Socket(callback) {
  if (callback) this.on('message', callback);
}
util.inherits(Socket, events.EventEmitter);

Socket.prototype.bind = function(port, address, callback) {
  this.port = port;
  this.addr = address ? address : '0.0.0.0';
  if (callback) this.on('listening', callback);
  pcap_session = pcap.createSession('any', 'udp port ' + port);
  var that = this;
  pcap_session.on('packet', function(raw) {
    //console.log('message', packet);
    var packet = pcap.decode.packet(raw);
    var msg = packet.link.ip.udp.data;
    var rinfo = {
      address: packet.link.ip.saddr,
      family: 'IPv4',
      port: packet.link.ip.udp.sport,
      size: msg.length
    };
    if (localIpv4Addresses().indexOf(packet.link.ip.daddr) >= 0) {
      that.emit('message', msg, rinfo);
    } else {
      console.log('outgoing message seen', msg, rinfo, packet.link.ip);
    };
  });
  this.emit('listening');
}

Socket.prototype.address = function() {
  var linfo = {
    address: this.addr,
    family: 'IPv4',
    port: this.port
  };
  return linfo;
}

Socket.prototype.send = function() {
  console.log('not sending:', arguments);
}

function localIpv4Addresses() {
  var addrs = [];
  var ifaces = os.networkInterfaces();
  for (var nicname in ifaces) {
    for (var i in ifaces[nicname]) {
       var rec = ifaces[nicname][i];
       if (rec.family == 'IPv4') {
         addrs.push(rec.address);
       }
    }
  }
  return addrs;
};


The real thrill of speed on the water! Airisto Spa's own rib-boat runs well in rough seas, it´s safe, stable and allows for quick transitions from place to place . Our boat is suitable for up to 12 persons. We can offer the complete equipment for the trip: Every passenger get to borrow a warm overall, life jacket , gloves, hat and goggles, which all are really needed. Thanks to our first-class boat, the ride is fast, but dry. So the biggest spray and waves are left on the outside of the boat. The boat takes on a modern, eco-friendly highly efficient 300-hp outboard motor and a dedicated skipper. Read more about Rib safari!
Do-able during the open water season. Duration of the program by choice and agreement. Group sizes of 10-20 persons. Larger groups are also possible. Ask for more information!
Navigation in a slightly faster manner. And no need to run in the woods dodging branches, here we go fast on the water. Sneakers is not required for the journey is fueled by speedy Rib-boats. The compass can be left at home as well as our boat is properly equipped.
Groups are divided into teams, every team then get its own Rib boat and skipper. Maps with marked with checkpoints are handed out. Teams then need to tell the skipper how to navigate to the marked checkpoints. Each team will start with different checkpoints. When the checkpoint is found, the team need to take a picture with a smartphone or camera as evidence. The team that finds all the checkpoints first is the winner. Rib navigation activity takes usually 1-2 hours.
Do-able during the open water season. Ask for more information!
Available: During open water season. Group size 6-30 persons. Duration approx. 4 hours.
S&S Swan 43: Length 13,1m. Passangers max. 12.
You don´t like rowing, huh? Spend a summer day behind a Rib boat on a wakeboard, water skis or a banana with ring pull. Something different than the usual humiliation for the Bachelor at the bachelors party? Maybe watercraft safari for the whole group? And if engines don´t make you tick, then maybe kayaking is the way to go. These water activities and so much more at Airisto Spa. Ask for more information!
On our own sandy beach , you can even play petanque and beach- volley . Traditional dart boards and the sandy beach is included for free, of course. Next door is also a mini golf course where you can see who is Tiger Woods and who's not. We also have a large dock where up to a 100 people can go against each other in the traditional worm – angling competition. Ask for more information!
WOW-Ball, or the Walk On Water Ball is a transparent plastic ball which the customer goes inside. The ball is then inflated with air and the fun begins. You balance the a ball on the water. You can try to come up with different tricks to get forward, if you can keep your balance that is. Of course you can also just sway of the waves and enjoy your own little bubble. WoW-ball is a fun program suitable for recreation days, bachelor- and birthday parties. Both for children and adults. Ask for more information!


