Having a notebook to hand means you can write down your idea as soon as inspiration strikes. I like to keep one beside my bed.
I've been known to wake in the middle of the night, scribble down an idea and down straight back to sleep. And yes, sometimes these middle of the night ideas are good ones!
#2 Go for a walk.
Getting some fresh air or a change of scene always helps my writing. It's hard to think up new topics or get your writing to flow if you've been cooped up all day.
Sometimes you can just try too hard. There's a lot of truth in the idea that less is more.
Taking a break, clearing your head, does make you a better, more focused writer.
#3 Keep on top of trends.
It doesn't work being a blogger in a vacuum. You need to be constantly on the look out for trends in your niche. What's hot? What are people talking about?
My lowdown of trending topics on Pinterest is the type of post you should be jumping on to make sure you stay up-to-date.
#4 Write a list post.
List posts like this one are quick to write. As soon as you have a topic to follow it's easy to bang out a few ideas.
If you're having a bad week and finding it hard to make time – stick to a list post.
Keeping a check on other blogs in your niche will help you to come up with current topics. You can use these ideas for inspiration.
Just don't copy. Come up with your own angle and explore the topic from a fresh perspective.
#6 Use Google to search for blog topics.
The best bit about using Google search? It will tell you what everyone is looking for.
All you need to do is enter a topic and Google provides a list of related questions.
Take this topic for an example: What to blog about?
Neat! Four new topics or different angles to write about.
You can do this for any chosen topic. Try it now for a topic in your niche.
#7 Engage with other people.
It's all too easy with blogging to start missing out on life. You started your blog to create an independent income. Hopefully to make enough money to quit the day job.
You're getting up at 6 am everyday to write before work. As soon as you get back from work you're straight on the laptop and the last time you went to a barbecue with your friends was months ago.
If this is you – take a break.
There is such a think as getting stale. It's okay to work hard. It's essential to work hard if you want your blog to become your main income.
BUT you can't write if you have nothing to say. Switch off, get outside and engage with other people. It will help you to write better posts.
These days you can find out most things online. There's nothing wrong with finding out the topics your competitors are ranking for.
Sites such as Ubersuggest distinctly encourage it.
A good way to come up with blog topics is to simply ask your readers. Send out a poll and ask them to choose or suggest topics they're interested in.
It helps to build engagement and can be a terrific source of blog ideas. Some of my best blog posts have come from answering questions raised by readers.
#10 Use a guest author.
Sometimes s*** happens. Don't fight it. Find someone to step in. Someone who'll appreciate writing a guest post in return for a link to their blog.
It can be your saviour. Better to find a guest blogger than loose brownie points for failing to post regularly. A guest blogger can add value to your blog and the right person can enhance your blog adding interest to your readers.
It's not to be sniffed at.
Coming up with ideas for "What to blog about?" doesn't need to be over-whelming. It helps to plan ahead. Rather than just a list of major blogging topics, compile a Plan B: topics you can write about easily on a week when you're short of time.
It helps to keep a sense of prospective when you become a blogger. Yes you're trying to create something great, but spending every spare moment on your blog may not help.
Find your passion and start blogging! This step-by-step guide on how to start a blog will get you set up and ready to start blogging in 10 minutes or less. I'll show you how to come up with an idea, choose your blogging platform, pick a domain name, find web hosting, select a theme and write your first post.


