text:
from __future__ import print_function
import platform
PY3 = False
if platform.python_version().startswith('3'):
    PY3 = True
import sys
import textwrap
import re
import math
from time import sleep
from io import StringIO
from subprocess import (
    check_output,
    CalledProcessError)
if PY3:
    get_input = input
else:
    get_input = raw_input

from . import COMPACT_TITLES
from .color import colors, THEME
from .banner import bannerize
from .album import gen_art
from .api import Client

# TODO
#   windows detect terminal size
#   leverage Radio/Station class to simplify menu "other stations"
#       aka station switch selections
#

def stream_list(streams):
    exploded = []
    name_re = re.compile("name=(.*),url")
    desc_re = re.compile("desc=\"(.*)\",art")
    for s in streams:
        name_m = name_re.search(s)
        desc_m = desc_re.search(s)
        s_exp = {
            'name': name_m.group(1),
            'desc': desc_m.group(1),
            'repr': s
        }
        exploded.append(s_exp)
    return exploded

def print_streams(station, streams, stations):
    (term_w, term_h) = term_wh()
    line_cnt = 0
    if len(streams) == 0:
        print("Exiting, empty station file, delete it and rerun")
        sys.exit(1)
    # set up to pretty print station data
    # get left column width
    name_len = max([len(s['name']) for s in streams]) + 1
    # the first line has the name
    # each subsequent line has whitespace up to column begin mark
    # print the stations
    i = 0
    for s in streams:
        prefix = (" %2d" % i + " ) " + s['name'] +
                  ' ' * (name_len - len(s['name'])))
        (w, h) = print_blockify(
            prefix, THEME['ui_names'],
            s['desc'], THEME['ui_desc'])
        line_cnt += h
        i += 1
    # TODO get rid of hard coded access to the other stations
    prefix = (" %2d" % len(streams) + " ) SomaFM" +
              ' ' * (name_len - len("SomaFM")))
    desc = ("Enter " + str(len(streams)) +
            " or 's' to show SomaFM streams")
    if station == "soma":
        prefix = (" %2d" % len(streams) + " ) Favorites" +
                  ' ' * (name_len - len("Favorites")))
        desc = ("Enter " + str(len(streams)) +
                " or 'f' to show favorite streams")
    (w, h) = print_blockify(
        prefix, THEME['ui_names'],
        desc, THEME['ui_desc'])
    line_cnt += h
    return line_cnt - 1

# \033[A moves cursor up 1 line
# ' ' overwrites text
# '\b' resets cursor to start of line
# if the term is narrow enough, you need to go up multiple lines
def del_prompt(num_chars):
    # determine lines to move up, there is at least 1
    # bc user pressed enter to give input
    # when they pressed Enter, the cursor went to beginning of the line
    (term_w, term_h) = term_wh()
    move_up = int(math.ceil(float(num_chars) / float(term_w)))
    print("\033[A" * move_up + ' ' * num_chars + '\b' * (num_chars), end='')

def term_wh():
    (w, h) = (80, 40)
    try:
        # TODO os agnostic tty size
        # *nix get terminal/console width
        outp = check_output('stty size', shell=True)
    except CalledProcessError:
        return False
    outp.decode('ascii').strip()
    try:
        rows, columns = outp.split()
    except ValueError:
        return (w, h)
    try:
        w = int(columns)
        h = int(rows)
    except ValueError:
        pass
    # print("term width: %d"% width)
    return (w, h)

def read_input():
    try:
        stream_num = get_input("\nPlease select a stream [q to quit]: ")
    except SyntaxError:
        return
    if not stream_num:
        return
    stream_num = str(stream_num).strip().lower()
    if len(stream_num) == 0:
        return
    return stream_num

def try_as_int(stream_num, station, max_val):
    try:
        stream_num = int(stream_num)
    except ValueError:
        return None
    # keys[len] is the other station
    if stream_num < 0 or stream_num > max_val:
        return None
    # the final row is not a stream, but a station change
    if stream_num == max_val:
        if station == 'favs':
            return (None, 'soma')
        # else station == 'soma'
        return (None, 'favs')
    return (stream_num, station)

def get_choice(station, streams):
    """Get user choice of stream to play, or station to change"""
    while True:
        stream_num = read_input()
        if stream_num is None:
            continue
        ctrl_char = stream_num[0]
        if ctrl_char not in ['q', 'e', 's', 'f']:
            retval = try_as_int(stream_num, station, len(streams))
            if retval is None:
                continue
            else:
                return retval
        if (ctrl_char == 'q' or ctrl_char == 'e'):
            return (None, 'q')
        if ctrl_char == 'f':
            return (None, 'favs')
        if ctrl_char == 's':
            return (None, 'soma')
    # should never be here

def ui():
    # set term title
    sys.stdout.write("\x1b]0;" + "~=radio tuner=~" + "\x07")
    c = Client()
    do_another = True
    next_st = 'favs'
    while do_another:
        try:
            next_st = ui_loop(c, next_st)
        except KeyboardInterrupt:
            do_another = False
        if next_st == 'q':
            do_another = False
    # clear term title
    sys.stdout.write("\x1b]0;" + "\x07")

def ui_loop(client, station='favs'):
    """list possible stations, read user input, and call player"""
    # when the player is exited, this loop happens again
    c = client
    if station is None:
        station = c.stations()[0]
    deets = c.station(station)
    streams = stream_list(c.streams(station))
    stations = c.stations()
    # streams.sort()  # put in alpha order
    # ######
    # print stations
    (term_w, term_h) = term_wh()
    banner_txt = deets['ui_name'] + ' Tuner'
    with colors(THEME['ui_banner']):
        (banner, font) = bannerize(banner_txt, term_w)
        b_IO = StringIO(banner)
        b_h = len(b_IO.readlines())
        print(banner)
        b_h += 1
    line_cnt = print_streams(station, streams, stations)
    loop_line_cnt = line_cnt + b_h + 2
    loop_line_cnt += 1
    if term_h > loop_line_cnt:
        print('\n' * (term_h - loop_line_cnt - 1))
    (stream_num, station) = get_choice(station, streams)
    if station == 'q':
        return 'q'
    # no stream given, must have been a station change, refresh list
    if stream_num is None:
        return station
    # ######
    # otherwise stream num specified, so call player
    ##
    # get the stream name only
    to_stream = streams[stream_num]
    # convert the name only into more details
    stream = c.stream(station, to_stream['name'])
    if stream is None:
        print('Error, could not get stream details')
        return station
    display_album(stream['art'])
    display_banner(stream['name'])
    # this play->pause->play loop should never accumulate lines
    # in the output (except for the first Enter they press
    # at a prompt and even then, it's just an empty line)
    i = 0
    do_another = True
    while do_another:
        display_info()
        try:
            if display_metadata(c, stream):
                c.stop()
                do_another = False
        # TODO poll user input for q to stop
        except KeyboardInterrupt:
            c.pause()
            # clear ctrl+c
            print('\b' * 5 + ' ' * 5 + '\b' * 5, end='')
            if COMPACT_TITLES:
                # clear info, name, song
                to_del = term_wh()[0]
                for i in range(3):
                    print("\033[A" + ' ' * to_del + '\b' * to_del, end='')
                sys.stdout.flush()
            prompt = "Paused. Press enter to Resume; m for menu. "
            with colors(THEME['stream_exit_confirm']):
                reloop = get_input(prompt)
            del_prompt(len(prompt) + len(reloop))
            # any key, not just m, takes you to the menu
            if len(reloop) != 0:
                c.stop()
                do_another = False
        i += 1
    # you can't use mpg123's 'pause' cmd (spacebar) bc it'll
    # fail a minute or two after resuming (buffer errors)
    # it literally pauses the music,
    # buffering the stream until unpaused, but the
    # behavior we want is to stop recving the stream
    # (like turning off a radio)
    return station

def display_info():
    msg1 = "Playing stream, enjoy..."
    msg2 = "[ctrl-c for pause/options]"
    with colors(THEME['stream_name_confirm']):
        if term_wh()[0] <= (len(msg1) + len(msg2)):
            print(msg1)
        else:
            print(msg1 + ' ' + msg2)

def display_metadata(client, stream):
    # to test these updates against another stream
    #   without conflicting audio:
    #   mpg123 -f 0 -C -@ <url>
    c = client
    station_name = stream['station']
    stream_name = stream['name']
    if COMPACT_TITLES:
        print()
        print()
    # don't assume that it's not playing from another client
    if not c.play(station_name, stream_name):
        print('Error, already playing %s' % c.status())
        # TODO ignore if playing what was requested
        return False
    showed_name = False
    i = 0
    disp_name = stream['meta_name']
    # disp names of '', like DEF CON Radio will escape loop
    while i < 10 and disp_name is None:
        stream = c.stream(station_name, stream_name)
        disp_name = stream['meta_name']
        sleep(0.5)
        i += 1
    if disp_name is None:
        disp_name = stream_name
    if disp_name is not None and disp_name.strip() != '':
        showed_name = True
        if COMPACT_TITLES:
            print("\033[A" * 2, end='')
        print_blockify(
            THEME['meta_prefix_str'], THEME['meta_prefix'],
            disp_name, THEME['meta_stream_name'],
            wrap=False)
        if COMPACT_TITLES:
            print()
    # wait for initial song
    i = 0
    song_len = 0
    song_name = stream['meta_song']
    # song names of '', like WCPE will escape loop
    while i < 10 and song_name is None:
        stream = c.stream(station_name, stream_name)
        song_name = stream['meta_song']
        sleep(0.5)
        i += 1
    showed_song = False
    if song_name is not None and song_name.strip() != '':
        showed_song = True
        if COMPACT_TITLES:
            print("\033[A", end='')
            if not showed_name:
                print("\033[A", end='')
        song_len = print_blockify(
            THEME['meta_prefix_str'], THEME['meta_prefix'],
            song_name, THEME['meta_song_name'],
            wrap=False)[0]
        if COMPACT_TITLES and not showed_name:
            print()
    # keep polling for song title changes
    do_another = True
    while do_another:
        status = c.status()
        song_now = status['song']
        if (song_now != song_name and
                song_now is not None and song_now.strip() != ''):
            if COMPACT_TITLES:
                if not showed_name:
                    print("\033[A", end='')
                if not showed_song:
                    print("\033[A", end='')
                showed_song = True
                if song_len > 0:
                    del_prompt(song_len)
            song_len = print_blockify(
                THEME['meta_prefix_str'], THEME['meta_prefix'],
                song_now, THEME['meta_song_name'],
                wrap=False)[0]
            song_name = song_now
        is_playing = status['currently_streaming']
        if not is_playing:
            return True
        sleep(1)
    return True

def print_blockify(prefix='', prefix_color='endc',
                   blk='', blk_color='endc',
                   wrap=True):
    # NOTE won't print only prefix without blk
    if len(blk) == 0:
        return (0, 0)
    p_len = len(prefix)
    with colors(prefix_color):
        # sys.stdout.write && flush
        print(prefix, end='')
    (term_w, term_h) = term_wh()
    lines = textwrap.wrap(blk, term_w - p_len)
    max_blk_len = len(lines[0])
    with colors(blk_color):
        print(lines[0])
    if not wrap:
        return (len(prefix) + max_blk_len, 1)
    # prefix only appears on 1st line, justifying remainder
    prefix = ' ' * p_len
    for line in lines[1:]:
        if len(line) > max_blk_len:
            max_blk_len = len(line)
        with colors(blk_color):
            print(prefix + line)
    return (max_blk_len, len(lines))