Since the devastating Canterbury earthquakes, a huge rebuild has been underway at the Arts Centre. Providing an opportunity to create a radically different experience that is undeniably 21st Century.
We were tasked with the challenge of developing a new brand and communications strategy to match – one that would re-position the Arts Centre as a hub for creative entrepreneurs.
From the beginning we wanted to push the boundaries to match this exciting new vision. To create an identity that would inspire these creative entrepreneurs as much as they would be inspiring us. One that would be always changing to suit the situation, while recognising the rich history of this national icon.


The Dik Geurts Bora Console is a designer wood burning stove with a distinctive 'cubic' shape that is equally at home in modern or traditional properties. It is mounted directly on to an outside facing wall. The flue is concealed behind a matching flue cover, providing a streamlined finish. The flue materials are included, with no hidden charges.


The Academy comprises the Old School and the West Wing and two houses.
Q What is The Residents Association?
A The Residents Association aims to maintain and improve the safety, security and appearance of the Academy and enhance the quality of life for residents. We provide a single point of contact for outside agencies, principally our Managing Agents (Lewis and Tucker) and the freeholder (represented by Pier).
Q How much does it cost to join?
Q Who sits on the Residents Association Committee?


High shear mixing: homogenizing and emulsifying.
Program VisiMix RSDE is the a unique software program for mathematical modeling and technical calculations of installations with high shear devices – rotor / stator and tooth disk homogenizers.
– mathematical modeling of homogenizing and emulsion formation in different installations with RSD"s.


AGR Description: Predicted to have serine-type endopeptidase activity; predicted to be involved in regulation of systemic arterial blood pressure and zymogen activation; predicted to localize to the secretory granule; orthologous to human KLK10 (kallikrein related peptidase 10).
Merged Description: Predicted to have serine-type endopeptidase activity; predicted to be involved in regulation of systemic arterial blood pressure and zymogen activation; predicted to localize to the secretory granule; orthologous to human KLK10 (kallikrein related peptidase 10); INTERACTS WITH bisphenol A; decabromodiphenyl ether; sodium dichromate.
1. Bharaj BB, etal., Prostate. 2002 Apr 1;51(1):35-41.
2. Ewan King L, etal., Clin Biochem. 2007 Sep;40(13-14):1057-62. Epub 2007 Jun 2.
3. Iwai N, etal., Hypertension 2005 May;45(5):947-53. Epub 2005 Apr 4.
4. Kioulafa M, etal., Ann Oncol. 2009 Jun;20(6):1020-5. Epub 2009 Jan 15.
5. Luo LY, etal., Br J Cancer. 2002 Jun 5;86(11):1790-6.
7. Oikonomopoulou K, etal., Br J Cancer. 2008 Oct 7;99(7):1103-13. Epub 2008 Sep 2.
8. Puente XS and Lopez-Otin C, Genome Res 2004 Apr;14(4):609-22.
12. Santin AD, etal., Am J Obstet Gynecol. 2006 May;194(5):1296-302. Epub 2006 Apr 21.
13. Yunes MJ, etal., Int J Radiat Oncol Biol Phys. 2003 Jul 1;56(3):653-7.
Klk10 has been annotated in the following RGD Disease Portals.