text:
No jail time for Kansas professor convicted for undisclosed research ties to China
A federal judge today handed down the lightest possible sentence in the U.S. government's case against University of Kansas (KU), Lawrence, chemical engineer Franklin Tao. The decision is the latest rejection by U.S. courts of the government's attempt to prosecute Chinese-born scientists for lapses in reporting their research interactions with China.
U.S. District Court Senior Judge Julie Robinson imposed no jail time and no fine for Tao in sentencing him for making a false statement to KU in reporting his ties to Fuzhou University. Government attorneys had requested a 30-month sentence and a fine of $100,000. Tao, who has been on unpaid administrative leave from KU since his arrest in August 2019, faces 2 years of probation, but Robinson said that could be cut in half for good behavior.
The government had alleged that Tao defrauded KU and two federal agencies by failing to disclose his research ties to China and then lying about those collaborations. (Prosecutors said a job offer from Fuzhou represented a conflict of commitment with his duties at KU, although Tao never accepted the position.) In April 2022, a jury convicted Tao of three counts of wire fraud as well as making the false statement, but 5 months later Robinson threw out the fraud convictions. In today's decision, she also rejected the government's argument that Tao's filing errors warranted a 30-month sentence.
"Dr. Tao is immensely relieved that Judge Robinson agreed that a sentence of time served was appropriate," his lawyer, Peter Zeidenberg, said in a statement after the sentence was handed down in federal court in Kansas City, Kansas. (Tao spent 1 week in jail after his arrest.) "We were also gratified to hear the judge say, once again, that neither the government nor KU was defrauded or harmed, and that Dr. Tao did all of the work required of him to the complete satisfaction of these entities."
Speaking from the bench before the sentencing, Robinson made a point of separating Tao's case from those of alleged economic espionage that the U.S. Department of Justice has brought under the China Initiative, begun in 2018 during the administration of then-President Donald Trump. "This was not an economic espionage case," Robinson said.
Neither was Tao trying to rip off the government, the judge continued. "Frankly, I thought going into this case that I was going to hear evidence … [that Tao] hurt taxpayers," Robinson said. Instead, the work Tao was doing "is the type of research that is fundamental research … something that is freely shared."
Robinson commended Tao for publishing 16 papers and a book since his arrest, work done from his home after KU banned him from campus. That high level of productivity is an indicator of his continued value to society, she said. She dismissed the government's claim that Tao's entire body of research is unreliable simply because he omitted relevant information on the required disclosure forms at KU.
The government's argument "reflects a lack of knowledge about the process of scientific research and publication, which is based on rigorous peer review," says Gisela Perez Kusakawa of the Asian American Scholar Forum, which wrote to the judge on Tao's behalf before his sentencing. "There's no basis to argue that failing to report a potential time commitment calls into question the validity of the research."
Zeidenberg said Tao will ask an appellate court to throw out his conviction. Tao is also fighting the university's efforts to terminate his employment as a tenured professor.
Tao's wife says that uncertainty continues to weigh on her husband and their family. "Our lives will never be the same as before [his arrest]," Hong Peng says. "It's hard to find the words to describe what we have been through." A GoFundMe campaign has raised $750,000 toward a goal of $1.9 million to help defray his legal fees.
Obesity Found To Cause Alzheimer's-Like Condition; Weight Loss Reduces Risk

redpajama_set_name: RedPajamaCommonCrawl


You must own the Bear Studios Naval Flanker J15. Includes blue and brown camo textures only. By UncleSalty.
Screenshot of Naval Flanker J15 with blue camo livery.
The archive bear_studios_naval_flanker_j15.zip has 23 files and directories contained within it.


€ 515,-- will be charged for cancellations after 2 February 2009. The full registration fee of € 1.030,-- will be charged for cancellations after 9 February 2009.
The registration fee of € 1.030,-- includes a double room for eight nights including meals. Alcoholic beverages are not included. An invoice will be sent to the address you indicated on your registration form. In most cases, this is the address of your affiliation. Students interested in staying the weekend should make their own arrangements.


