Hüsker Dü was an American rock band formed in Saint Paul, Minnesota, in 1979. The band's continual members were guitarist/vocalist Bob Mould, bassist/vocalist Greg Norton, drummer/vocalist Grant Hart. Hüsker Dü first gained notability as a hardcore punk band crossing over into alternative rock. Mould and Hart were the principal songwriters for Hüsker Dü, with Hart's higher-pitched vocals and Mould's baritone taking the lead in alternating songs. Following the release of three LPs and an EP on independent label SST Records, including the critically acclaimed Zen Arcade in 1984, the band signed to Warner Bros. Records in 1986 to release their final two studio albums. Hüsker Dü disbanded in January 1988. Mould released two solo albums before forming Sugar in the early 1990s, while Hart released a solo album on SST and formed Nova Mob. After the respective bands broke up in the mid-1990s, Mould and Hart continued doing solo work, the latter until his death in 2017. Norton was less active musically after Hüsker Dü and focused on being a restaurateur instead.
He returned to the recording industry in 2006. The members of Hüsker Dü first performed together when Grant Hart, Bob Mould, Greg Norton, keyboardist Charlie Pine began playing in 1979 in a band called Buddy and the Returnables. At the time, Mould was a freshman at Macalester College and frequented Cheapo Records, a Saint Paul record store where Hart was a sales clerk. Hart and Norton had met while applying for the same job, which Norton got. Hart and Mould bonded over a shared love of the Ramones, soon after they enlisted Norton and Pine to form a band, they began gigging, playing cover songs, some classic rock, frequent Ramones tunes. Unbeknownst to Pine, the remaining band members disliked the sound of the band with Pine's keyboards and began practicing without him, writing a few originals; the new name originated during a rehearsal of the Talking Heads's "Psycho Killer.” Unable to recall the French portions sung in the original, they instead started shouting any foreign-language words they could remember, including the title of the popular 1970s memory board game Hūsker Dū?.
The name stuck, they added heavy metal umlauts to it. Mould said that they liked the somewhat mysterious qualities of the name and that it set them apart from other hardcore punk groups with names like "Social Red Youth Dynasty Brigade Distortion.” Mould said that, while Hüsker Dü enjoyed much hardcore punk in general, they never thought of themselves as a hardcore group and that their name was an attempt to avoid being pigeonholed as such. Hart and Norton fired Pine during their first official performance on March 30, 1979, continued as a trio under the new name. Mould has written that he considers the band's first "real gig" to have been May 17, 1980, at the renowned punk club Jay's Longhorn Bar. By 1980, the band was performing in Minneapolis, their music evolved into a fast, primal sound, making them one of the original hardcore punk bands of the Midwest. Through heavy touring, they soon caught the attention of punk trailblazers including Black Flag and Dead Kennedys' Jello Biafra, who helped introduce Hüsker Dü to new fans.
Black Flag guitarist/songwriter Greg Ginn signed the band to his label, SST Records. The band started releasing singles on Terry Katzman's Reflex Records in 1981, their first two albums, Land Speed Record and Everything Falls Apart, brought much critical praise. Regular touring brought them to the attention of the Minutemen, who released their debut and the "In a Free Land" single on their label, New Alliance Records. This, in turn, led to the band signing with SST Records; the intense but varied Metal Circus EP/mini-album was released in 1983. Hüsker Dü's more melodic take on hardcore struck a chord with college students, various tracks from Metal Circus Hart's "Diane," were put into rotation by dozens of campus radio stations across the U. S. In addition, on Metal Circus the band showed more invention and melody than it did over the course of their previous full album, Everything Falls Apart. While the band at this time was still rooted in the loud, fast punk rock style, the trio were beginning to experiment with songs featuring a more melodic, though no less aggressive, sound.
"The early Hüsker stuff was all fast and furious," Mould reflected in 1997, "as a result of being 18 and not proficient with the instruments. But I was always writing with an ear to melody." By 1983, the members of Hüsker Dü wanted to create music outside of the confines and restrictions of hardcore. In an interview with Matter in 1983, Mould told interviewer Steve Albini, "We're going to try to do something bigger than anything like rock & roll and the whole puny touring band idea. I don't know what it's going to be, we have to work that out, but it's going to go beyond the whole idea of'punk rock' or whatever."The following year, Hüsker Dü recorded the double album Zen Arcade in 45 hours for the cost of $3,200. Zen Arcade is a concept album following a boy who leaves home to face a unforgiving world, its artistic and conceptual ambitions were a great stretch given the purist sentiment prevalent in U. S. punk rock. Zen Arcade received critical praise and significant mainstream music press attention, ending up on several year-end best-of lists.