text:
Epidemiological analysis of chemical burns: Does it reflect any change in trends?
Sunil Sharma, Piyush K Thayal, Praveen Kumar Arumugam
Department of Burns, Plastic and Maxillofacial Surgery, V.M. Medical College and Safdarjung Hospital, Delhi, India
Date of Submission 25-Nov-2020
Date of Acceptance 07-Jan-2021
Date of Web Publication 21-May-2021
Dr. Piyush K Thayal
Department of Burns, Plastic and Maxillofacial Surgery, V.M. Medical College and Safdarjung Hospital, Delhi - 110 029
DOI: 10.4103/ijb.ijb_33_20
Introduction: Chemical burns constitute small proportion of cases among the total admissions due to burn injuries. The spectrum of severity of illness can vary from mild injuries to life-threatening trauma. In the Indian scenario, the incidence of chemical burns has been reported to be 2.25%–2.4% of total burn admissions. We decided to analyze the epidemiological trends in a tertiary care center from 2013 to 2018 and observe if there has been any shift in the trends.
Materials and Methods: A retrospective chart review of all burn victims who attended our burns casualty in V. M. M. C and Safdarjung Hospital, New Delhi, India, between January 2013 and December 2018, was carried out.
Results: During the study period of 6 calendar years from 2013 to 2018, a total of 142 patients of chemical burns attended the hospital, with 47 of them requiring admission. The chemical burns accounted for 0.45% of the total burn patient's attendance. Male dominance was noted with 64% of patients being males. Nearly 59% of the chemical burn patients were from 21 to 40-year age group. Accidental chemical burns accounted for maximum cases. It was observed that acid burns have decreased in comparison to the initial 3 years.
Conclusion: Downward trend in the incidence of overall chemical burns was noted. Acid burns decreased with simultaneous increase in alkali burns. The study period coincided with the Supreme Court's verdict with the formulation of guidelines on sale of acids in 2013 and this could be the major factor in declining trends of acid burns.
Keywords: Acid attack, acid burns, alkali burns, chemical burns, epidemiology
Sharma S, Thayal PK, Arumugam PK. Epidemiological analysis of chemical burns: Does it reflect any change in trends?. Indian J Burns 2020;28:13-7
Sharma S, Thayal PK, Arumugam PK. Epidemiological analysis of chemical burns: Does it reflect any change in trends?. Indian J Burns [serial online] 2020 [cited 2022 Jan 21];28:13-7. Available from: https://www.ijburns.com/text.asp?2020/28/1/13/316578
Chemical burns constitute small proportion of cases among the total admission due to burn injuries with incidence reported from 2.4 to 10.7% worldwide.[1] The spectrum of severity of illness can vary from mild injuries to life-threatening trauma.
Over 25,000 domestic and industrial chemicals have been known to cause chemical burn injuries.[2] These chemicals can cause injury by direct contact with skin or inhalation of fumes. Nature of injury can be accidental, homicidal, occupational, or rarely suicidal. Use of chemical agents to inflict injury as to revenge as per literature accounted to as high as 75% of chemical burns in some countries.[3]
The annual incidence of burns in India based on extrapolated data from major hospitals across the country is approximately 7 million.[4] In the Indian scenario, the incidence of chemical burns reported to be 2.25% of total burn admissions during 2001–2007 (Ahuja et al. 2009) at a tertiary care hospital in the national capital and 2.4% from a tertiary care hospital located in tier 3 cities during the year 2008–2013.[5],[6]
In our country, throwing acids over others to take revenge had attracted the attention of the highest court of the land (Supreme Court) and in the process laid down guidelines regulating sale of the acids in 2013.[7] With this background, we decided to analyze the trends of epidemiology of chemical burns for 6 years since 2013 at our institute which is one of the largest referral burn centers of Northern India to assess any change in the trends and pattern.
A retrospective chart review of all burn victims who attended our burns casualty in V. M. M. C and Safdarjung Hospital, New Delhi, India, between January 2013 and December 2018, was carried out with the help of hospital records maintained in the hospital. Patients diagnosed with chemical burns were included in our study.
Patient characteristics in relation to demographics, mechanism of injury, causative agent, place of injury, and extent of burns were extracted from the records. Outcome data including mortality, length of hospital stay, associated injuries, and distribution of injury were available only for patients from 2016 to 2018. The data were then analyzed with SPSS version 23 software (IBM SPSS Statistics for Windows, Armonk, NY: IBM Corp, USA). Data were described in percentage for categorical variables.
Demographic analysis
In the study period of 6 years ranging from January 2013 to December 2018, a total of 31,234 burn victims attended our casualty. Of these, 8143 burn victims required admission. Only 142 patients were diagnosed with chemical burn injuries, and 0.57% of patients among them required hospitalization. The annual average caseload of burn patients was 5205 with chemical burns accounting for 0.44% of total burn victims. The year-wise breakup of the burn victims is presented in [Table 1].
Table 1: Chemical burns incidence by year
The year-wise breakup highlighted the reduction in incidence of chemical burn injuries by almost half and then almost remained constant with mild variations. Overall male predominance (64%) was noted [Figure 1]. Acid attack on females as a mode of revenge was seen in nine patients overall, four of which occurred in 2013, one each in 2015 and 2016, and 3 in 2018.
Figure 1: Gender distribution
The age-wise distribution of chemical burns victim has been tabulated in [Table 2]. Majority of chemical burn victims were between 21 and 40 years, accounting to almost 60% of cases. The mean age of patients was 26.64 years (standard deviation ± 14.12).
Table 2: Chemical burns age group analysis
Causative agent was identified in 75.35% of patients. Acid burns contributed to 53.52% of total chemical burns and alkalis contributed to 21.83%. The yearly data [Figure 2] show decreasing trend in acid-related burns with increase in alkali burns. The number of acid injuries has reduced from 31 patients in 2013 to 5 patients in 2018.
Figure 2: Etiology of chemical burns
Mode of injury
Majority of burns were accidental in nature (85.91% of the total) with remaining 14.08% being homicidal nature of the injury. No cases of suicidal chemical burns were recorded [Figure 3]. The proportion of homicidal burns was lesser in 2016–2018 as compared to 2013–2015.
Figure 3: Mode of sustaining chemical burns
Place of injury
The most common place of injury was in the domestic setup accounting for 47.18% and the workplace constituted 21.83%. In 24 patients, the site where injury occurred could not be elicited.
Extent of burns
Majority of the patients had total body surface area (TBSA) <10%. Four patients had >50% TBSA involved [Table 3].