text:
Psychedelic Norway and Dance
Psychedelic Norway
John Colburn
Coffee House Press ($16.95)
Lightsey Darst
by Benjamin Paloff
In The Notebooks of Malte Laurids Brigge, Rilke has a bit about how, if you gather experiences throughout a long, rich life, you might be able to eke out maybe ten decent lines of poetry at the end of it. He's talking about how meaningful utterance announces itself spontaneously from what we live through, though there is also something here of the Modernist word fetish, the same kind of bravado that Oscar Wilde expressed when he claimed to have spent all morning removing a comma and all afternoon putting it back. What it also suggests, and what is easily overlooked in our eagerness to be as badass as our masters imagined themselves to be, is that the line, the phrase, or even the lowly comma might serve just as well as the poem as the basic parcel of lyric expression, its most readily identifiable real estate. When teaching poetry so often means spending an hour discussing a line, why not treat that line as self-sufficient? Why not make it the subject of an article or give it its own page in an anthology? What if the references in a book's table of contents are merely suggestions, or a rough map of the whole, rather than an itemized list of individual works?
Lightsey Darst's Dance and John Colburn's Psychedelic Norway both reflect this rethinking of what constitutes the lyric, and they do so in bold, often exhilarating ways. In trying to grasp these poems' movement from start to finish, we cannot lean on prosody, as we could with traditional English forms, nor on narrative, as we might with postwar Confessionalism. Neither form nor story makes a convincing case for where these poems should begin or end, though they remain insistently invested in both. Instead, these books, for all their clear attention to design, consist of parts coalescing into wholes, like the exquisite notes of Nicolas Chamfort or Joseph Joubert, or the micro-journalism of Félix Fénéon, published as Novels in Three Lines. (An aspirational title, since many of them are only two lines long in the American printing.) Given that literary journals are by their very nature organized around the principle that individual pieces are self-contained, one has to admire the perspicacity of those editors who accommodated this work as it was being developed, or who might otherwise have tricked themselves into reading these pages as autonomous.
That's an easier sell in the back half of each book. But even in standalone poems like Colburn's "what we knew and what we decided and what we built (guerilla warfare)" we encounter lines spoken with such authority and control that any one of them could lend the book its title. It just happens that the last of these did:
Someone lit the firecracker in the trendsetters' mope warehouse.
We decided to set a travesty.
Then for a while the motorbike was everything.
Our travesty was sin and it could travesty anything.
We built a small fire-eater-in-waiting,
we built a gigolo gland.
We heard singing from the fjords of psychedelic Norway.
It's not that the lines don't fit together, or that they don't accumulate value. Clearly, they do. The "set" of "set a travesty" assumes the weight of the firecracker in the preceding line—itself an echo of "firebomb" and "firecracker-in-waiting" earlier in the poem, soon to be "fire-eater-in-waiting"—just as that travesty, now set, sets up the antanaclasis of "travesty" one line later. The composition is sinewy, both in the thickness of its internal resonances and in the force it commands. But it is also modular, with the strong pauses between lines suggesting a finality to each.
While he sometimes breaks away from them, Colburn is most at ease in these direct declarative sentences, coterminous with the line, their tone sloping downward so smoothly from start to finish as to render the fact of the matter simply, matter-of-fact. Without the line breaks, the same effect features strongly in his previous book Invisible Daughter (Queen's Ferry Press, 2013); poised in that Phantom Zone between prose poem and flash fiction, Invisible Daughter is loaded with delightful nuggets of faux-wisdom that, on further reflection, turn out to be not-so-faux: "Historians would ring the bells but in the woods history meant nothing." "A door slows you down." "Speech had gotten stuck in our big steak dinner." In form, the pages of Psychedelic Norway tip decisively toward the lyric poem, but the acutely-observed, aphoristic pronouncements—"may the red birds sing for anyone trapped," "all of this meat is how I am"—are equally prominent as the site where the poems happen.
Does this mean that the poet—and why not the reader?—might rearrange these sentences without damaging the integrity of the whole? Yes and no. Colburn's work is deeply invested in story; "pre-occupation," the accomplished, thirty-one-part sequence that is the heart of Psychedelic Norway, is as close generically to a minor epic as anything being done in English today. Yet here, too, we find statements that fit together beautifully without completely foreclosing the possibility that they might be refitted some other way:
Some animals are given the names of their cries.
Birds may have fatal habits.
Any leopard vibrates at a frequency a good deer can hear.
When it is time to mate, the cockroach speaks in the voice of Old Glory.
Little is known.
In fluency of embrace the alligator has advantages.
During mating season, the emperor spider withholds its vocabulary of string.