def display_album(art_url):
    if art_url is None or art_url == '':
        return
    (term_w, term_h) = term_wh()
    art = gen_art(art_url, term_w, term_h)
    if art is None:
        return
    print("ASCII Printout of Station's Logo:")
    print(art)

def display_banner(stream_name):
    unhappy = True
    while unhappy:
        (term_w, term_h) = term_wh()
        font = "unknown"
        with colors(THEME['stream_name_banner']):
            (banner, font) = bannerize(stream_name, term_w)
            b_IO = StringIO(banner)
            b_height = len(b_IO.readlines())
            if term_h > (b_height + 3):  # Playing, Station Name, Song Title
                print('\n' * (term_h - b_height - 2))
            print(banner, end='')
        with colors(THEME['stream_name_confirm']):
            prompt = "Press enter if you like banner"
            prompt += " (font: " + font + "), else any char then enter "
            try:
                happiness = get_input(prompt)
            except SyntaxError:
                happiness = ''
            del_prompt(len(prompt) + len(happiness))
            if len(happiness) == 0:
                unhappy = False
            else:
                print("")  # empty line for pretty factor

redpajama_set_name: RedPajamaGithub


Tom Humphrey reports on the most recent budget projections which predict a surplus of between $300-$400 million for the fiscal year ending June 30, 2016.
This money, combined with the $600 million surplus from the fiscal year which ended on June 30, 2015, means the state will have about $1 billion in unanticipated, uncommitted revenue.
On top of that, economists are projecting growth in the $400-$500 million range for the upcoming budget year.
As Humphrey notes, proposals are floating so spend the surplus on road projects or tax cuts or both.
Despite a pair of lawsuits contending the state's school funding formula, the BEP, is inadequate, lawmakers and the Governor are not rushing to suggest significant new investments in Tennessee schools.
This in spite of the fact that after a one year bounce on NAEP results, our state is now holding flat. Maybe that's because Senate Education Committee Chair Dolores Gresham is suggesting our state aspire toward "mediocrity" while holding a forum on disastrous (and expensive) school voucher schemes.
If the state invested half of the available surplus on the BEP formula, that would be a $500 million injection of funds to local schools. That would be a sure way to hold down local property tax increases while also beefing up the resources school systems have to provide an education. The revenue projections for the 2016-17 fiscal year indicate an investment of this magnitude is sustainable. And, by holding a portion of the surplus in reserve, the state could ensure against any unanticipated shortfalls.
All of that would still leave $200-$300 million available to spend on one-time costs like road projects.
Will Tennessee put its foot on the accelerator and invest in schools so our students have the resources they need to compete with the rest of the country? Will Bill Haslam use the surplus and projected new revenue to truly make Tennessee the fastest improving state in the nation in teacher pay?
The General Assembly will have answers to these questions starting in January.
This entry was posted in BEP, NAEP, Teacher Pay and tagged Andy Spears, BEP in Tennessee, Budget Surplus and School Funding in Tennessee, NAEP in Tennessee, School Funding in Tennessee, Tennessee General Assembly, Tennessee's Budget Surplus. Bookmark the permalink.
I have no curriculum for my class. I can deal with that. I have no textbooks either. Every class should have at the bare minimum a textbook.


Richmond upon Thames is a unique jewel in London's crown. Often considered London's most attractive borough, it has been a favourite retreat for the rich and famous throughout history – from Henry VIII to Mick Jagger.
Like many neighbouring boroughs of South and West London, the Thames is the life blood of the enclave with a multitude of famous houses and parks situated along its banks. Home to the marvels of Hampton Court and Twickenham Stadium it rivals anywhere in London for things to see and do.
Officially it has been voted as the happiest place in London to live due to its proximity to central London, its close community spirit and its country village-like atmosphere.
The Orange Tree - A solid Young's pub and a favourite for any local with an interest in sport. On Twickenham match days, it has a busy but friendly atmosphere with a shuttle bus to take customers directly to the rugby. This is the perfect place for a sneaky pre-match beverage or two!
Pig's Ears Beer Cellar - Found in a basement beer cellar, the menu is a meat lovers' dream with burger, steak and ribs the dominant feature. However, at the Pig's Ear beer is the flavour of the day. Choose from over 100 beers to select from the bottle and 10 on draught. The ale connoisseurs amongst you will certainly be in for a treat.
World Rugby Museum - The ultimate rugby experience. Learn about the history of the game, from its origins at Rugby School to the present day. Test your abilities against the best at the Play Rugby Zone to see if you've got what it takes to become a World Cup winning player.
Richmond Park - Originally created in the 17th century as deer park by Charles I, Richmond Park is London's largest royal park. Filled with free roaming wild deer to this day it is a beautiful place for a weekend stroll or cycle.
Looking to teach in Richmond?


text:
Officials in Illinois and Missouri at odds over virus aid
By DAVID A. LIEB Associated Press
Some elected officials in Missouri and neighboring Illinois were at odds Friday as Congress considered additional aid to states because of the coronavirus.
JEFFERSON CITY — Some elected officials in Missouri and neighboring Illinois were at odds Friday as Congress considered additional aid to states because of the coronavirus.
The divide mirrored a political split in Washington, where the Democratic-led U.S. House passed a $3 trillion coronavirus relief package that the Republican-led Senate seemed sure to reject.
Included in the proposal is almost $1 trillion for state and local governments, which have taken a twofold financial hit from plunging tax revenues and rising costs to combat the virus that causes the COVID-19 disease.
Illinois Comptroller Susana Mendoza, a Democrat, told The Associated Press that her state had a backlog of $6.5 billion of unpaid bills as of Friday that were unrelated to the coronavirus. She said Illinois has an additional projected budget hole of about $7 billion in the next fiscal year because of lost tax revenues stemming from the economic shutdown that occurred as a precaution against spreading the coronavirus.
"I'm not asking the federal government to help us make up for the mistakes of the past," Mendoza said. "But certainly, our state should not be held liable for the loss of revenues caused by COVID, and neither should any other state in the country."
"I think the federal government has a responsibility to not bail out states but definitely to make them whole for the terrible pandemic," she said.
In neighboring Missouri, however, three-fourths of the Republican state House and Senate members signed a letter Friday urging the state's congressional delegation to oppose the $3 trillion plan in the U.S. House. Their letter specifically chastised Democratic-led California, Illinois and New York for "careless tax, spend and borrow policies" and "budgetary blunders."
Among other things, Missouri GOP lawmakers pointed to Illinois' public pension system, which has $138 billion in unfunded debt.
"Multi-trillion dollar bailouts are an unacceptable solution to the financial woes of individual states," said the Missouri letter, which was coordinated by conservative state Sen. Eric Burlison.

redpajama_set_name: RedPajamaCommonCrawl


text:
« Action: concerning workers, pollution, broadband, social media, immigration, and postal banking. | Main | Action: concerning, once again, the Build Back Better Act. »
Around the table: from the Buffalo mayoral race to an unwelcome plea to "move on" from January 6.
When I hear from Buffalo Democratic Mayoral candidate India Walton that "Democrats have gotten very comfortable doing nothing," I'm reminded of all the six-figure consultants who've urged caution and moderation to hundreds of losing candidates all over America, and I'm also reminded that the Democratic hold on power in American cities is also a right-wing complaint, though Republicans surely would run our cities far worse. Hopefully you'll read the article and find Ms. Walton a fairly incisive and eclectic analyst of current events, and you'll think more people like that should be running things. Even Chuck Schumer has gotten on the bandwagon (though he might merely have been trying to outpace Ms. Ocasio-Cortez, for whatever reason).
Kyrsten Sinema loses five members of her Veterans Advisory Council, all of whom slam the Arizona Senator for "answering to big donors rather than your own people," which is exactly how we should frame all discussions of all our representatives in Congress. I'm beyond tired of hearing about how Ms. Sinema's been "up front" with her fellow Senators during Build Back Better negotiations, when she obviously hasn't been up front with the good citizens of Arizona who are her bossese. Naturally she responds to her advisors' resignation by implying they should stick to military matters.
Arkansas hospital decides it'll grant religious exemptions to folks who don't want to take the vaccine -- if they also swear off Tylenol, Sudafed, Benadryl, Tums, and a host of other famous medicines! There's a point in there: folks who shun the vaccine because of its testing on decades-old fetal issue (not cells from last week's abortions, as they claim) must also in good conscience reject the aforementioned medicines because testing on fetal tissue figured in their development as well! Not that today's rage will matter to right-wingers after they get a load of tomorrow's rage.
In a related note, James Colgrove at The Conversation takes us through the history of vaccines and vaccine mandates in America -- and sees today's parents as less accepting of such mandates. A lot has happened in recent years, of course -- Andrew Wheeler and Jenny McCarthy made us all scared we'd have autistic kids if we vaccinated them, and then social media let us all pretend we're celebrities and pundits and its algorithms relentlessly amplified the right-wing content that results in more enragement, er, engagement. And not for nothing, but all these ask-your-doctor-about-this-drug ads on TV -- which didn't exist in the '70s -- are also helping to make people a bit too cocksure about their "knowledge." I think some humility about what you don't know is a good thing, though most Americans don't seem to agree anymore.
When I hear that a couple of pro-Josh Mandel super PACs are running ads appearing to slam fellow Ohio Republican Senate candidate J.D. Vance as insufficiently pro-Trump based on what he said in 2016, I'm reminded that these ads could ultimately help Mr. Vance, if Republican voters become convinced over the next six months that Donald Trump is actually an albatross on their fortunes -- or if Republican poobahs merely decide that they've milked Mr. Trump all they can and are ready to move on. I also wonder why anyone, anywhere, let alone a super PAC, would favor Josh Mandel's election to any office. I hear even Donald Trump finds him a bit of a brown-noser.
Finally, dig the chutzpah from Condoleeza Rice, telling us that though January 6 was "wrong" (like that's some big gift to us!), we need to "move on" as a nation. First off, I read her plea ultimately as a thinly-disguised plea to "move on" from all of her sins as a member of the George W. Bush Administration; she can barely show herself in public after all of that, which is how it should be. Second off, I can't shake the feeling that when she says "what's happening to kids in school," she means we're forcing them to wear masks to keep from spreading COVID, which isn't an injury done to them no matter how many right-wing assholes think so.
Posted at 03:12 AM in around the table, big pharma, Democrat weakness, health care, social media, soldiers, waaaaah! | Permalink


That's the number of volunteers Atlanta needs to successfully stage Super Bowl LIII next February.
Beginning today, fans can visit ATLSuperBowl53.com/volunteer/ to apply and begin the process of becoming part of TEAM ATL.
Interested participants are required to go through a formal application process including a background check and one-on-one interview to be conducted this summer. All volunteers must be at least 18 years old at the time of submission. The Host Committee will hold orientation and a kickoff event this fall and mandatory role-specific training later this year.
TEAM ATL volunteers must commit to work a minimum of three shifts ranging in length from four to six hours each. In addition to being in on the action, volunteers will receive a custom-designed uniform package including a jacket, polo, hat and scarf. Volunteer uniforms will be revealed later this year.
Volunteers will help the Host Committee and City of Atlanta by serving as city ambassadors at key areas such as airports, hotels and official Host Committee and NFL events. There will be no volunteer opportunities inside of Mercedes-Benz Stadium on gameday.