Table 3: Chemical burns total body surface area distribution
Median duration of hospital stay was 5.5 days (range 2–57 days) (2016–2018). In patients presenting in 2016–2018, 86.7% of patients had facial burns. Ocular injury in the form of bilateral corneal damage occurred in 20% of the patients. Unilateral ocular injury was seen in additional two patients. One patient developed renal failure. Overall mortality rate was 16.6% (2016–2018).
The incidence of chemical burn injuries reported worldwide varied from 2.4% to 10.7% of all burn admissions.[1] In the studies reported from our country, Ahuja et al. had carried a detailed study of burn admissions from 1993 to 2007 with study from the 1993–2000 being labeled by authors as Phase I and the data from 2001 to 2007 as Phase II. Ahuja et al. had reported 45 cases of chemical burns accounting 2.25% of burn admissions at a rate of 17.1 admissions per year in Phase II study. A study conducted between 2008 and 2013 to analyze the epidemiology of chemical burns in a burn unit at Aligarh had reported 96 cases which translated to incidence of 2.4% of all burn admission with female being victims slightly more than the male counterparts [Figure 4].[5],[6]
Figure 4: Chemical burns incidence – Indian studies
We had analyzed the burn victim's attendance at our institute between 2013 and 2018. The incidence of chemical burns in our study is 0.58% of all burn admissions and 0.47% of overall burn victims' attendance at our center. Akhtar et al. had noted a female dominance among the chemical burn victims which is in contrast with our study.[6]
The analysis of chemical burn exclusively done at the burn unit of Aligarh Medical college had revealed majority of the chemical burns were due to domestic accidental burns (58%), followed by homicidal accounting to 29% of cases.[6] They also recorded 12 cases of suicidal burns. In another study on chemical burns from southern part of India, accidental chemical burns were most common, especially among adults. In the pediatric group, especially in the age group of 13–18 years and females, nonaccidental injuries were more common.[8] In our study, the majority of cases of chemical burns were accidental in nature (81.65%) and homicidal burns constituted 18.34% which is lesser than that observed by Akhtar et al. (29%). A brief comparison of our study with the one done by Akhtar et al.[6] is shown in Tabl[e 4].
Table 4: Comparison of the present study with previous study during 2008-2013
The 226th Report of the Law Commission of India on "The Inclusion of Acid Attacks as Specific Offences in the Indian Penal Code and a Law for Compensation for Victims of Crime" submitted to Honorable Supreme Court of India for its consideration in the pending proceedings filed by one Laxmi in W. P.(Crl.) No. 129 of 2006 examined in detail technicalities of the legal provisions along with effectively giving insight on the consequences of acid attacks, it's medical treatment with after care necessary for the rehabilitation of the victim.[7] The Honorable Supreme court of India had laid down guidelines on the sale and access of acids to public at large along with making the acid attack as nonbailable offence and giving compensation to the acid attack victim for medical treatment and rehabilitation in 2013 on the PIL based on the 226th report of Law Commission of India.
On year-to-year basis analysis of chemical burns at our institute, we found a downward trend in the chemical burns with more so specific to acid burns. The year-to-year basis of cases reported to the department did show a dip in the initial 3 years (2013–2015) with a rising trend in the past 3 years. However, on careful observation as depicted in [Figure 2], there has been downward trend in acid-related burns. The increase of alkali-related burns has been the reason of upward trend of chemical burns. Thus, we are of opinion that the guidelines laid down by the Supreme Court have been strictly adhered to by the respective governments through the implementing agencies had a positive desired effect in reducing acid burns.
In 2018, alkalis were the most common cause of chemical burns in this study. Although the number of acid burn injuries has reduced in this study, we did find that there were nine cases of vitriolage against women. Three of these attacks occurred in 2018. It should be stressed that, in order to bring about further improvement in the scenario, the laws against acid attacks must be enforced strictly to prevent these heinous crimes from occurring. Once chemical burns do occur, significant morbidity and need for repeated reconstructive surgeries cause significant economic costs. Prevention of such injuries by better and safe industrial practices has resulted in drop in chemical injuries occurring the industrial setting. The need of the hour is to further reduce these injuries through means of education and awareness. Awareness through social media makes it a convenient method in today's tech age. Organizing public events such as marathons which involve the general public helps to gain attention. Electronic media such as TV programs make it easy to reach every part of the country.
Limitations of the study
This is a retrospective study which is a limitation. In addition, there could be a referral center bias as our center being a tertiary center for burns. Larger studies from multiple centers around the country would be helpful to understand the scenario in other parts of the country as well.
There has been a downward trend in the incidence of acid burns in particular. Increase trend of the alkali burns is more due to the workplace related. The Supreme Court-induced stricter norms for sale of acids did have impact on reducing numbers. To reduce the incidence further, preventive strategies and awareness regarding these kinds of injuries are the need of the hour.
Hardwicke J, Hunter T, Staruch R, Moiemen N. Chemical burns—An historical comparison and review of the literature. Burns 2012;38:383-7.
Seth R, Chester D, Moiemen N. A review of chemical burns. Trauma 2007;9:81-94.
Olaitan PB, Jiburum BC. Chemical injuries from assaults: An increasing trend in a developing country. Indian J Plast Surg 2008;41:20-3.
Gupta JL, Makhija LK, Bajaj SP. National programme for prevention of burn injuries. Indian J Plast Surg 2010;43:S6-10.
Ahuja RB, Bhattacharya S, Rai A. Changing trends of an endemic trauma. Burns 2009;35:650-6.
Akhtar MS, Ahmad I, Khurram MF, Kanungo S. Epidemiology and outcome of chemical burn patients admitted in burn unit of JNMC hospital, Aligarh Muslim University, Aligarh, Uttar Pradesh, India: A 5-year Experience. J Family Med Prim Care 2015;4:106-9.
Law commision of India. Report submitted to the Hon'ble Supreme Court of India for its consideration in the pending proceedings filed by one Laxmi in W.P. (Crl.) No. 129 of 2006. Available from https://lawcommissionofindia.nic.in/reports/report226.pdf.
Ramakrishnan KM, Mathivanan T, Jayaraman V, Babu M, Shankar J. Current scenario in chemical burns in a developing country: Chennai, India. Ann Burns Fire Disasters 2012;25:8-12.
[Figure 1], [Figure 2], [Figure 3], [Figure 4]
Sharma S
Thayal PK
Arumugam PK
acid burns
alkali burns