Baboons spit pulp as a form of gratitude.
As with most any narrative, plot proves more flexible than story, which maintains its contours even as the components of its telling may be re-sequenced. Such surgery typically alters our experience of the story—the art of poetry is predicated on the assumption that structure conveys meaning independently of representation—though the story remains the same. Colburn's work garners much of its energy from the sense that it is what it is by some fortuitous, tenuous miracle. It seems constantly on the verge of taking its considerable gifts away, but then it doesn't.
Darst's Dance operates on much the same principle, with the notable exception that whereas Colburn tells stories, Darst performs. Written almost entirely in long-breathed, disjointedly-punctuated couplets, these pages bleed one into the next, the headers in the book's first and third sections providing performance notes that are by turns cryptic, whimsical, and occasionally instructive: "[Listening, chanting. Let a crown / rise from your head.]" "[Leaving air open for water or fire.]" "[Lie down in the open space: let fragments / be heaped around you.]." This last one could serve as instructions to the private reader as well as to the public performer, which makes sense, insofar as a poem's reader is, in silence or otherwise, necessarily the medium of its performance. True to the book's title, the more urgently Darst heaps her fragments around us, the more we feel swept up in a remarkably kinetic, visceral movement.
A few years ago Katie Peterson wrote that in contemporary poetry the couplet had become the default stanza of deep thinking; it is curious how poorly this otherwise sharp observation applies here. Not that Darst writes free from intellect, or that her lines are any less intelligent, authoritative, or pithy than Colburn's: "I'm the one who's always right: the Author. Now I'll burn you; you'll feel little bites;" "if he can touch / down in seven states causing millions in damage he can sure touch you." But a natural consequence of the poems' dynamism is that such assertions, whether they pertain to the Self (as in the first of the above-quoted lines) or the often erotic Other (as in the second), come to us as precipitates of a lyric process that evades them until they become inevitable. In this way, the most ordinary, direct language in the book consistently arrives at just the moment when it will strike us as revelatory. It is much as John Ashbery described, now nearly four decades ago, as a poem's performing the failure to avoid ideas: "But we / Go back to them as to a wife, leaving / The mistress we desire?" Darst makes arriving at ideas feel like a homecoming.
What she does in the meantime is to float us in the aesthetic—more or less literally, in the sensual experience of surfaces. This is especially true in the book's first section, and there especially in the sequence "The Ash Palaces," whose attention to the finer details of costumery blurs the distinction between theater and still-life, constructing a hypnotic tableau vivant on the page:
. . . as this lust
shakes us into
astrakhan w/ panne velvet train guipure lace w/ broadtail pearl-painted silk chemise
w/ infant nail paillettes so pay, take a broke limb, drape it, artful slashes as if you made
love in a rose thicket. Once all was clean, now "darling, I hide nothing" creeps through our
city like dye
in a vein" "don't breathe on me" collar of emerald on a jade-eyed captive corrupts, once "I was
worth more
than an alley of museums
Here there is, as the would-be title of one of these poems suggests, "No shortage of symbols." In their speed and length, however, Darst's lines are so physically demanding—on the lungs, certainly, but even on the eye—that they usually forestall the kind of contemplative pause, that momentary respite, that symbolic representation typically demands. Then, with a timing whose accuracy befits a dancer and dance critic—Darst is both—she provides that respite, and the surfaces reveal their inner layers: "It parts, waters of the Red Sea close after, what after there is none. empty. Curtains / end this fine chain of impressions your mind could indeed be represented on paper or in // a nightclub fire. We dig old graves but even the best embalming only ends in corpses."
Coffee House Press, which has given us both of these excellent books (as well as Darst's earlier Find the Girl (2010), which shares delightful, if likely coincidental, thematic ground with Colburn's Invisible Daughter), has in recent years demonstrated a substantial editorial commitment to poetry books composed as books—line by line, gesture by gesture, with each part echoing the unity of the whole and the whole thereby guaranteeing the self-sufficiency of the parts. As a model for the book, this is a significant departure from the miscellany of poems arranged, however artfully, from a poet's work over a given period. While the miscellany has been the dominant model for making poetry books in the Anglo-American tradition (and is likely to remain so), the alternative represented by poets like Colburn and Darst rewards our attention. Done this well, the experience is utterly satisfying.
Click here to purchase Psychedelic Norway at your local independent bookstore
Click here to purchase Dance at your local independent bookstore
Rain Taxi Online Edition Winter 2013 | © Rain Taxi, Inc. 2013/2014
This entry was posted in Uncategorized and tagged Winter 2013 on March 11, 2014 by Kelly.
← The Cloud That Contained the Lightning The Dark →