text:
UPDATED: Trent Reznor scoring David Fincher's THE GIRL WITH THE DRAGON TATTOO
UPDATED: The Playlist reports that Reznor will be joined by Ross again for this score. Rejoice!
No reason to mess with a good thing.
Over at /Film, they have word that Trent Reznor is scoring David Fincher's THE GIRL WITH THE DRAGON TATTOO. Reznor has reportedly been working on it for over a month, so this isn't just a plan, it's already in action.
Reznor and Atticus Ross scored Fincher's THE SOCIAL NETWORK last year to great acclaim (our own Allison Loring rated it her number one pick for Soundtracks and Scores of the year). While we don't yet know if Reznor is working with Ross again for DRAGON TATTOO, we are "to expect something different" from this new score.
The work Reznor and Ross did for THE SOCIAL NETWORK added huge value and resonance to the already-great film, so I am glad to see that Fincher has also recognized that and is continuing the collaboration. Fans of the books and the Swedish versions of the films, how do you imagine this English language version sounding score-wise? Does Reznor fit the bill for you?
Source NY Times (archived livestream not yet available), via /Film
Get Shareaholic
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Bloomy1992
when i think of lisbeth salander i think of nine inch nails so yeah id say thats a pretty good fit haha
https://gordonandthewhale.com allisonloring
Renzor & Ross at it again? I am going to make an early prediction that this collaboration may crack my Top Ten list for 2011. Can't wait to hear what they come up with this time!
Reznor on The Social Network was overrated and people are still eating it up. But for this movie, it would be perfect.
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PAUL gets a full-length trailer...


text:
using System;
using System.Text.Json;
using System.Threading;
using System.Threading.Tasks;
using Azure;
using Azure.Analytics.Synapse.Artifacts.Models;
using Azure.Core;
using Azure.Core.Pipeline;

namespace Azure.Analytics.Synapse.Artifacts
{
    /// <summary> Creates or updates a Spark Job Definition. </summary>
    public partial class SparkJobDefinitionCreateOrUpdateSparkJobDefinitionOperation : Operation<SparkJobDefinitionResource>, IOperationSource<SparkJobDefinitionResource>
    {
        private readonly OperationInternal<SparkJobDefinitionResource> _operation;

        /// <summary> Initializes a new instance of SparkJobDefinitionCreateOrUpdateSparkJobDefinitionOperation for mocking. </summary>
        protected SparkJobDefinitionCreateOrUpdateSparkJobDefinitionOperation()
        {
        }

        internal SparkJobDefinitionCreateOrUpdateSparkJobDefinitionOperation(ClientDiagnostics clientDiagnostics, HttpPipeline pipeline, Request request, Response response)
        {
            IOperation<SparkJobDefinitionResource> nextLinkOperation = NextLinkOperationImplementation.Create(this, pipeline, request.Method, request.Uri.ToUri(), response, OperationFinalStateVia.Location);
            _operation = new OperationInternal<SparkJobDefinitionResource>(clientDiagnostics, nextLinkOperation, response, "SparkJobDefinitionCreateOrUpdateSparkJobDefinitionOperation");
        }

        /// <inheritdoc />
#pragma warning disable CA1822
        public override string Id => throw new NotImplementedException();
#pragma warning restore CA1822

        /// <inheritdoc />
        public override SparkJobDefinitionResource Value => _operation.Value;

        /// <inheritdoc />
        public override bool HasCompleted => _operation.HasCompleted;

        /// <inheritdoc />
        public override bool HasValue => _operation.HasValue;

        /// <inheritdoc />
        public override Response GetRawResponse() => _operation.RawResponse;

        /// <inheritdoc />
        public override Response UpdateStatus(CancellationToken cancellationToken = default) => _operation.UpdateStatus(cancellationToken);

        /// <inheritdoc />
        public override ValueTask<Response> UpdateStatusAsync(CancellationToken cancellationToken = default) => _operation.UpdateStatusAsync(cancellationToken);

        /// <inheritdoc />
        public override Response<SparkJobDefinitionResource> WaitForCompletion(CancellationToken cancellationToken = default) => _operation.WaitForCompletion(cancellationToken);

        /// <inheritdoc />
        public override Response<SparkJobDefinitionResource> WaitForCompletion(TimeSpan pollingInterval, CancellationToken cancellationToken = default) => _operation.WaitForCompletion(pollingInterval, cancellationToken);

        /// <inheritdoc />
        public override ValueTask<Response<SparkJobDefinitionResource>> WaitForCompletionAsync(CancellationToken cancellationToken = default) => _operation.WaitForCompletionAsync(cancellationToken);

        /// <inheritdoc />
        public override ValueTask<Response<SparkJobDefinitionResource>> WaitForCompletionAsync(TimeSpan pollingInterval, CancellationToken cancellationToken = default) => _operation.WaitForCompletionAsync(pollingInterval, cancellationToken);

        SparkJobDefinitionResource IOperationSource<SparkJobDefinitionResource>.CreateResult(Response response, CancellationToken cancellationToken)
        {
            using var document = JsonDocument.Parse(response.ContentStream);
            return SparkJobDefinitionResource.DeserializeSparkJobDefinitionResource(document.RootElement);
        }

        async ValueTask<SparkJobDefinitionResource> IOperationSource<SparkJobDefinitionResource>.CreateResultAsync(Response response, CancellationToken cancellationToken)
        {
            using var document = await JsonDocument.ParseAsync(response.ContentStream, default, cancellationToken).ConfigureAwait(false);
            return SparkJobDefinitionResource.DeserializeSparkJobDefinitionResource(document.RootElement);
        }
    }
}


text:
Q: Como restringir acceso mediante URL de los middleware a los modulos que no deben entrar mi route web.php
Route::group(['middleware' => ['guest']], function () {

    Route::get('/','Auth\LoginController@showLoginForm');
    Route::post('/', 'Auth\LoginController@login')->name('login');
});

Route::group(['middleware' => ['auth']], function () {

Route::post('/logout', 'Auth\LoginController@logout')->name('logout');

Route::get('/home', 'HomeController@index');

Route::group(['middleware' => ['Vendedor']], function () {

    ....

});

Route::group(['middleware' => ['Administrador']], function () {

    .....

  });
});

mi

Este es mi kernel.php
Tendria que modificar mi route.web?

namespace App\Http;
use Illuminate\Foundation\Http\Kernel as HttpKernel;
class Kernel extends HttpKernel
{
    /**
     * The application's global HTTP middleware stack.
     *
     * These middleware are run during every request to your application.
     *
     * @var array
     */
    protected $middleware = [
        \App\Http\Middleware\CheckForMaintenanceMode::class,
        \Illuminate\Foundation\Http\Middleware\ValidatePostSize::class,
        \App\Http\Middleware\TrimStrings::class,
        \Illuminate\Foundation\Http\Middleware\ConvertEmptyStringsToNull::class,
        \App\Http\Middleware\TrustProxies::class,
    ];
/**
 * The application's route middleware groups.
 *
 * @var array
 */
protected $middlewareGroups = [
    'web' => [
        \App\Http\Middleware\EncryptCookies::class,
        \Illuminate\Cookie\Middleware\AddQueuedCookiesToResponse::class,
        \Illuminate\Session\Middleware\StartSession::class,
        \Illuminate\Session\Middleware\AuthenticateSession::class,
        \Illuminate\View\Middleware\ShareErrorsFromSession::class,
        \App\Http\Middleware\VerifyCsrfToken::class,
        \Illuminate\Routing\Middleware\SubstituteBindings::class,
    ],

    'api' => [
        'throttle:60,1',
        'bindings',
    ],
];

/**
 * The application's route middleware.
 *
 * These middleware may be assigned to groups or used individually.
 *
 * @var array
 */
protected $routeMiddleware = [
    'auth' => \App\Http\Middleware\Authenticate::class,
    'auth.basic' => \Illuminate\Auth\Middleware\AuthenticateWithBasicAuth::class,
    'bindings' => \Illuminate\Routing\Middleware\SubstituteBindings::class,
    'cache.headers' => \Illuminate\Http\Middleware\SetCacheHeaders::class,
    'can' => \Illuminate\Auth\Middleware\Authorize::class,
    'guest' => \App\Http\Middleware\RedirectIfAuthenticated::class,
    'signed' => \Illuminate\Routing\Middleware\ValidateSignature::class,
    'throttle' => \Illuminate\Routing\Middleware\ThrottleRequests::class,
    'verified' => \Illuminate\Auth\Middleware\EnsureEmailIsVerified::class,
    'Administrador' => \App\Http\Middleware\Administrador::class,
    'Vendedor' => \App\Http\Middleware\Vendedor::class,
];

/**
 * The priority-sorted list of middleware.
 *
 * This forces non-global middleware to always be in the given order.
 *
 * @var array
 */
protected $middlewarePriority = [
    \Illuminate\Session\Middleware\StartSession::class,
    \Illuminate\View\Middleware\ShareErrorsFromSession::class,
    \App\Http\Middleware\Authenticate::class,
    \Illuminate\Session\Middleware\AuthenticateSession::class,
    \Illuminate\Routing\Middleware\SubstituteBindings::class,
    \Illuminate\Auth\Middleware\Authorize::class,
];

}

A: Tienes que indicar en el controlador si la ruta esta protegida por accesso e indicarle el grupo al que pertenece. ¿Entiendo que estan probando el middelware group y no te funciona?.
Es posible que te falte este __construct en el controlador. Si puedes comparte el código del controlador.
/**
 * Create a new controller instance.
 *
 * @return void
 */
public function __construct()
{
    $this->middleware('auth');
}

A: Suponiendo que las rutas y archivos estén correctos, aquí tienes que modificar, no se si ya los tienes pero serian desde la clase User.
Recuerda que se hará una consulta a la DB por ende en tus registros de Roles ya deberias tener ["Administrador", "Vendedor"]
Tablas involucradas ["User","Rol"] la tabla Rol debe tener datos llenos que son ["Administrador", "Vendedor"]
Middleware Vendedor
<?php

namespace App\Http\Middleware;

use Closure;

class Vendedor
{
    /**
     * Handle an incoming request.
     *
     * @param  \Illuminate\Http\Request  $request
     * @param  \Closure  $next
     * @return mixed
     */
    public function handle($request, Closure $next){
        if ($request->User()->hasRole('VENDEDOR')) {
            return $next($request);
        }
        else{
            abort(403, 'Como usuario '.\Auth::User()->roles->rol.' no tienes autorización, Debe ser un Usuario CAJA para ingresar.');
        }
    }
}