It helped expand the band's audience beyond the punk community. In his review for Rolling Stone, David Fricke described Zen Arcade as "the closest hardcore will get to an opera... a kind of thrash Quadrophenia."In 1989, Zen Arcade was ranked No. 33 on Rolling Stone's list of the 100 greatest albums of the 1980s. SST erred on t
In mathematics, the problem of differentiation of integrals is that of determining under what circumstances the mean value integral of a suitable function on a small neighbourhood of a point approximates the value of the function at that point. More formally, given a space X with a measure μ and a metric d, one asks for what functions f: X → R does lim r → 0 1 μ ∫ B r f d μ = f for all x ∈ X? This is a natural question to ask in view of the heuristic construction of the Riemann integral, in which it is implicit that f is a "good representative" for the values of f near x. One result on the differentiation of integrals is the Lebesgue differentiation theorem, as proved by Henri Lebesgue in 1910. Consider n-dimensional Lebesgue measure λn on n-dimensional Euclidean space Rn. For any locally integrable function f: Rn → R, one has lim r → 0 1 λ n ∫ B r f d λ n = f for λn-almost all points x ∈ Rn, it is important to note, that the measure zero set of "bad" points depends on the function f. The result for Lebesgue measure turns out to be a special case of the following result, based on the Besicovitch covering theorem: if μ is any locally finite Borel measure on Rn and f: Rn → R is locally integrable with respect to μ lim r → 0 1 μ ∫ B r f d μ = f for μ-almost all points x ∈ Rn.
The problem of the differentiation of integrals is much harder in an infinite-dimensional setting. Consider a separable Hilbert space equipped with a Gaussian measure γ; as stated in the article on the Vitali covering theorem, the Vitali covering theorem fails for Gaussian measures on infinite-dimensional Hilbert spaces. Two results of David Preiss show the kind of difficulties that one can expect to encounter in this setting: There is a Gaussian measure γ on a separable Hilbert space H and a Borel set M ⊆ H so that, for γ-almost all x ∈ H, lim r → 0 γ γ = 1. There is a Gaussian measure γ on a separable Hilbert space H and a function f ∈ L1 such that lim r → 0 inf = + ∞. However, there is some hope if one has good control over the covariance of γ. Let the covariance operator of γ be S: H → H given by ⟨ S x, y ⟩ = ∫ H ⟨ x, z ⟩ ⟨ y, z ⟩ d γ, or, for some countable orthonormal basis i∈N of H, S x = ∑ i ∈ N σ i
The Consumer Price Index is the official measure of inflation of consumer prices of the United Kingdom. It is called the Harmonised Index of Consumer Prices; the traditional measure of inflation in the UK for many years was the Retail Prices Index, first calculated in the early 20th century to evaluate the extent to which workers were affected by price changes during the First World War. The main index was described as the Interim Index of Retail Prices from 1947 to 1955. In January 1956, it was renamed the Index of Retail Prices. In January 1962 this was replaced by the General Index of Retail Prices, again rebased at that time. A further rebasing occurred in January 1987, subsequent to the issue of the first index-linked gilts. An explicit inflation target was first set in October 1992 by Chancellor of the Exchequer Norman Lamont, following the UK's departure from the Exchange Rate Mechanism; the target was based on the RPIX, the RPI calculated excluding mortgage interest payments. This was felt to be a better measure of the effectiveness of macroeconomic policy.
It was argued that if interest rates are used to curb inflation including mortgage payments in the inflation measure would be misleading. Until 1997, interest rates were set by the Treasury. On election in May 1997, the new Labour government handed control over interest rates to the politically independent Bank of England Monetary Policy Committee; this committee is given the responsibility of adjusting interest rates in order to meet an inflation target set by the Chancellor. The initial target rate of inflation was an RPIX of 2.5%. The committee meets once per month to decide. If, in any month, inflation deviates from the target by more than one percentage point, the Governor of the Bank of England is required to write an open letter to the Chancellor explaining the reasons for this and to propose a plan of action for bringing inflation back towards the target. Since 1996, the United Kingdom has tracked a Consumer Price Index figure, in December 2003, the inflation target was changed to CPI of 2%, from the previous target of RPIX of 2.5%.