text:
Цахариэ, в не-немецкой транскрипции Захария (, ):

 Цахариэ, Генрих Альберт (1806—1875) — германский юрист и политический деятель.
 Захарие, Георг Карл Христиан (1835—1907) — датский геодезист.
 Цахариэ фон Лингенталь, Карл Соломон (1769—1843) — немецкий государствовед и политический деятель(.
 Цахариэ, Юст Фридрих Вильгельм (1726—1777) — немецкий поэт.
 Цахарие фон Лингенталь, Карл Эдуард (1812—1894) — немецкий юрист, исследователь греко-византийского права, сын Карла Соломона Ц.
 Цахариэ, Теодор-Макс (1781—1847) — немецкий профессор, брат Карла Соломона Ц..

См. также
 Цахариас
 Захария (имя)

Примечания

redpajama_set_name: RedPajamaWikipedia


text:
Ficksburg/Rosendal
Maximum number of hikers: 20
Distance/Duration: 2 days/nights. Day 1: 14 km, Day 2: 7 km
Degree of difficulty: Average
Trail Open
1 October – 31 May
Trail Location
35 km from Ficksburg
230 km from Bloemfontein
340 km from Gauteng
The Sphinx trail is situated in the Moolmanshoek Private Game Reserve in the Eastern Free State, between Ficksburg and Rosendal. The base camp is located at the Langesnek Leadership Centre, from where hikers will commence their hike.
The starting point of the trail is just behind the dormitories where it crosses the fence and sets off in a southerly direction past a few large bluegum trees and then cross open grassland. It then crosses a stretch of open grassland. After passing through a grove of Bluegum trees and a stile, it runs alongside a wire fence and starts descending towards the Moolmanshoek valley, gradually revealing the beautiful mountains surrounding this valley. Further on, the route joins the road going down to the Lodge and follows it for about 200 meters. Where the road bends right towards the lodge, the trail veers to the left, passing a grove of cedar trees on your right and then crosses a steel bridge over the "spruit". Beyond the bridge, it turns sharp right and follows the "spruit" before passing through a large grove of poplar trees with the seats of the "forest chapel" visible. It then turns left and crosses an open field before crossing another "spruit".
The trail then moves gradually uphill along the lane of bluegum trees where the burrows and diggings of porcupines are evident in many places. It then moves closer to the mountain where hikers can enjoy a lovely view across the Moolmanshoek valley and the "Mini-Serengeti" plain where herds of zebra, black wildebeest, springbok, hartebeest, blesbuck and eland can be seen. Other game that might be seen, include mountain reedbuck, duiker and steenbuck. There are many bird species along the trail and black eagles nest up against the cliffs of Visierskerf. There is a rich variety of wild flowers and ferns.
The trail then approaches a huge rock on the mountain slope and traverses the upper parts of the "Serengeti" game area. The route then moves into the mountains, hugging the contours, before arriving at a ravine with a natural swimming hole, the "Spiraalgat", shaped like a spiral or upside-down ice-cream cone. Thereafter the trail winds around the ridge to arrive at the Witgatbad, another nice swimming hole. This is the perfect spot to stop for tea. The trail then gradually ascends the opposite slope to reach the Neck, from where a great view towards the east, as far as the mountains at Golden Gate, can be enjoyed. At this stage, hikers who wish to climb to the summit of Visierskerf mountain (2 407 m) can leave their backpacks behind and follow the signs on the game fence running up the ridge. For your effort, you will be rewarded with a magnificent view across the Eastern Free State and the Maluti Mountains in Lesotho. This side trip will take at least 2 hours to complete.
From the Neck the trail follows the contours around the Sphinx and Jacobsberg and crosses wooded slopes with dense indigenous trees and shrubs. Beyond Jacobsberg, the descend starts towards another ravine with sparkling water. Further on, the trail goes through thick indigenous forest and past beautiful potholes to arrive at the Sphinx overnight mountain hut. The hut is just above a nice pool, where weary hikers can cool off. You can also use the Waterfall Shower, just beyond the fireplace/braai area. Or you can walk down to the big dam to watch the water birds.
The second day's hike takes you up the slope opposite the Sphinx Hut and follows the contours beneath the two Pyramid Mountains. You will pass a big cave that was previously used as a kraal for 500 goats. A local story has it that this cave was used as an arsenal during the Anglo Boer War. A bit further on, you can have a nice rest in the shade at Dassie Podium. The trail then continues along the contours below the two Pyramids, past Aunt Mitchell's Overhang and gradually descends, before it contours around the mountain spur back to base camp.
Energetic hikers can also climb the First Pyramid from the sign alongside the trail, just before you get to Aunt Mitchell's Overhang. This is quite a steep climb and will take 1½ hours on average to go up and down. On a hot day, hikers can also take a detour to the large fountain-fed swimming pool before returning to Langesnek. This will add an extra 1,5 km to your hike. To get to the pool, take the "Lodge" route beyond Aunt Mitchell's Overhang and when you reach the road running to the lodge, turn left immediately and follow the footprints until you cross the spruit. Then go straight ahead towards the pool.
Base Camp at Langesnek Hikers Hut:
3 rooms accommodating 6 people each, plus space in dormitory. Kitchen: Electricity, pots, pans, stove, fridge. Basic cutlery and crockery are supplied. Ablutions: 2 toilets. 2 showers, basins and one bath. Next to the hut is a Lapa with fireplace/braai area. A part of the lapa is under cover and enclosed. Swimming pool (not fenced). Braai facilities and limited wood. Additional accommodation in the Langesnek Leadership Centre if available: two Lapas, spacious kitchen, ablution facilities and conference room. For groups up to 75.
Overnight Hut (Sphinx Mountain Hut):
22 Beds and mattresses, two flush toilets, cold showers, gas geyser for hot water, braai grid, two kettles, cast iron potjie. Limited supplied of wood.
Pertinent Information: Accommodation Shared With All Other Trails On Moolmanshoek.
Two Day Backpacks Free State


Summer has arrived! My favorite time of year! It's the season for swimming and fishing and sleeping outside here in Wisconsin. Cherries, strawberries, and campfires! The season for hanging your laundry outside to dry and lounging on a floatie toy in the ice cold lake. Not to mention taking road-trips and getting back out on the sailboat! If you ask me, THIS is the best part of the year in the north woods . I knew it was here yesterday when it was almost 70 degrees outside. I saw creatures flying around my car door that I haven't seen around these parts since last fall.
Anyway, I'm heading down to the Florida Keys in a few weeks for an anniversary of sorts. Memorial Day in the Keys has become somewhat of a tradition for my husband and I. The Florida Keys is where we met and fell in love, and Memorial Day is the anniversary of the weekend he proposed (in the Keys of course!). Our proposal goes down in the history of beautiful things he's ever done for me as the most romantic thing ever. I can't put it into words.
I've gained a ton of new readers this week. If you are new, a big WELCOME to you! Very excited to have you reading my ramblings. Big BIG hugs to all my regular readers though. You guys are the best.