Agregar a Clase User
//lista de roles autorizados
    public function authorizeRoles($roles){
        if (is_array($roles)) {
            return $this->hasAnyRole($roles) ||  abort(401, 'This action is unauthorized.');
        }
        return $this->hasRole($roles) ||  abort(401, 'This action is unauthorized.');
    }
//basta un Rol
    public function hasAnyRole($roles){
        return null !== $this->roles()->whereIn('rol', $roles)->first();
    }
//Debe existir el rol
    public function hasRole($role){
        return null !== $this->roles()->where('rol', $role)->first();
    }
//relacion con la tabla role [1:M] para [M:M] belongsToMany
    public function roles(){
        return $this->belongsTo('\App\Rol','idrol');
    }

redpajama_set_name: RedPajamaStackExchange


text:
Australian dig finds evidence of Aboriginal habitation up to 80,000 years ago
Bu yazı Ocak 26, 2020 tarihinde admin tarafından yazılmıştır.
Artefacts in Kakadu national park have been dated between 65,000 and 80,000 years old, extending likely occupation of area by thousands of years
Clarkson and traditional owner Nango at the dig. Photograph: Glenn Campbell
A groundbreaking archaeological discovery in Australia's north has extended the known length of time Aboriginal people have inhabited the continent to at least 65,000 years.
The findings on about 11,000 artefacts from Kakadu national park, published on Thursday in the journal Nature, prove Indigenous people have been in Australia for far longer than the much-contested estimates of between 47,000 and 60,000 years, the researchers said. Some of the artefacts were potentially as old as 80,000 years.
The new research upends decades-old estimates about the human colonisation of the continent, their interaction with megafauna, and the dispersal of modern humans from Africa and across south Asia.
"People got here much earlier than we thought, which means of course they must also have left Africa much earlier to have traveled on their long journey through Asia and south-east Asia to Australia," said the lead author, Associate Prof Chris Clarkson, from the University of Queensland.
"It also means the time of overlap with the megafauna, for instance, is much longer than originally thought – maybe as much as 20,000 or 25,000 years. It puts to rest the idea that Aboriginal people wiped out the megafauna very quickly."
Clarkson said the Madjedbebe rock shelter where the artefacts were found – which has been excavated four times since the 1970s – had been controversial in the past, but the processes used to date the artefacts meant the team could say "precisely" that the area was occupied 65,000 years ago and "hopefully put the controversy to rest".
The findings also suggested people crossed over from south Asia at a time that was cooler and wetter, with lower sea levels allowing easier sea crossings.
The significant trove of thousands of artefacts was buried in 2.6 metres of sand and sediment on the western edge of the Arnhem Land plateau. The site at Madjedbebe is on the traditional lands of the Mirarr people, but currently within the confines of the Jabiluka uranium mining lease, and surrounded by the 20,000 hectares of the heritage-listed Kakadu.
Madjedbebe site custodian May Nango and excavation leader Chris Clarkson in the pit. Photograph: Dominic O'Brien/Gundjeihmi Aboriginal Corporation
Much of the success of the five-year-long project is credited to a unique and benchmark-setting agreement between the researchers and the Mirarr, who retained total control over the dig and the artefacts.
The discovery adds western scientific evidence to Indigenous cultural knowledge about the length of time their ancestors have occupied the land.
"We'd like to tell people we were here long enough – tell all the Balanda [non-Indigenous people] about the stories, that people were here a long time," Mirarr traditional owner May Nango said.
More than 10,000 artefacts were uncovered in the "zone of first occupation", including ochre and reflective paint substances, as well as the oldest unbroken ground-edge stone axes in the world, by about 20,000 years, and the oldest known seed-grinding tools in Australia.
"What we found was it's not just one kind of hatchet head we've got, but four or five quite different kinds," said professor Richard Fullagar from the University of Wollongong.
Fullagar also said there were significant consistencies in the discovered technologies, throughout the timeframe.
"There's a huge variety of these things spread over thousands of years. In some ways there are strong similarities with what happens at the very beginning, but there are also remarkable changes."
In the deepest levels of sediment, some artefacts were estimated to be about 80,000 years old – or at least 95% likely to be older than 70,000, the report noted. This did not necessarily indicate occupation, and there was some chance artefacts had shifted in the movement of the earth. However the layer of earth at 65,000 years was found to be a dense occupation layer, with multiple experiments finding no suggestion the earth had shifted.
Edge-ground hatchet head being excavated. Photograph: Chris Clarkson/Gundjeihmi Aboriginal Corporation
Artefacts were both carbon dated and dated using optically stimulated luminescence, a technique that measures the radiative signature of a grain of sand to measure when it was last exposed to sunlight.
That dating method meant samples had to be extracted in complete darkness under red lights.
"We worked in darkroom conditions," the University of Wollongong research fellow Prof Zenobia Jacobs said. "The moment we expose it to UV or sunlight it will reset that signal within seconds."
That date was confirmed by researchers at the University of Adelaide, who tested a blind sample, and at New Zealand's Waikato University.
The site has been excavated twice by Clarkson's team, under a special agreement with the Gundjeihmi Aboriginal Corporation, in partnership with the current leaseholders, Energy Resources of Australia.
Under the agreement, which Clarkson described as one of the strongest in Australia, the Mirarr have total control over the extent of the dig, and veto power. All discoveries must be reported to them and all artefacts must be returned to the Mirarr at the end of the project.
"They have to bring it back here, it belongs to this place," said May Nango, a Mirarr traditional owner. "We trust them to work this place."
Nango said the country had to be protected for the younger generations, and she was worried about non-Indigenous people coming in and clearing out trees or mining.
Clarkson standing in front of the 2015 excavation area with local Djurrubu Aboriginal rangers Vernon Hardy, Mitchum Nango, Jacob Baird, and Claude Hardy. Photograph: Dominic O'Brien/Gundjeihmi Aboriginal Corporation
"We like to stay forever, we're buried here too. We like to stay forever on our land, and we like to teach our young kids too so they remember our old people who gave us the stories."
David Vadiveloo, a lawyer and consultant to the corporation, said the agreement set a benchmark for "hard and fast obligations" on the university to ensure control over the site remained with the Indigenous custodians.
"It was very clear in our minds that the Mirarr did not want this to be a project about them, they wanted this to be a project that was partnership with them."
The strength of the agreement benefited the researchers, fostering trust to the extent that many members provided information about the origins of materials or the specific uses of implements, drawn from their own cultural knowledge.
It also potentially saved the project from a premature shutdown, when human bones were found very early on in the dig.
"The Aboriginal community wanted things stopped, and the agreement allowed them to then enter into discussion from a position of control," said Vadiveloo.
"If there had no been an agreement, I would hazard a guess that the community would have shut the dig down, but because the agreement was so robust, because they knew they could control what was done with everything that was removed, how it was going to be removed, how it was going to be stored – particularly in relation to bones of ancestors – they were then cautiously happy for the dig to proceed.
"That means you get a great outcome for the research and a great outcome for the community feeling they maintained control over what's happening on their country."
Researchers are now systematically surveying the surrounding area to find additional sites, to see if even older evidence of occupation can be found.
Simon Mudjandi, a Mirarr traditional owner, said his family had travelled through the area and camped at Madjedbebe for generations.
"I feel proud to come from here because country is important and country needs people," he said.
egypt history
Egypt's
Prof Chris Clarkson


The ocean lurked below him. He floored it, his tires screeching as the Impala fishtailed it dangerously close to the cliff.
-- Drive by Raymond Ahrens.
THE BOOK: "Willy Easelman, 86, born in Brooklyn and a perennial finalist in the American Dreams Sweepstakes, is committed to the Morningside Nursing Home by his daughter, Anna. Cunning, despite his dementia, Willie sneaks behind the wheel of his '86 Impala and escapes, heading north along America's roadways that paved the way for the post-war exodus to the suburbs."
THE GIVEAWAY: I have TWO copies of the finished paperback edition of Drive to give away to TWO lucky book bloggers. Go to the GIVEAWAY PAGE for details and to sign up.
PLEASE DON'T SIGN UP FOR THE GIVEAWAY HERE. GO TO THIS PAGE.
Is this a game of Chicken?
Hope he is having a great journey.


2. Which statement about Wattieza trees is false?
The oldest living thing on earth, some will tell you, is the earth itself. Others will deny that the planet itself is alive, and point to coral reefs, which are tens of thousands of years old. However, these, like the earth itself, are not single entities but composed of thousands of individual living things. Therefore those looking for the oldest individual life form on the planet will probably agree that these are trees.
Trees have been around for a long time. The oldest trees ever known are Wattieza trees. These grew about 380 million years ago, and grew to heights of eight meters. In creating the first forests, these trees changed the climate of the planet forever.
None of these survivors are still alive, but the oldest trees are older than most human civilizations. Trees of over a thousand years old are not dramatically uncommon, and the oldest trees are between four and five thousand years old. One such tree is the Fortingall Yew in Scotland. This tree was a sapling when Stonehenge was being raised in about 2000 BC, and though it has suffered considerably through the efforts of humankind it is still every year able to put out a fresh crop of leaves to signal that it plans to spend another year on the planet.
Another tree which would be even older were it not for the efforts of well-meaning scientists is the Prometheus tree in the United states. A young scientist called Currey was doing research into the effects of glaciers in the area. Every year trees produce another layer of wood, and by counting these layers scientists can tell exactly how old a tree is. By seeing how much wood grew each year scientists can tell what the weather was like. Currey found a tree which looked old enough for his purposes, and tried to drill out a section of the wood. However, the drill broke, and Currey did not have another. Rather than abandon his entire research project, Currey asked for permission to cut the tree down.
Because the tree was in a US national park, he had to ask permission for this. Once this permission was given and the tree was cut down it was discovered that a mixture of ignorance, incompetence and sheer bad luck had just killed the oldest living thing yet discovered on earth. The tree had started growing before the great Pyramid of Gaza was built, when Moses led the Hebrews from Egypt, it was 1300 years old, and it was almost two thousand years old when Rome was founded. It was over 2500 years old when Julius Caesar was born, and was around 4700 years old when it met Mr Currey.
Prometheus was a type of tree called a bristle-coned pine. These trees can live to great age, and for some reason those which live in areas where the soil is low in nutrition and moisture seem to live the longest. Another tree from the same area is called Methuselah, and is the oldest known living thing. This tree is named after a character in the Bible, which says "And all the days of Methuselah were nine hundred sixty nine years" yet even at the time these words were first written, Methuselah the tree was already going strong, and is now a healthy 4,723 years young.