redpajama_set_name: RedPajamaCommonCrawl


text:
Humans of the Geneva Conventions
This year marks an important milestone in international humanitarian law (IHL) – we're celebrating the 70th anniversary of the 1949 Geneva Conventions.
From left to right - International Humanitarian Law Advisor Rebecca Dudley, Sir Kenneth Keith, RT Hon. Prime Minster Jacinda Ardern, NZRC Vice President Pip Stewart and NZRC Secretary General Niamh Lawless.
The Geneva Conventions are a set of rules that apply in times of armed conflict and seek to protect people who are not or are no longer taking part in hostilities including children, the sick and wounded, civilians and prisoners of war. Over the past seven decades, the Geneva Conventions have saved countless lives in conflicts around the world.
However, when these laws are not respected, there can be devastating humanitarian consequences. This anniversary is an opportunity to reaffirm our support for the Geneva Conventions and ensure that everyone, including any enemy, is treated as a human being.
In August 2019, New Zealand Red Cross organised a series of activities to acknowledge the real human stories behind the 70 years of the Geneva Conventions.
We ran a competition calling for young creative minds aged 18 to 30 to submit a piece of content explaining what the rules of war mean and why they are important to them. The winners attended a two-day workshop in Wellington to learn more about IHL, alongside emerging Pacific leaders, New Zealand Red Cross youth activators and IHL volunteers.
IHL workshop attendees at Parliament.
The 70th anniversary of the Geneva Conventions was also acknowledged at Parliament, where New Zealand Red Cross, workshop attendees and more than 170 guests were hosted by the Prime Minister. The Rt Hon Jacinda Ardern opened the event by reminding everyone of the importance of the Geneva Conventions and the role of Red Cross in times of conflict and disaster.
"Whenever our country, or indeed, our world, has faced a humanitarian crisis, it has been Rīpeka Whero Aotearoa that has been there to help, the Prime Minister said.
To follow the theme of human stories, five inspiring speakers including IHL competition winner, Saba Afrasyabi, and New Zealand Red Cross youth activator, Sakhr Munassar, shared their personal experiences of IHL.