text:
var expect = require('expect.js'),
  _ = require('lodash'),
  DefinitionBase = require('../../../lib/definitionBase'),
  PreCondition = require('../../../lib/definitions/preCondition'),
  BusinessRuleError = require('../../../lib/errors/businessRuleError'),
  api = require('../../../');

describe('pre-condition definition', function () {

  describe('creating a new pre-condition definition', function () {

    describe('without any arguments', function () {

      it('it should throw an error', function () {

        expect(function () {
          api.definePreCondition();
        }).to.throwError(/function/);

      });

    });

    describe('without pre-condition function', function () {

      it('it should throw an error', function () {

        expect(function () {
          api.definePreCondition(null);
        }).to.throwError(/function/);

      });

    });

    describe('with a wrong pre-condition function', function () {

      it('it should throw an error', function () {

        expect(function () {
          api.definePreCondition(null, 'not a function');
        }).to.throwError(/function/);

      });

    });

    describe('with a correct pre-condition function', function () {

      it('it should not throw an error', function () {

        expect(function () {
          api.definePreCondition(null, function () {});
        }).not.to.throwError();

      });

      it('it should return a correct object', function () {

        var pcFn = function () {};
        var pc = api.definePreCondition(null, pcFn);
        expect(pc).to.be.a(DefinitionBase);
        expect(pc).to.be.a(PreCondition);
        expect(pc.preConditionFn).to.eql(pcFn);
        expect(pc.description).to.eql(undefined);
        expect(pc.version).to.eql(undefined);
        expect(pc.priority).to.eql(Infinity);
        expect(pc.payload).to.eql(null);
        expect(pc.definitions).to.be.an('object');
        expect(pc.definitions.command).to.be.an('object');
        expect(pc.definitions.event).to.be.an('object');
        expect(pc.defineCommand).to.be.a('function');
        expect(pc.defineEvent).to.be.a('function');
        expect(pc.defineOptions).to.be.a('function');

        expect(pc.check).to.be.a('function');

      });

      describe('with a defined version', function () {

        it('it should return a correct object', function () {

          var pcFn = function () {};
          var pc = api.definePreCondition({
            version: 0
          }, pcFn);
          expect(pc).to.be.a(DefinitionBase);
          expect(pc).to.be.a(PreCondition);
          expect(pc.preConditionFn).to.eql(pcFn);
          expect(pc.description).to.eql(undefined);
          expect(pc.version).to.eql(0);
          expect(pc.priority).to.eql(Infinity);
          expect(pc.payload).to.eql(null);
          expect(pc.definitions).to.be.an('object');
          expect(pc.definitions.command).to.be.an('object');
          expect(pc.definitions.event).to.be.an('object');
          expect(pc.defineCommand).to.be.a('function');
          expect(pc.defineEvent).to.be.a('function');
          expect(pc.defineOptions).to.be.a('function');

          expect(pc.check).to.be.a('function');

        });

      });

    });

    describe('with some meta infos and a correct pre-condition function', function () {

      it('it should not throw an error', function () {

        expect(function () {
          api.definePreCondition({ priority: 3, description: 'bla bla bla' }, function () {});
        }).not.to.throwError();

      });

      it('it should return a correct object', function () {

        var pcFn = function () {};
        var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);
        expect(pc).to.be.a(DefinitionBase);
        expect(pc).to.be.a(PreCondition);
        expect(pc.preConditionFn).to.eql(pcFn);
        expect(pc.description).to.eql('bla bla bla');
        expect(pc.version).to.eql(undefined);
        expect(pc.priority).to.eql(3);
        expect(pc.payload).to.eql(null);
        expect(pc.definitions).to.be.an('object');
        expect(pc.definitions.command).to.be.an('object');
        expect(pc.definitions.event).to.be.an('object');
        expect(pc.defineCommand).to.be.a('function');
        expect(pc.defineEvent).to.be.a('function');
        expect(pc.defineOptions).to.be.a('function');

        expect(pc.check).to.be.a('function');

      });

    });

    describe('calling check', function () {

      describe('having defined a pre-condition function that', function () {

        describe('does not use a callback', function () {

          describe('having no error', function () {

            it('it should callback as expected', function (done) {

              var cmdOk = false;
              var pcFn = function (command, agg) {
                cmdOk = command.changed === 'changed';
                expect(command.changed, 'changed');
              };
              var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

              pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                expect(err).not.to.be.ok();
                expect(cmdOk).to.eql(true);
                done();
              });

            });