For the past two weeks, I've searched for the words to make my medical news more palatable, but nothing I say can change the fact that after more than three years in remission, my cancer has returned. I knew all along that a recurrence was likely as my cancer was already stage 4 when it was discovered. If not for my surgeon's Herculean efforts, and the tireless support of an army of friends and family members, I would not have survived this long.
My most recent "eyes to thighs" PET scan revealed two small cancerous spots, not imaged on previous scans. Unavoidably, a few dormant cells remained from my original bout with cancer. Recently, they began to multiply and reappear. The good news is that this should be much easier to deal with than the first time, not only because we caught it early, but also because there are many new potentially viable treatment options available.
New and promising treatments are based on studying particular substances in the tumors. Laboratory testing is used to identify genetic markers and tell the doctor which drugs are likely to work best. Already doctors are obtaining much better results with fewer side effects.
Also promising are immunotherapy, which improves the body's natural defenses to fight cancer, and clinical trials, of which there are many for this type of cancer.
Finally, if none of these work out, the plan is to repeat the same chemotherapy regimen that worked so well for me the first time around. We have time to determine the best approach which will start in four to six weeks.
Even with so many options, thinking about the future scares me, as there are still too many unknowns. I hesitate to plan even a couple of weeks out, not knowing how I will feel when the day comes. I force myself to do it anyway, because having things to look forward to is key to living longer.
While life is going to be scary and difficult for awhile, I know it will get better again because I am a warrior and I have already survived the worst. This time, I feel I have the upper hand. Knowing how I responded to previous treatments will help doctors plan our new strategy. Knowing what treatment demands of me, I have already begun preparing, both mentally and physically. Most importantly, I have a secret weapon I didn't have the first time – my 21-month-old granddaughter, Parker, whose life I intend to be part of.
The one person missing, however, is the surgeon who saved my life initially. She moved last week to take a key position in a gyne-oncology program in California. I sent her off with my blessing, knowing she was born for bigger challenges than me, though many who know me best would argue there is no such thing.
Are thoughts and prayers are with you!
With your good attitude u will achieve and overcome any obstacle !
Thinking of u, your Parker is the greatest motivation, I understand fully!
First of all, your writing is exquisite, your most intelligent evaluation of all sides of the issue is so "right on". You are one fabulous person who through it all is there to offer insight and help to all sorts of others even though at the same time, you are suffering. Thank God for Parker and for your incredibly positive attitude. God bless you and this comes with many prayers. Love you much.
Dear Sheryl…a friend since 3rd grade! I visited with you when you were first going through treatment and was amazed by your courage and positive attitude in the face of scary stuff! One year later I was diagnosed with breast cancer. You gave me the courage and positive attitude to face chemotherapy, all the side effects and surgery! You are in my thoughts and prayers! Let's chat soon!
So sorry. You truly are a warrior. You'v already proven that. Parker is your special super power. It's amazing how they can inspire us to fight. You also have wonderful family and friends.
You are in my thoughts and prayers as you face this life challenge. Your strength, courage, a sprinkle of humor, and "keep on keeping on" attitude are an inspiration. Wrapping you in hugs as you continue on "one day at a time".
This entry was posted on November 14, 2018 by mydancingintherain in Cancer, Coping Strategies, Family Life, Friends, Grandparenting.


Domestic violence occurs when an individual abuses a family member or loved one. This type of violence includes the abuse of a partner or spouse, significant other, roommate or a person with whom the defendant has a child. People who are convicted of domestic violence face serious legal consequences. The extent of the consequences depends on the degree of abuse.
Because of the seriousness of domestic violence, the first thing that an arrested person should do is hire an attorney who is experienced in domestic violence litigation. Police reports of the arrest will be forwarded to the district attorney's office. The district attorney will review the records and determine if there is sufficient evidence to charge the suspect. The arresting officer does not always take the time to determine who the real victim is. It is a criminal defense attorney's job to protect his client's rights and convince the court to drop or mitigate the abuse charges.
The punishments for a domestic violence conviction depend on the severity of the abuse. If the damage is minimal, the crime is charged as a misdemeanor and is punishable with at least one year in jail and 36 months of probation. Other consequences may include a maximum fine of $5,000, mandatory anger management counseling or court-ordered community service work.
A convicted individual may be required to reimburse the victim for medical expenses, therapy sessions, transportation to appointments and child care. The court may even impose a restraining order that would prohibit the offender from being in contact with the victim or her dependents.
A conviction for felony domestic violence will apply if the offender crossed state borders to commit the crime. The punishment includes all the financial penalties and fees that are assessed for a misdemeanor charge in addition to five years to life in prison. The time in confinement will depend on the level of violence against the victim.
It is illegal for anyone who is convicted of misdemeanor domestic violence to own a firearm for ten years after the conviction. Anyone who is convicted of felony domestic violence is banned from owning a firearm for life. If a person violates these conditions, he may be punished with at least five years in prison.
The federal and state laws that govern domestic violence have become tougher over the years. The law aggressively punishes people who commit such dangerous acts. Punishments include hefty fines and psychological counseling at the defendant's expense.


text:
Woman arrested in Smithfield baby remains case
Mother accused of hiding dead children's bodies under house appears in court
SMITHFIELD, North Carolina (WTVD) -- A woman wanted in connection with last year's discovery of the remains of two infants under a home in Smithfield appeared in court on Tuesday.
ORIGINAL STORY: REMAINS FOUND IN MULTIPLE BAGS UNDER SMITHFIELD HOUSE
Bridgette Morgan Smith is charged with failing to report the deaths.
Authorities arrested Smith in Flordia on Friday and extradited her back to North Carolina.
Family members found the remains in trash bags at the home on Hartley Drive on April 16, 2016, while trying to string cable under the home.
PREVIOUS STORY: POLICE SAY REMAINS UNDER SMITHFIELD HOUSE WERE OF TWO INFANTS
Last year, Smith's family said that she has been fighting a drug addiction her entire adult life, mainly struggling with cocaine and meth.
They also said that she has been pregnant many times.
"She would stay gone months at a time," said Smith's sister-in-law Hayley Fugate. "When she finally came around, she would act like nothing was wrong. She'd walk in and be fine. We could be standing face to face and she would be big and she would just say she was fat. She would never say she was pregnant ever."
While in court, Assistant District Attorney, Andrew Tamer, expressed why he thought she should be convicted.
"Ms. Smith did feloniously conceal the death of an infant, by not notifying any authority within the jurisdiction and lacing that infant within a garbage bag," he said.
When asked what the family knew, Fugate, who is caring for Smith's known children, said nothing. She said all they had were their suspicions of pregnancies and that they had no idea those babies were under the house.
However, she feels Smith shouldn't get mercy.
"She shouldn't get a bond. She shouldn't get a court appointed lawyer. But I'm not the judge."
Smith's bond it set at $30,000. Her next court appearance is scheduled for July 13.
smithfieldhuman remains foundchild deathinfant deathsjohnston county newsbody found
Smithfield police tight-lipped in infant remains case
Police say remains under Smithfield house were of two infants