When using time-series analysis to forecast some type of value, what types of error analysis are worth considering when trying to determine which models are appropriate.
One of the big issues that may arise is that successive residuals between the 'forecast' and the 'realized' value of the variable may not be properly independent of one another as large amounts of data will be reused from one data point to its successive one.
To give an example, if you fit a GARCH model to forecast volatility for a given time horizon, the fit will use a certain amount of data, and the forecast is produced and then compared to whatever the realized volatility was observed for the given period of time, and it is then possible to find some kind of 'loss' value for that forecast.
Once everything moves forward a time period, assuming we refit (but even if we reuse the data parameters), there will be a very large overlap in all the data for this second forecast and realized volatility.
Since it is common to desire a model that minimises these 'losses' in some sense, how do you deal with the residuals produced in this way? Is there a way to remove the dependency? Are successive residuals dependent, and how could this dependency be measured? What tools exist to analyse these residuals?
I think you're looking for some way to test for autocorrelation in your residuals. If your model is good -- let's say you have an ARMA(1, 1) model for your forecast -- then the residuals from this model will be white noise. Which is to say that the difference between your forecast and the realization can not be predicted any better. The residual is some zero mean normally-distributed error.
Let's pick an extreme example. If your residual (the diff between forecast and realized) were always 1, then the residuals would be autocorrelated. Clearly if your model is always off by 1, then you can do better. So if the residuals in your model are autocorrelated, then you can do better.
The standard test for this these days in Ljung-Box, but in the past Box-Pierce and Durbin-Watson were also used.
I am not sure I clearly understand your question. But definitely you can do some analysis on the residuals, especially autocorrelation. If you find any significant autocorrelation, I suggest you add a ARMA process to your model to increase the accuracy of your forecast.
Not the answer you're looking for? Browse other questions tagged forecasting or ask your own question.


Last friday, I bought a slurpee as I walked from work to the bank to deposit my paycheck. They had a cool (no pun intended) promotion on the large cups advertising free music downloads with a code from the cup. I probably would have gotten a large anyway. They don't cost that much more and give you a lot more drink. At any rate, I purchased the large and kept the code.
By the time that I got around to looking into the details for the free music, I'd somehow mixed Slurpee with Slushee, I'd say it's a pretty honest mistake. I was rather irritated with slushee that they didn't have a link from their front page to the music download site. I searched Google for Slushee music download or something like that, with no good results. I was rather irritated with 7-Eleven for advertising free music that didn't exist. I got on 7-eleven's site to see what the deal was, and was immediately confronted with a big picture advertising *slurpees* (not slushees).
I'm stupid, not crazy. Uh, reverse that? At any rate, I figured out real quick that I needed to be looking at slurpee's site. Once I got to their over-animated site (I like flash, but I really don't want slurping noises emitting from my computer...)., they had a link clearly posted to find the music downloads. Problem solved, right? Let's just make an account real quick and... Darnit.
After I failed to successfully make an account several times (each time returning an ambiguous failure error), I gave up. Everybody has site outages every now and again, so I figured I'd try again in a few days.