          });

          describe('but throws an error with message', function () {

            it('it should callback as expected', function (done) {

              var cmdOk = false;
              var pcFn = function (command, agg) {
                cmdOk = command.changed === 'changed';
                throw new Error('errorMsg');
              };
              var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla', payload: 'deep' }, pcFn);

              pc.check({ deep: { changed: 'changed' } }, { cmd: 'cmd1' }, function (err) {
                expect(err).to.be.a(BusinessRuleError);
                expect(err.message).to.eql('errorMsg');
                expect(cmdOk).to.eql(true);
                done();
              });

            });

          });

          describe('but throws an error without message', function () {

            it('it should callback as expected', function (done) {

              var pcFn = function (agg, command) {
                throw new Error();
              };
              var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

              pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                expect(err).to.be.a(BusinessRuleError);
                expect(err.message).to.eql('bla bla bla');
                done();
              });

            });

          });

          describe('but throws a BusinessRuleError with more', function () {

            it('it should callback as expected', function (done) {

              var pcFn = function (agg, command) {
                throw new BusinessRuleError('my message', 'more stuff');
              };
              var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

              pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                expect(err).to.be.a(BusinessRuleError);
                expect(err.message).to.eql('my message');
                expect(err.more).to.eql('more stuff');
                done();
              });

            });

          });

          describe('but returns an error', function () {

            describe('as error with message', function () {

              it('it should callback as expected', function (done) {

                var pcFn = function (agg, command) {
                  return new Error('errorMsg');
                };
                var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

                pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                  expect(err).to.be.a(BusinessRuleError);
                  expect(err.message).to.eql('errorMsg');
                  done();
                });

              });

            });

            describe('as error without message', function () {

              it('it should callback as expected', function (done) {

                var pcFn = function (agg, command) {
                  return new Error();
                };
                var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

                pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                  expect(err).to.be.a(BusinessRuleError);
                  expect(err.message).to.eql('bla bla bla');
                  done();
                });

              });

            });

            describe('as string', function () {

              it('it should callback as expected', function (done) {

                var pcFn = function (agg, command) {
                  return 'errorMsg'
                };
                var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

                pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                  expect(err).to.be.a(BusinessRuleError);
                  expect(err.message).to.eql('errorMsg');
                  done();
                });

              });

            });

          });

        });

        describe('uses a callback', function () {

          describe('having no error', function () {

            it('it should callback as expected', function (done) {

              var pcFn = function (agg, command, callback) { callback(null); };
              var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

              pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                expect(err).not.to.be.ok();
                done();
              });

            });

          });

          describe('that callbacks with', function () {

            describe('as error with message', function () {

              it('it should callback as expected', function (done) {

                var pcFn = function (agg, command, callback) {
                  callback(new Error('errorMsg'));
                };
                var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

                pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                  expect(err).to.be.a(BusinessRuleError);
                  expect(err.message).to.eql('errorMsg');
                  done();
                });

              });

            });

            describe('as BusinessRuleError with more', function () {

              it('it should callback as expected', function (done) {

                var pcFn = function (agg, command, callback) {
                  callback(new BusinessRuleError('errorMsg', 'moreStuff'));
                };
                var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

                pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                  expect(err).to.be.a(BusinessRuleError);
                  expect(err.message).to.eql('errorMsg');
                  expect(err.more).to.eql('moreStuff');
                  done();
                });

              });

            });

            describe('as error without message', function () {

              it('it should callback as expected', function (done) {

                var pcFn = function (agg, command, callback) {
                  callback(new Error());
                };
                var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

                pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                  expect(err).to.be.a(BusinessRuleError);
                  expect(err.message).to.eql('bla bla bla');
                  done();
                });

              });

            });

            describe('as string', function () {

              it('it should callback as expected', function (done) {

                var pcFn = function (agg, command, callback) {
                  callback('errorMsg');
                };
                var pc = api.definePreCondition({ priority: 3, description: 'bla bla bla' }, pcFn);

                pc.check({ changed: 'changed' }, { cmd: 'cmd1' }, function (err) {
                  expect(err).to.be.a(BusinessRuleError);
                  expect(err.message).to.eql('errorMsg');
                  done();
                });

              });

            });

          });

        });

      });

    });

  });

});

redpajama_set_name: RedPajamaGithub


text:
<?php

namespace Osiset\ShopifyApp\Traits;

use Illuminate\Contracts\View\View as ViewView;
use Illuminate\Support\Facades\View;

/**
 * Responsible for showing the main homescreen for the app.
 */
trait HomeController
{
    /**
     * Index route which displays the home page of the app.
     *
     * @return ViewView
     */
    public function index(): ViewView
    {
        return View::make('shopify-app::home.index');
    }
}