text:
Tag Archives: The Stranglers
After drifting off the rails somewhat in the 1970s, the Ivor Novello Awards started to go back to being about songwriting in the 1980s. Although they still seemed a little more obsessed with Bucks Fizz and Cliff Richard than is really healthy.
Grosvenor House, London, hosted the 25th Ivor Novello Award ceremony.
The Best Song Musically and Lyrically: The Logical Song, performed by Supertramp, written by Rick Davies and Roger Hodgson. Also nominated: Bright Eyes, performed by Art Garfunkel, written by Mike Batt; We Don't Talk Anymore, performed by Cliff Richard, written by Alan Tarney
The Best Pop Song: I Don't Like Mondays, performed by The Boomtown Rats, written by Bob Geldof. Also nominated: Video Killed the Radio Star, performed by Buggles, written by Bruce Woolley, Trevor Horn and Geoff Downes; Off the Wall, performed by Michael Jackson, written by Rodney Temperton
The Best Theme from a Radio or Television Production: Nunc Dimittis, written by Geoffrey Burgon. Also nominated: Secret Army, written by Robert Farnon; Shoestring, written by George Fenton
The Best Film Song, Theme or Score: Caravans, written by Mike Batt. Also nominated: Music Machine, written by Leslie Hurdle and Frank Ricotti; Yanks, written by Richard Rodney Bennett
The Outstanding British Lyric: I Don't Like Mondays. Also nominated: He Was Beautiful, performed by Iris Williams, written by Cleo Laine; Bright Eyes
The Best Instrumental or Popular Orchestral Work: War of the Worlds, written by Jeff Wayne and Gary Osborne. Also nominated: The Valley of Swords, written by Mike Batt; African Sanctus, written by David Fanshawe
The International Hit of the Year: We Don't Talk Anymore, performed by Cliff Richard, written by Alan Tarney. Also nominated: Too Much Heaven, performed by Bee Gees, written by Barry Gibb, Robin Gibb and Maurice Gibb; I Don't Like Mondays
The Most Performed Work: Bright Eyes. Also nominated: We Don't Talk Anymore; Cavatina, performed by John Williams, written by Stanley Myers
The Best Selling 'A' Side: Bright Eyes. Also nominated: I Don't Like Mondays; Another Brick in the Wall (Part 2), performed by Pink Floyd, written by Roger Waters
The Best British Musical: Songbook, written by Monty Norman and Julian More. Also nominated: A Day in Hollywood, A Night in the Ukraine, written by Dick Vosburgh and Frank Lazarus
Award for Outstanding Services to British Music: Robert Mayer
Songwriter of the Year: Ben Findon
Special Award for International Achievement: Paul McCartney
Special Award for Lifetime Achievement: Edgar Yipsel Harburg and Jimmy Kennedy
The 26th Ivor Novello Awards were held at Grosvenor House, London.
The Best Song Musically and Lyrically: Woman in Love, performed by Barbara Streisand, written by Barry Gibb and Robin Gibb. Also nominated: Babooshka, written by Kate Bush; Together We Are Beautiful, performed by Fern Kinney, written by Ken Leray; Your Ears Should be Burning Now, performed by Marti Webb, written by Tony Macaulay and Don Black
The Best Pop Song: Stop the Cavalry, written by Jona Lewie. Also nominated: Don't Stand So Close to Me, performed by The Police, written by Sting; What You're Proposing, performed by Status Quo, written by Francis Rossi and Bernard Frost
The Best Theme from a Television or Radio Production: I Could Be So Good for You, written by Gerard Kenny and Patricia Waterman. Also nominated: Fox, written by George Fenton; Juliet Bravo, written by J.S. Bach and arranged by Derek Goom
The Best Film Song, Theme or Score: Xanadu, written by Jeff Lynne. Also nominated: Flash, written by Brian May; Silver Dream Machine, written by David Essex
The Outstanding British Lyric: Take That Look Off Your Face, performed by Marti Webb, written by Don Black. Also nominated: Stop the Cavalry, written by Jona Lewie; Woman in Love, performed by Barbara Streisand, written by Barry Gibb and Robin Gibb
The International Hit of the Year: Another Brick in the Wall (Part 2). Also nominated: Woman in Love; Another One Bites the Dust, performed by Queen, written by John Deacon
The Most Performed Work: Together We Are Beautiful. Also nominated: January, February, performed by Barbara Dickson, written by Alan Tarney; I'm In The Mood for Dancing, performed by The Nolan Sisters, written by Ben Findon, Michael Myers and Robert Puzey
The Best Selling 'A' Side: There's No One Quite Like Grandma, performed by St. Winifred's School Choir, written by Gordon Lorenz. Also nominated: Woman in Love; Don't Stand So Close to Me
Award for Outstanding Services to British Music: William Walton
Special Award for Outstanding Contribution to British Music: John Lennon
The Best Song Musically and Lyrically: Memory, written by Andrew Lloyd Webber, T.S. Eliot and Trevor Nunn. Also nominated: Woman, written by John Lennon, The Land of Make Believe, performed by Bucks Fizz, written by Andy Hill and Pete Sinfield
The Best Pop Song: Every Little Thing She Does is Magic, performed by The Police, written by Sting. Also nominated: Don't You Want Me, performed by The Human League, written by Phil Oakey, Adrian Wright and Jo Callis; Wired for Sound, performed by Cliff Richard, written by Alan Tarney and BA Robertson
The Best Theme from a Television or Radio Production: Brideshead Revisited, written by Geoffrey Burgon. Also nominated: Flame Trees of Thika, written by Ken Howard and Alan Blaikley; Shillingbury Tales, written by Ed Welch
The Best Film Theme or Song: The French Lieutenant's Woman, written by Carl Davis. Also nominated: Without Your Love, written by Billy Nicholls; For Your Eyes Only, written by Bill Conti and Mick Leeson
The Outstanding British Lyric: Woman. Also nominated: The One That You Love, performed by Air Supply, written by Graham Russell; When He Shines, performed by Sheena Easton, written by Florrie Palmer and Dominic Bugatti
The Best Selling 'A' Side: Stand and Deliver, performed by Adam and the Ants, written by Adam Ant and Marco Pirroni. Also nominated: Vienna, performed by Ultravox, written by Billy Currie, Chris Cross, Warren Cann and Midge Ure; Don't You Want Me
The International Hit of the Year: In the Air Tonight, written by Phil Collins. Also nominated: (Just Like) Starting Over, written by John Lennon; Woman in Love; Every Little Thing She Does is Magic
The Most Performed Work: You Drive Me Crazy, performed by Shakin' Stevens, written by Ronnie Harwood. Also nominated: Woman
Award for Outstanding Services to British Music: Lennox Berkeley
The Best British Musical: Cats, written by: Andrew Lloyd Webber and Trevor Nunn
Songwriters of the Year: Adam Ant and Marco Pirroni
Special Award for Outstanding Contribution to British Music: Roger Daltrey, John Entwistle, Kenney Jones, Keith Moon and Pete Townshend
The Best Song Musically and Lyrically: Have You Ever Been in Love, written by Andy Hill, Pete Sinfield and John Danter. Also nominated: Now Those Days Are Gone, performed by Bucks Fizz, written by Andy Hill and Nichola Martin; Heartbreaker, performed by Bee Gees, written by Barry Gibb, Robin Gibb and Maurice Gibb
The Best Pop Song: Our House, performed by Madness, written by Carl Smyth and Chris Foreman. Also nominated: I Don't Wanna Dance, written by Eddy Grant; Come On Eileen, performed by Dexys Midnight Runners, written by Kevin Rowland, Kevin Adams and James Paterson
The Best Theme from a Television or Radio Production: Theme From Harry's Game, composed by Paul Brennan. Also nominated: Omnibus, composed by George Fenton; Smiley's People, composed by Patrick Gowers
The Best Film Theme or Song: For All Mankind, composed by Ravi Shankar and George Fenton. Also nominated: Time and Tide, composed by Alan Price; Another Brick in the Wall (Part 2)
The Outstanding British Lyric: Private Investigations, performed by Dire Straits, written by Mark Knopfler. Also nominated: The Dreaming, written by Kate Bush; Have You Ever Been in Love
The Best Selling 'A' Side: Come On Eileen. Also nominated: Do You Really Want to Hurt Me, performed by Culture Club, written by Boy George, Michael Craig, John Moss and Roy Hay; Ebony and Ivory, written by Paul McCartney and performed with Stevie Wonder
The International Hit of the Year: Ebony and Ivory. Also nominated: Heartbreaker; Don't You Want Me
The Most Performed Work: Golden Brown, performed by The Stranglers, written by Jean J. Burnell, Hugh Cornwell, Jet Black and David Greenfield. Also nominated: Oh Julie, written by Shakin' Stevens; Love Plus One, performed by Haircut 100, written by Nick Heyward
The Best British Musical: Windy City, written by: Tony Macaulay and Dick Vosburgh
Lifetime Achievement in British Music: Vivian Ellis
Songwriter of the Year: Andy Hill
Outstanding Contribution to British Music: Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford
Special Award for 25 Years In The Music Business: Brian Bennett, Hank Marvin and Bruce Welch
The Best Song Musically and Lyrically: Every Breath You Take, performed by The Police, written by Sting. Also nominated: Pipes of Peace, written by Paul McCartney; True, performed by Spandau Ballet, written by Gary Kemp
The Best Pop Song: Karma Chameleon, performed by Culture Club, written by Boy George, John Moss, Michael Craig, Roy Hay and Phil Pickett. Also nominated: Sweet Dreams (Are Made of This), performed by Eurythmics, written by Annie Lennox and Dave Stewart; Thriller, performed by Michael Jackson, written by Rod Temperton
The Best Rock Song: Let's Dance, written by David Bowie. Also nominated: Every Breath You Take; Owner of a Lonely Heart, performed by Yes, written by Trevor Rabin, Jon Anderson, Chris Squire and Trevor Horn
The Best Theme from a TV or Radio Production: That's Livin' Alright, composed by David Mackay and Ken Ashby. Also nominated: The Late Late Breakfast Show, composed by Gary Kemp; Partners in Crime, composed by Joseph Horovitz
The Best Film Theme or Song: Going Home, written by Mark Knopfler. Also nominated: Walking in the Air, written by Howard Blake; All Time High, written by Tim Rice and John Barry
The Best British Musical: Blood Brothers, written by Willie Russell. Also nominated: Poppy, written by Pete Nichols and Monty Norman; Mr Cinders, written by Clifford Grey, Greatrex Newman, Leo Robin, Vivian Ellis and Richard Myers
The Best Selling 'A' Side: Karma Chameleon. Also nominated: Only You, performed by Yazoo, written by Vince Clarke; Let's Dance, written by David Bowie
The Most Performed Work: Every Breath You Take. Also nominated: Karma Chameleon; Moonlight Shadow, written by Mike Oldfield
The International Hit of the Year: Let's Dance, written by David Bowie. Also nominated: Every Breath You Take; Karma Chameleon
Outstanding Services to British Music: Andrew Lloyd Webber
Songwriters of the Year: Annie Lennox and Dave Stewart
Outstanding Contribution to British Music: Andy Brown, Peter Kircher, Alan Lancaster, Rick Parfitt and Francis Rossi
Best Contemporary Song: Two Tribes, performed by Frankie Goes to Hollywood, written by Holly Johnson, Peter Gill and Mark O'Toole. Also nominated: I Won't Let the Sun Go Down on Me, written by Nik Kershaw; Relax, performed by Frankie Goes to Hollywood, written by Holly Johnson, Peter Gill and Mark O'Toole
Best Song Musically and Lyrically: Against All Odds (Take A Look At Me Now), written by Phil Collins. Also nominated: Careless Whisper, performed by Wham!, written by George Michael and Andrew Ridgeley; I Should have Known Better, written by Jim Diamond and Graham Lyle
Best Theme from a TV or Radio Production: Jewel in the Crown, written by George Fenton. Also nominated: Another Six English Towns, written by Jim Parker; Kennedy, written by Richard Hartley
Best Film Theme or Song: We All Stand Together, written by Paul McCartney. Also nominated: Champions, written by Carl Davis; Company of Wolves, written by George Fenton
Best British Musical: The Hired Man, words and music by Howard Goodall. Also nominated: Starlight Express, written by Andrew Lloyd Webber and Richard Stilgoe; The Boyfriend, written by Sandy Wilson
Most Performed Work: Careless Whisper. Also nominated: Two Tribes; I Won't Let the Sun Go Down on Me
The Best Selling 'A' Side: Do They Know It's Christmas?, performed by Band Aid, written by Bob Geldof and Midge Ure
International Hit of the Year: The Reflex, performed by Duran Duran, written by Simon Le Bon, John Taylor, Roger Taylor, Andy Taylor and Nick Rhodes. Also nominated: Caribbean Queen (No More Love on the Run), written by Billie Ocean and Keith Diamond; Wake Me Up Before You Go-Go, performed by Wham!, written by George Michael
Outstanding Services to British Music: Michael Tippett
The Jimmy Kennedy Award: Tommie Connor
Outstanding Contribution to British Music: Graeme Edge, Justin Hayward, John Lodge, Patrick Moraz and Ray Thomas
The 31st Ivor Novello Awards were held at Grosvenor House, London.
Best Contemporary Song: We Don't Need Another Hero (Thunderdome), performed by Tina Turner, written by Graham Lyle and Terry Britten. Also nominated: 19, written by Paul Hardcastle, Mike Oldfield, Bill Couturie and Jonas McCord; Money for Nothing, performed by Dire Straits, written by Mark Knopfler and Sting; Running Up That Hill, written by Kate Bush
Best Song Musically and Lyrically: Nikita, written by Elton John and Bernie Taupin. Also nominated: I Want To Know What Love Is, performed by Foreigner, written by Mick Jones; Everybody Wants to Rule the World, performed by Tears for Fears, written by Roland Orzabal, Ian Stanley and Chris Hughes; I Know Him So Well, performed by Elaine Page, written by Tim Rice, Bjorn Ulvaeus and Benny Andersson
The Best Theme from a Television or Radio Production: Edge of Darkness, written by Eric Clapton and Michael Kamen. Also nominated: The Last Place on Earth, written by Trevor Jones; Eastenders, written by Leslie Osborne and Simon May
The Best Film Theme or Song: We Don't Need Another Hero, written by Graham Lyle and Terry Britten. Also nominated: Hit That Perfect Beat, written by John Foster, Steve Bronski and Larry Steinbachek; A View to a Kill, written by Duran Duran and John Barry
The Best British Musical: Me and My Girl, written by Reginald Armitage and Douglas Furber. Also nominated: Lennon, written by Paul McCartney and John Lennon; Mutiny, written by David Essex and Richard Crane
Most Performed Work: Easy Lover, written by: Phillip Bailey, Phil Collins and Nathan East
Best Selling 'A' Side: I Know Him So Well. Also nominated: 19; Easy Lover
International Hit of the Year: 19. Also nominated: Shout, performed by Tears for Fears, written by Roland Orzabal and Ian Stanley; A View to a Kill, written by Duran Duran and John Barry
The Jimmy Kennedy Award: Lionel Bart
Outstanding Services to British Music: Malcolm Arnold
Songwriter of the Year: Roland Orzabal
Outstanding Contribution to British Music: Elton John
The 1987 Ivor Novello Awards took place on 15th April at Grosvenor House, London.
Best Contemporary Song: It's Alright (Baby's Coming Back), performed by Eurythmics, written by Annie Lennox and Dave Stewart. Also nominated: West End Girls, performed by Pet Shop Boys, written by Neil Tennant and Chris Lowe; Sledgehammer, written by Peter Gabriel
Best Song Musically and Lyrically: Don't Give Up, written by Peter Gabriel. Also nominated: All I Ask of You, written by Charles Hart, Andrew Lloyd Webber and Richard Stilgoe; The Miracle of Love, performed by Eurythmics, written by Annie Lennox and Dave Stewart
Best Selling 'A' Side: Every Loser Wins, written by Simon May, Stewart James and Bradley James. Also nominated: Chain Reaction, written by Barry Gibb, Maurice Gibb and Robin Gibb; Living Doll, written by Lionel Bart
Best Theme from a Television or Radio Production: The Monocled Mutineer, written by George Fenton. Also nominated: Theme from Lost Empires, written by Derek Hilton; Time After Time, written by Rod Argent and Robert Howes
Most Performed Work: Chain Reaction, performed by Diana Ross, written by: Barry Gibb, Maurice Gibb and Robin Gibb
International Hit of the Year: West End Girls. Also nominated: Nikita, written by Elton John and Bernie Taupin; The Edge of Heaven, performed by Wham!, written by George Michael
Best Film Theme or Song: Sweet Freedom, written by Rod Temperton. Also nominated: A Kind of Magic, written by Roger Taylor; In Too Deep, written by Tony Banks, Phil Collins and Mike Rutherford
The Best British Musical: The Phantom of the Opera, written by Charles Hart, Andrew Lloyd Webber and Richard Stilgoe. Also nominated: Chess, written by Tim Rice, Bjorn Ulvaeus and Benny Andersson; Charlie Girl, written by David Heneker and John Taylor
The Jimmy Kennedy Award: Hugh Charles
Outstanding Services to British Music: Yehudi Menuhin
Outstanding Contribution to British Music: John Deacon, Freddie Mercury, Brian May and Roger Taylor
The 1988 Ivor Novello Awards took place on 7th April at Grosvenor House, London.
Best Contemporary Song: You Win Again, performed by Bee Gees, written by Barry Gibb, Robin Gibb and Maurice Gibb. Also nominated: Never Gonna Give You Up, performed by Rick Astley, written by Stock Aitken Waterman (Mike Stock, Matt Aitken and Pete Waterman); What Have I Done to Deserve This?, performed by Pet Shop Boys with Dusty Springfield, written by Chris Lowe, Neil Tennant and Allee Willis
Best Song Musically and Lyrically: (Something Inside) So Strong, written by Labi Siffre. Also nominated: I Knew You Were Waiting (For Me), performed by Aretha Franklin and George Michael, written by Simon Climie and Dennis Morgan; Throwing It All Away, written by Tony Banks, Phil Collins and Michael Rutherford
Best Selling 'A' Side: Never Gonna Give You Up. Also nominated: You Win Again; China in Your Hand, performed by T'Pau, written by Carol Decker and Ronald Rogers
Outstanding Services to British Music: David Heneker
Best Theme from a Television or Radio Production: Fortunes of War, written by Richard Holmes. Also nominated: Neighbours, written by Tony Hatch and Jackie Trent; My Family and Other Animals, written by Daryl Runswick
Most Performed Work: Never Gonna Give You Up. Also nominated: Respectable, performed by Mel and Kim, written by Stock Aitken Waterman; Living in a Box, performed by Living in a Box, written by Marcus Vere and Steve Pigott
International Hit of the Year: Never Gonna Give You Up, written by Stock Aitken Waterman. Also nominated: It's a Sin, performed by Pet Shop Boys, written by Chris Lowe and Neil Tennant; I Knew You Were Waiting (For Me)
Best Film Score Theme or Song: Cry Freedom, written by George Fenton and Jonas Gwangwa. Also nominated: The Living Daylights, written by John Barry and Pal Waaktaar; Theme from Castaway, written by Stanley Myers
The Jimmy Kennedy Award: Norman Newell
Songwriters of the Year: Matt Aitken, Mike Stock and Peter Waterman
Outstanding Contribution to British Music: Barry Gibb, Maurice Gibb and Robin Gibb
The 1989 Ivor Novello Awards were held on 4th April at Grosvenor House, London.
Best Contemporary Song: Love Changes (Everything), written by Simon Climie, Dennis Morgan and Rob Fisher. Also nominated: A Little Respect, performed by Erasure, written by Andy Bell and Vince Clarke; Father Figure, written by George Michael
Best Song Musically and Lyrically: They Dance Alone (Cueca Solo), written by Sting. Also nominated: Perfect, performed by Fairground Attraction, written by Mark Nevin; Mary's Prayer, performed by Danny Wilson, written by Gary Clark
Best Selling 'A' Side: Mistletoe & Wine, performed by Cliff Richard, written by Leslie Stewart, Jeremy Paul and Keith Strachan. Also nominated: Especially for You, performed by Kylie Minogue and Jason Donovan, written by Stock Aitken Waterman; I Should Be So Lucky, performed by Kylie Minogue, written by Stock Aitken Waterman
Most Performed Work: I Should Be So Lucky. Also nominated: Get Outta My Dreams, Get Into My Car, written by Billy Ocean and Robert John 'Mutt' Lange; Love Changes (Everything)
Best Theme from a TV or Radio Production: Testament, written by Nigel Hess. Also nominated: The Long March, written by Christopher Gunning; Young Musician of the Year, written by Edward Gregson
Best Film Theme or Song: Two Hearts, written by Phil Collins and Lamont Dozier. Also nominated: A Fish Called Wanda, written by Trevor Jones and John Du Prez; Childhood Days, written by Barry Gibb and Maurice Gibb
International Hit of the Year: Faith, written by George Michael. Also nominated: I Should Be So Lucky; Get Outta My Dreams, Get Into My Car
Outstanding Contribution to British Music: Mark Knopfler and John Illsley
Songwriters of the Year: George Michael and Matt Aitken, Mike Stock and Peter Waterman (presented jointly)
The Jimmy Kennedy Award: Leslie Bricusse
Outstanding Services to British Music: Paul McCartney
Lifetime Achievement: Cliff Richard
Posted in Awards	| Tagged Adam and the Ants, Adam Ant, Adrian Wright, Air Supply, Alan Blaikley, Alan Lancaster, Alan Price, Alan Tarney, Allee Willis, Andrew Lloyd Webber, Andrew Ridgeley, Andy Bell, Andy Brown, Andy Hill, Andy Taylor, Annie Lennox, Aretha Franklin, arranged by Derek Goom, Art Garfunkel, BA Robertson, Band Aid, Barbara Dickson, Barbara Streisand, Barry Gibb, Bee Gees, Ben Findon, Benny Andersson, Bernard Frost, Bernie Taupin, Bill Conti, Bill Couturie, Billie Ocean, Billy Currie, Billy Nicholls, Billy Ocean, Bjorn Ulvaeus, Bob Geldof, Boy George, Bradley James, Brian Bennett, Brian May, Bruce Welch, Bruce Woolley, Bucks Fizz, Buggles, Carl Davis, Carl Smyth, Carol Decker, Charles Hart, Chris Cross, Chris Foreman, Chris Hughes, Chris Lowe, Chris Squire, Christopher Gunning, Cleo Laine, Cliff Richard, Clifford Grey, Culture Club, Danny Wilson, Daryl Runswick, Dave Stewart, David Bowie, David Essex, David Fanshawe, David Greenfield, David Heneker, David Mackay, Dennis Morgan, Derek Hilton, Dexys Midnight Runners, Dick Vosburgh, Dire Straits, Dominic Bugatti, Don Black, Douglas Furber, Duran Duran, Dusty Springfield, Ed Welch, Eddy Grant, Edgar Yipsel Harburg, Edward Gregson, Elaine Page, Elton John, Erasure, Eric Clapton, Eurythmics, Fairground Attraction, Fern Kinney, Florrie Palmer, Foreigner, Francis Rossi, Frank Lazarus, Frank Ricotti, Frankie Goes to Hollywood, Freddie Mercury, Gary Clark, Gary Kemp, Gary Osborne, Geoff Downes, Geoffrey Burgon, George Fenton, George Michael, Gerard Kenny, Gordon Lorenz, Graeme Edge, Graham Lyle, Graham Russell, Greatrex Newman, Haircut 100, Hank Marvin, Holly Johnson, Howard Blake, Howard Goodall, Hugh Charles, Hugh Cornwell, Ian Stanley, Iris Williams, J. S. Bach, Jackie Trent, James Paterson, Jason Donovan, Jean J. Burnell, Jeff Lynne, Jeff Wayne, Jeremy Paul, Jet Black, Jim Diamond, Jim Parker, Jimmy Kennedy, Jo Callis, John Barry, John Danter, John Deacon, John Du Prez, John Entwistle, John Foster, John Illsley, John Lennon, John Lodge, John Moss, John Taylor, John Williams, Jon Anderson, Jona Lewie, Jonas Gwangwa, Jonas McCord, Joseph Horovitz, Julian More, Justin Hayward, Kate Bush, Keith Diamond, Keith Moon, Keith Strachan, Ken Ashby, Ken Howard, Ken Leray, Kenney Jones, Kevin Adams, Kevin Rowland, Labi Siffre, Lamont Dozier, Larry Steinbachek, Lennox Berkeley, Leo Robin, Leslie Bricusse, Leslie Hurdle, Leslie Osborne, Leslie Stewart, Lionel Bart, Living in a Box, Madness, Malcolm Arnold, Marco Pirroni, Marcus Vere, Mark Knopfler, Mark Nevin, Mark O'Toole, Marti Webb, Matt Aitken, Maurice Gibb, Mel and Kim, Michael Craig, Michael Jackson, Michael Kamen, Michael Myers, Michael Rutherford, Michael Tippett, Mick Jones, Mick Leeson, Midge Ure, Mike Batt, Mike Oldfield, Mike Rutherford, Mike Stock, Monty Norman, Nathan East, Neil Tennant, Nichola Martin, Nick Heyward, Nick Rhodes, Nigel Hess, Nik Kershaw, Norman Newell, Pal Waaktaar, Patricia Waterman, Patrick Gowers, Patrick Moraz, Paul Brennan, Paul Hardcastle, Paul McCartney, Pete Nichols, Pete Sinfield, Pete Townshend, Pete Waterman, Peter Gabriel, Peter Gill, Peter Kircher, Peter Waterman, Phil Collins, Phil Oakey, Phil Pickett, Philip Bailey, Phillip Bailey, Pink Floyd, Queen, Ravi Shankar, Ray Thomas, Reginald Armitage, Richard Crane, Richard Hartley, Richard Holmes, Richard Myers, Richard Rodney Bennett, Richard Stilgoe, Rick Astley, Rick Davies, Rick Parfitt, Rob Fisher, Robert Farnon, Robert Howes, Robert John 'Mutt' Lange, Robert Mayer, Robert Puzey, Robin Gibb, Rod Argent, Rod Temperton, Rodney Temperton, Roger Daltrey, Roger Hodgson, Roger Taylor, Roger Waters, Roland Orzabal, Ronald Rogers, Ronnie Harwood, Roy Hay, Sandy Wilson, Shakin' Stevens, Sheena Easton, Simon Climie, Simon Le Bon, Simon May, Spandau Ballet, St. Winifred's School Choir, Stanley Myers, Status Quo, Steve Bronski, Steve Hackett, Steve Pigott, Stevie Wonder, Stewart James, Sting, Stock Aitken Waterman, Supertramp, T'Pau, T.S. Eliot, Tears for Fears, Terry Britten, The Boomtown Rats, The Human League, The Nolan Sisters, The Police, The Stranglers, Tim Rice, Tina Turner, Tommie Connor, Tony Banks, Tony Hatch, Tony Macaulay, Trevor Horn, Trevor Jones, Trevor Nunn, Trevor Rabin, Ultravox, Vince Clarke, Vivian Ellis, Warren Cann, Wham!, William Walton, Willie Russell, Yazoo, Yehudi Menuhin, Yes	| Leave a reply
The BRIT Awards 2005
On 9th February 2005, Chris Evans hosted what was billed as the 25th anniversary BRIT Awards show (history seems to prefer to pretend that the first show was in 1981, rather than 1977). The venue was Earls Court in London, and an average of 6.3 million people watched the coverage the following day on ITV.
This post is part of a series about the history of the BRIT Awards. You can read about the 2004 ceremony here, and the 2006 ceremony next time.
MasterCard British Album
Presented by Clive Owen. Nominees:
Franz Ferdinand – Franz Ferdinand
Keane – Hopes and Fears
Muse – Absolution
Snow Patrol – Final Straw
The Streets – A Grand Don't Come for Free
Winner: Keane
Best British Single
Voted for by listeners of independent radio, and presented by Minnie Driver. Nominees:
Band Aid 20 – Do They Know It's Christmas?
Jamelia – Thank You
LMC vs. U2 – Take Me to the Clouds Above
Shapeshifters – Lola's Theme
Will Young – Your Game
Winner: Will Young
Best British Male
Presented by Naomi Harris. Nominees:
Winner: The Streets
Best British Female
Presented by Lisa Stansfield. Nominees:
Winner: Joss Stone
Best British Group
Presented by Sharon and Kelly Osbourne. Nominees:
Winner: Franz Ferdinand
Best British Breakthrough Act
Voted for by listeners of BBC Radio 1, and presented by Jo Whiley. Nominees:
The Zutons
Best British Rock Act
Voted for by viewers of Kerrang TV, and presented by Brian May. Nominees:
Best British Urban Act
Voted for by viewers of MTV Base, and presented by Jazzy B. Nominees:
Best British Live Act
Voted for by The Live Music Forum, and presented by Shirley Manson from Garbage. Nominees:
Winner: Muse
Best Pop Act
Voted for by viewers of CD:UK and readers of The Sun, and presented by Jodie Kidd. Nominees:
Winner: McFly
Best International Album
Presented by Siouxsie Sioux. Nominees:
The Killers – Hot Fuss
Maroon 5 – Songs About Jane
Outkast – Speakerboxxx/The Love Below
Scissor Sisters – Scissor Sisters
U2 – How To Dismantle An Atomic Bomb
Winner: Scissor Sisters
Best International Male
Presented by Natalie Imbruglia. Nominees:
Winner: Eminem
Best International Female
Presented by Charlie Creed Miles. Nominees:
Winner: Gwen Stefani
Best International Group
Best International Breakthrough Act
Presented by Simon Pegg. Nominees:
Outstanding Contribution to Music
Presented by Jools Holland.
Winner: Bob Geldof
BRITS 25 Best Song Award
Chosen by listeners of BBC Radio 2. Presented by Matt Lucas and David Walliams in character as Mark Owen and Howard Donald from Take That respectively. Nominees:
Bee Gees – Night Fever
David Bowie – Heroes
Kate Bush – Wuthering Heights
The Clash – London Calling
Coldplay – Yellow
Peter Gabriel – Sledgehammer
David Gray – Babylon
The Jam – That's Entertainment
Elton John – Sacrifice
Joy Division – Love Will Tear Us Apart
Annie Lennox – Why?
Massive Attack – Unfinished Sympathy
George Michael – Careless Whisper
Oasis – Wonderwall
Queen – We are the Champions
Seal – Kiss from a Rose
Simply Red – Holding Back the Years
Spandau Ballet – True
Rod Stewart – I Don't Want to Talk About it
Sting – Fields of Gold
The Stranglers – Golden Brown
The Streets – Dry Your Eyes
Robbie Williams – Angels
Will Young – Leave Right Now
The top five entries made it from round 1 to the final list of nominees, leaving:
Winner: Robbie Williams
Daniel Bedingfield / Natasha Bedingfield – Ain't Nobody
Franz Ferdinand – Take Me Out
Green Day – American Idiot
Gwen Stefani – What You Waiting For?
Jamelia / Lemar – Addicted to Love
Joss Stone / Robbie Williams – Right to Be Wrong / Angels
Keane – Everybody's Changing
Snoop Dogg / Pharrell – What's My Name?
Scissor Sisters – Take Your Mama
Bob Geldof – I Don't Like Mondays
Further Reading / Viewing
2005 on brits.co.uk
2005 BRIT Awards on Wikipedia
BBC News, listing winners and nominees
BBC News coverage for the 2012 awards, stating the number of viewers
The Guardian extended coverage
BRIT Awards 2005 – double CD and DVD
Posted in Awards	| Tagged ABC, Alicia Keys, Amy Winehouse, Anastacia, Annie Lennox, Avril Lavigne, Band Aid, Bee Gees, Bob Geldof, Brian Wilson, Coldplay, Daniel Bedingfield, David Bowie, David Gray, Dizzee Rascal, Elton John, Eminem, Franz Ferdinand, Garbage, George Michael, Girls Aloud, Green Day, Gwen Stefani, Jamelia, Jamie Cullum, Jet, Jools Holland, Joss Stone, Joy Division, Kanye West, Kasabian, Kate Bush, Keane, Kelis, Kylie Minogue, Lemar, Lisa Stansfield, LMC, Maroon 5, Massive Attack, McFly, Morrissey, Muse, Natasha Bedingfield, Oasis, Outkast, Peter Gabriel, Pharrell Williams, PJ Harvey, Queen, Robbie Williams, Rod Stewart, Scissor Sisters, Seal, Shapeshifters, Simply Red, Siouxsie Sioux, Snoop Dogg, Snow Patrol, Spandau Ballet, Sting, Take That, The Clash, The Jam, The Killers, The Libertines, The Stranglers, The Streets, The Zutons, Tom Waits, U2, Usher, Westlife, Will Young	| Leave a reply