text:
Something old, something new: Julian Joseph
"I have been collecting shells for more than 35 years, specialising in Recent and fossil cowries. Like most collectors, I started with a general collection, but after a few years I started to concentrate on one family, the Cypraeidae. After doing an undergraduate research project on the evolution of this group of molluscs (against the advice of my tutor, who though the subject was far too specialised), I became interested in the fossil species as well."
Bernaya teulerei (Cazenavette 1846) 38mm from Oman. A "living fossil", and the first uncommon cowrie I ever acquired. The only living species of the genus Bernaya, which is one of the most ancient Cypraeid genera, with numerous fossil species.
Siphoncypraea mus (Linnaeus, 1758) 57mm from Venezuela. An unusually large, dark specimen with a prominent, spoon-shaped anterior extremity. Another "living fossil", closely related to the common fossil species of Florida.
Siphocypraea hertweckorum Petuch, 1991 from Sarasota, Florida and S. mus (Linnaeus 1758) f bicornis (Sowerby 1870) from Amuay Bay, Venezuela. This specimen of S. hertweckorum (67mm) is a nearly "gem" Pliocene fossil; S. mus (61mm) is its closest living relative, bicornis being the tuberculate form.
Barycypraea fultoni massieri Lorenz, 1991 60mm from Southern Mozambique and B. caputviperae Martin, 1899 45mm West Java. A "living fossil" and a "real" one! This specimen of B. fultoni massieri is very small, only 1mm more than the minimum size for this form. Luckily the sand grains in the specimen don't show in the photograph. B. caputviperae is a fossil representative of this genus, which was once common in Indonesia but is now confined to a single species off south-eastern Africa. It is interesting to note that the two living species of Coelacanth fishes also occur off south-east Africa and Indonesia only.
Zoila decipiens f. suprasinum Lorenz, 2002 58mm from Onslow, NW Australia. The southern subspecies of Z. decipiens described by Felix Lorenz in 2002. It is larger, heavier and slightly darker than the nominate form from Broome.
Leporicypraea mappa Linne, 1758 form aliwalensis Lorenz, 2000 69mm from Aliwal Shoal, Natal, South Africa and Mauritia arabica immanis Schilder & Schilder, 1939 79mm from South Africa . This dark, elongate specimen of arabica immanis looks remarkably like mappa aliwalensis but is only distantly related!
Erosaria guttata (Gmelin, 1791) 57mm. I thought this was form azumai when I got it from Japan but it isn't! It is almost certainly a Philippine specimen, but has no locality data .
Austrocypraea reevei (Sowerby, 1832) 36mm from Albany, Western Australia. A quite slender and dark specimen. The only surviving member of the genus Austrocypraea, which has numerous fossil species in Australia.
Umbilia capricornica Lorenz, 2000 65mm from Australia. I acquired this in Taiwan. The dorsal pattern is like that of hesitata beddomei, but the base is that of capricornica.
Cypraeovula castanea (Higgins, 1963) 39mm from Jeffreys Bay, South Africa. Rarely seen in good condition, this dead-collected specimen has at least some colour and gloss – most specimens are bleached white and eroded.


text:
The Harvest of Flame è un cortometraggio muto del 1913 diretto da Wallace Reid e (non accreditato) Marshall Neilan. Prodotto dalla Rex Motion Picture Company, fu distribuito dalla Universal Film Manufacturing Company e uscì in sala il 21 agosto 1913.

Trama

Collegamenti esterni

Cortometraggi drammatici


You know it's a good CBI conference when you spend each session thinking: I have to go home and write a book NOW!
You know it's a GREAT conference when you spend each session thinking: I want to write the kind of books ---- (insert name of current speaker) writes.
So, over the course of the weekend, I've decided to dedicate my whole career to translation (Sarah Ardizzone's talk); books for preschoolers (Hervé Tullet); 5-8 silly romps (Alex T. Smith); novels in verse (Sarah Crossan); well thought-out picturebooks (Jon Klassen).
And of course thanks to Alex T Smith I now know I can draw too.


Ronald Fischer - Re: Mapping "underline" to "colour" - how is the colour determined?
Re: Mapping "underline" to "colour" - how is the colour determined?
Subject: Re: Mapping "underline" to "colour" - how is the colour determined?
Thanks a lot for the detailed instructions!
there a man page for it.


Merlin Entertainments (SEA LIFE) Limited reserve the right to alter, close or remove details/exhibits without prior notice for technical, operational or other reasons and that no refunds can be given in these circumstances. Children must be accompanied by an adult. Merlin Entertainments (SEA LIFE) Limited reserve the right to refuse entry without explanation.
Your contract: A binding contract between us comes into existence when the final page of the booking confirmation procedure gives you a booking reference. For all payments made via this website, Merlin Entertainments (Sea Life) Limited will be the responsible contractual party. This contract and all matters arising out of it are governed by English law.
Promotions and promotional vouchers cannot be used in conjunction with any other offer, concession or online/call centre booking and have no cash value. Vouchers are automatically void if sold, offered for sale or if any attempt or offer is made to transfer the voucher for value. Vouchers remain the property of Merlin at all times and Merlin reserves the right to take possession of any voucher at any time. Vouchers must be presented at the attraction entrance & surrendered. Visitors must check attraction restrictions and opening times before visiting. Promotional offers are based on the full individual walk up ticket price.