The Consumer Prices Index including owner occupiers’ housing costs became the lead inflation index in UK official inflation statistics on 21 March 2017. The CPI calculates the average price increase as a percentage for a basket of 700 different goods and services. Around the middle of each month it collects information on prices of these commodities from 120,000 different retailing outlets. Note that unlike the RPI, the CPI takes the geometric mean of prices to aggregate items at the lowest levels, instead of the arithmetic mean; this means that the CPI will be lower than the RPI. The rationale is that this accounts for the fact that consumers will buy less of something if its price goes up, more if its price goes down. According to the ONS, this difference in averaging method is the largest contributing factor to the differences between the RPI and the CPI; the change in the CPI over the 12 months to August 2008 was 4.7%, while the corresponding figure for RPIX was 5.2% and that for RPI was 4.8%.
The CPI, the RPIX, the RPI are published monthly by the Office for National Statistics. A history of CPI and RPIX going back to 1989 can be found at the Office for National Statistics website. There has been criticism of CPI as being a less effective measure of price rises than the Retail Prices Index, accusing it of being easier to manipulate and less broad based. John Redwood, the Conservative MP, has said that CPI targeting meant that interest rates were set lower at a time of rising inflation. Following the UK general election of May 2010 the incoming conservative chancellor George Osborne announced that CPI was to be more adopted, including for setting benefits and pensions. In January 2013 the Office for National Statistics announced its conclusion that the RPI did not meet international standards and it is no longer formally ranked as a UK'National Statistic'; the basket of goods and services chosen is intended to reflect changes in society's buying habits. For example, on 23 March 2009, rosé wine and takeaway chicken were added to the basket, whereas volume bottled cider and boxes of wine were removed.
Lisandro Alonso is an Argentine film director and screenwriter. He has directed six feature-length films and a short film since 2001 and is loosely associated with the New Argentine Cinema movement, his film La libertad was screened in the Un Certain Regard section at the 2001 Cannes Film Festival. His 2014 film Jauja competed in the Un Certain Regard section at the 2014 Cannes Film Festival, where it won the FIPRESCI Prize. In addition, he was named Film Society of Lincoln Center 2014 Filmmaker in Residence on 24 June 2014. Dos en la vereda La libertad Los muertos Fantasma Liverpool Sin título Jauja Lisandro Alonso on IMDb
Sir Robert Williams, 1st Baronet, of Park was a Scottish mining engineer, pioneering explorer of Africa and railroad developer, chiefly responsible for the discovery of the vast copper deposits in Katanga Province and Northern Rhodesia. Williams was associated, variously as an employee of, advisor to, partner with Cecil Rhodes in his many enterprises from the time of their first meeting in 1885 at the de Beers diamond mine in Kimberley until Rhodes’s death in 1902. Williams planned and executed the creation of the Benguela railway through Portuguese West Africa. In 1902, Williams took over the construction and completed the connection to Luau at the border to the Belgian Congo in 1929, he was the managing Director of Tanganyka Concessions LtdWilliams was educated in Aberdeen. After World War I he bought Park House, a mansion with several hundred acres of land at Drumoak in Aberdeenshire, he was granted the Freedom of the City of Aberdeen, was created a baronet in 1928, of Park, Aberdeenshire.
He became a grand officer of the Order of the Crown and commander of the Royal Order of the Lion of Belgium and a knight commander of the Portuguese order of Christ. Robert Williams town Central African Copperbelt Dictionary of National Biography: Williams, Sir Robert, baronet and businessman Leigh Rayment's list of baronets Hutchinson, Robert Clarke. Robert's People: the life of Sir Robert Williams, bart, 1860-1938. London: Chatto & Windus. ISBN 0-7011-1758-3. Newspaper clippings about Sir Robert Williams, 1st Baronet, of Park in the 20th Century Press Archives of the ZBWSir Robert Williams Papers, TANKS Archive, University of Manchester Library
Daisyhead & The Mooncrickets is the self-titled 14-track second recording by Daisyhead & The Mooncrickets from 1997, where most of the songs are cut off before they end. A few covers are included, David Bowie's "Ziggy Stardust" being among them. Half of the song titles are unknown. It's perhaps the earliest recording of the "Deadboy & the Elephantmen Theme Song," which Riggs would play when he formed a band by that name in late 2000. "Ghost Of A Ghost" – 2:49 "The Skeletal Circus Derails" – 2:24 "Dead Girl" – 2:38 "Ziggy Stardust" – 1:42 "Neighborhood Threat" – 3:19 "Riding The Wormholes + Winter Ritual" – 7:09 "Unknown" – 2:01 "Unknown" – 1:31 "Rock N Roll Angel" – 1:04 "Unknown" – 1:04 "Space Oddity + Seahorses" – 2:57 "Deadboy And The Elephantmen Theme" – 1:39 "Unknown" – 1:53 "Unknown" – 1:24