text:
'That time Barnaul was undoubtedly the most cultural corner of Siberia. I named it Siberian Athens'
Pyotr Tyan-Shanskiy, 1856
Leading Siberian academic 'stabbed to death by postgraduate student'
Alexander Smelov, 55, killed in his office in Yakutsk.
The institute director was attacked in his own office on Tuesday. Picture: Institute of Diamond and Precious Metal Geology
A man was arrested on suspicion of murdering the academic, who was director of the Russian Academy of Sciences' Institute of Diamond and Precious Metal Geology in Yakutsk.
'The institute director was attacked in his own office on Tuesday. He died from his injuries,' said Stanislav Platonov, spokesman for the Interior Ministry in the Sakha Republic, also known as Yakutia.
The suspect, a postgraduate student in the institute, was detained in his apartment, reported Interfax.
Documents concerning the case have been forwarded to the Russian Investigative Committee's regional branch.
Diamond and Precious Metal Geology
Siberian Branch of Russian Academy of Science
a huge loss. Deepest condolences.
T, Nevada
what a tragedy. Condolences to Mr Smelov's family and friends.
Chanadda, Bangkok
Treasure trove of Palaeolithic jewellery, made at least 45,000 years ago, found in the Denisova Cav
Archeologists discovered a new stone bracelet, two sharp pins, a marble ring and fox tooth pendants.
Photographer captures eerie graveyard of North Korean schooners scattered along the Russian coast
Ghost flotilla is the only memorial to dozens of North Korean squid poachers who never returned to their home waters.
Work underway to create the world's first Arctic station powered by hydrogen and renewables
The $27-million Snezhinka (Snowflake) is seen as a future international science hub for biotech, robotic and AI-driven projects.
Polar bear cubs, born in captivity, rejected by mother & raised by humans celebrate first birthday
Team of 'foster parents' made a cake for the bears, celebrating milestone achievement.
Hero surgeon carries out leg amputation with one hand and a knife to free building collapse survivo
The worker in the Republic of Tuva got trapped under a concrete slab while helping to dismantle an old asbestos plant.
Hermit Agafya Lykova gets a solar panel to keep her satellite phone charged
For most of her life Agafya, 77, has lived as a peasant from the 18th century, guided by an old Bible.