text:
Father: William Arthur LABRUM (*6 Aug 1878 +14 Aug 1961)
Mother: May Bell REYNOLDS (*22 Mar 1886 +7 Oct 1930)
Arvil May LABRUM (*21 Jan 1904 +25 Apr 1980)
BIRTH: 21 Jan 1904, Vernal, Uintah, UT, USA [6216]
CHRISTENING: 6 Aug 1912 [6217]
DEATH: 25 Apr 1980, Salt Lake City, Salt Lake, Utah, USA [6218] [6219] [6220]
BURIAL: 29 Apr 1980, Murray, Salt Lake, UT, USA [6221]
Husband 1 : Clifford Leroy GRAHAM
MARRIAGE: 7 Jul 1924, Salt Lake City, Salt Lake, Utah, USA [28067]
+Robert LeRoy GRAHAM (Private)
Merrill L GRAHAM (*6 Oct 1926 +21 Nov 1926)
+Blanch GRAHAM (Private)
+Clifford Merlin GRAHAM (Private)
+Aleene Mae GRAHAM (Private)
+Carma Grace GRAHAM (*21 Aug 1937 +27 Sep 2004)
_Thomas LABRUM _________+
_Thomas George LABRUM _|
|                       |_Elizabeth GEORGE ______
_William Arthur LABRUM _|
|                        |                        _Joseph Hollings GOUGH _
|                        |_Maria Ann GOUGH ______|
|                                                |_Sarah WALKER __________
|--Arvil May LABRUM
|                                                 ________________________
|                         _______________________|
|                        |                       |________________________
|_May Bell REYNOLDS _____|
|                        ________________________
|_______________________|
|________________________
[6222] Beloved mother of five children. Beloved grandmother. Active member in the LDS church. Gifted homemaker. Died at the home of her daughter Aleen.
[6213] [S55] Family group record, LDS Church, from Bob Graham
[6214] [S80] LDS Church Archive Records
[29592] Forwarded by Carol McCoy
[6215] [S74] Kathy Lee Graham


text:
California Judge Rules Backpage.com Execs Can Be Charged With Money Laundering
Posted on August 24, 2017 August 23, 2017 10:37 pm
A judge has ruled that money laundering charges can be brought against the creators of a website that California prosecutors label an online brothel.
The Associated Press reported that the ruling came months after another judge threw out the case as violating free speech and federal protections.
Prosecutors filed new and expanded charges against Backpage.com Chief Executive Carl Ferrer and website founders Michael Lacey and James Larkin this spring. The three pleaded not guilty after the judge ruled that 25 of the original 27 money laundering charges alleging illegal bank fraud can proceed.
Sacramento County Superior Court Judge Larry Brown also dismissed 15 pimping conspiracy and other charges, ruling that they cannot be filed because of a federal law protecting free speech that grants immunity to websites that post content created by others.
Prosecutors allege that Backpage.com gets more than 90 percent of its revenue — millions of dollars each month — from thinly disguised ads for prostitution. Prosecutors have also said that the site's operators illegally funneled money through multiple companies and created various websites to get around banks that refused to process transactions.
While the website shut down its adult services section in January, officials said much of the same advertising has moved to the site's dating and massage sections. In fact, California prosecutors and U.S. Senate investigators allege that Backpage leads the market in commercial sex advertising and has been linked to hundreds of reported cases of sex trafficking, even involving children.
But federal and state officials have had difficulty bringing charges without violating free speech protections. The U.S. Supreme Court has left in place a different lower-court ruling that said Backpage's ads are protected by the federal Communications Decency Act. Congress is considering amending the act to omit sites that aid sex trafficking and to specifically allow states to file criminal charges.
The site and its operators also face civil lawsuits in several states filed on behalf of victims, many of whom allege they were under age 18 when they were sold for sex using the site's classified ads.
Related Items:Backpage.com, California, Carl Ferrer, federal law, James Larkin, legal, Michael Lacey, money laundering, News, What's Hot
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Ocracoke Cigars is now open for business! Come check out our selection of fine cigars. Feel free to relax and smoke in the air conditioned lounge or out on the screened deck.
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