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Ruthie Scarpino: (Co-Founder, Co-Writer, Performer) is a performance and circus artist hailing from the wilds of Maine. She has performed and taught internationally using Boalian Theater, Physical Comedy and Circus for social change across the UK, Europe and South East Asia, where she was honored with a Fulbright Scholarship in 2009. Ruthie strongly believes in theatre/movements ability to enrich beyond their disciplines, and she is ecstatic to bring The Mystery at Ginger Creek to the Fringe.
Michael Gargan Curtin: (Playwright and Co-Founder) is an educator, actor, writer, and language activist. He is currently an Actor-Teacher for the Creative Arts Team, where he uses theatre in Brooklyn high school classrooms to spark dialogue about current issues, and strengthen literacy and critical thinking skills. In 2014, he co-founded the Panto-WHAT!? Theatre Company with Ruthie Scarpino and he has used theatre to strengthen communities, begin conversations, and facilitate cultural exchange in Rwanda, and the UK. He is deeply invested in the movement to strengthen Irish speaking communities in Ireland. Michael holds his MA in Applied Theatre from the CUNY School of Professional Studies.
Emilie Deschamps: (Director) is a prolific writer and indie filmmaker in NYC who loves the theater! She couldn't be happier being involved in directing something so fun and giggles every time someone says "Without further adoooooooo!"
Gabriel Spector: (Performer) is a dancer, circus performer, and theatre maker currently based in NYC. He recently completed his degree at the Royal Conservatoire of Scotland, and was a member of the Commonwealth Youth Circus. Gabriel has performed with the National Youth Dance Company of Scotland, and is half of the cabaret duo Dance with Death.


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Home»Sports»Packers»Packers QB Coach Boasts About Jordan Love's Development
Packers QB Coach Boasts About Jordan Love's Development
By Alex Ratliff December 4, 2022 Updated: December 4, 2022 No Comments2 Mins Read
Jordan Love's fourth quarter performance against the Philadelphia Eagles made quite the impression on Packers quarterbacks coach Tom Clements.
Last Sunday against the Eagles, Packers star quarterback Aaron Rodgers had to leave the game at the end of the third quarter with a rib injury. It was disheartening to see Rodgers dealing with yet another injury this season. However, Love seized the opportunity and led two scoring drives. In one quarter of work, Love completed six of his nine passes for 113 yards and one touchdown.
Jordan Love Praised By Packers QB Coach
Earlier this week, quarterbacks coach Tom Clements talked about the progress Jordan Love has made in the NFL. "He's probably getting to the point where the game has slowed down for him, Clements said. When that happens, you kind of see things in slow motion. You see where guys are moving, you see where guys should go, and you're able to react quickly."
"It's the things we've worked on the most, which is footwork, the proper drop, going through your progression, not getting stuck on a receiver, not being late with the ball. We work on different route concepts each week, we did a lot in the spring, but then you have to see it play out when you have a defense out there. You have to be able to go from 1-2-3 to your outlet quickly, and you can't lock on a guy. You have to process information quickly, figure out where to go, and your footwork plays into that as well. If your feet are right, and you're seeing things right, you're able to decide where to go with the ball. His footwork, rhythm and getting the ball off on time is where he's gotten a lot better."
There have been rumors of Love getting a chance to start if the Packers are eliminated from playoff contention. Even Rodgers is open to the idea. Nevertheless, Green Bay needs to see what Love is capable of at some point. If the playoffs no longer become a possibility, it would make sense for Love to see significant playing time and start a few games.
green bay packers Jordan Love


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