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text:
Archive for the 'Brown Socialism' Category
Cameron is gaining ground because Labour can't admit it fell for free-market ideology
Posted in Brown Socialism, Capitalism Reform, Capitalist Fools, Politics Reform, Radioso mundo neo-liberal on October 12, 2009| Leave a Comment »
The opinion polls seem clear enough. In six months Britain will have a Conservative government armed with a mandate to scale back the state with immediate effect and all Labour can do between now and next spring is prevent heavy defeat becoming a wipeout.
While this may prove to be true, it is curious nonetheless. David Cameron has been amazingly successful at shifting the political battle onto his own ground; he has disguised a strategically weak position with tactical elan. Labour has done the opposite; it has allowed a strong strategic position to be nullified by the darts and feints of the opposition.
Let me explain. Cameron's main argument – that the economic mess we are in is the result of the failing of big government – is the precise opposite of the truth. The reason for the crisis was not that the state was too active, but that it was too passive. For three decades, from the mid-1970s onwards, regulations on finance were relaxed, markets were unshackled, taxes were cut.
Paul Davidson, in his new book The Keynes Solution, puts it this way: "During almost all of the last four decades the public debate over economic policy has been dominated by the belief that if self-interested individuals are permitted to operate in a free market without government interference and regulation, and without worrying about other members of the community, the resulting free market will bring the economy to nirvana."
Keynesian schadenfreude
Market fundamentalism has been found wanting these past two years. The economics profession has stood aghast as, one by one, its sacred cows – self-correcting markets, rational expectations, efficient markets hypothesis – have been slaughtered. Keynesians (and Marxists, to be fair) haven't had so much fun in years; far from waiting for the invisible hand to work its magic, governments stepped in to prevent banks from failing, the financial system from imploding and the global economy from collapsing.
Only once in the entire crisis has a government opted for a "nature's cure", and when Hank Paulson let Lehman Brothers go to the wall in September last year, he unleashed four weeks of mayhem in the financial markets that only started to abate when governments took stakes in tottering banks in return for capital injections.
Even so, the near-death experience for the banks had an immediate and profound impact on the real economy. Credit lines dried up and confidence collapsed. Output and trade contracted at rates last seen in the 1930s. Policy makers responded by cutting interest rates to historically low levels, loosening fiscal policy and pumping new electronic money into the banking system through quantitative easing. This was not activist macro-economic policy, it was hyper-activist. Credit creation by the state compensated for credit rationing by the banks; spending by the state filled the breach left by the squeeze on private spending.
By the spring there were signs of the policy beginning to work. Output stabilised and financial markets rallied. While there are legitimate doubts – voiced by the IMF among others – as to whether the recovery is for real, the immediate threat of a 1930s-style slump has passed.
Only by the most convoluted reasoning can the crisis of the past two years, and the events that led up it, be described as a failure of big government. On the contrary, it was the deregulation of financial markets championed initially by governments of the right that allowed finance to strip away the prudential controls on its activities.
That's why Cameron's position is strategically vulnerable. Making the case for interventionist social democracy has never been easier: the mess was caused by a weak state allowing a free rein to a cadre of irresponsible financiers; only a newly emboldened state could clear the mess up.
It is a mistake to underestimate the opposition leader. There are those on the left who think that because he went to Eton he is, by definition, an upper-class twit. But Eton churns out lots of smart people (Keynes included). The current economic debate is not about the right's responsibility for the crisis. Nor is it about the opposition's own uncertain response to it. Instead, it is about which party has the most blood-curdling plans for spending cuts. That's some achievement.
There's enough sense in what Cameron says to make it politically potent; hence his cleverness. But it is still a flawed analysis. He is right, certainly, to argue that governments cannot run budget deficits of £175bn a year permanently. He is also right when he says that Britain was running a structural deficit of 2-3% of GDP going into the downturn.
But the deficit is the symptom of an economic problem, not its cause. The bulk of the deficit is accounted for by the contraction in the economy since the start of 2008, which has sharply eroded tax revenues and pushed up the cost of welfare spending. Only a small part of the deficit increase has been caused by discretionary tax and spending decisions by the chancellor, Alistair Darling. If the public finances had been in better shape in 2007, Labour would have been in a position to provide a bigger fiscal boost, but the upshot would have been broadly the same – a deficit this year in excess of 10% of GDP.
Scary proposals
If the lion's share of the deficit was caused by the recession then, logically, the priority now should be to get the economy back on its feet as quickly as possible. Conjuring up the ghost of Stafford Cripps is more likely to hinder this process – by scaring the pants off consumers and small businesses – than it is to help.
Cutting back too soon could drive the economy into a depression, warned David Blanchflower, respected economist and a former member of the Bank of England's monetary policy committee, in Saturday's Guardian. "The Tory economic proposals have the potential to push the British economy into a death spiral of decline that would be almost impossible to reverse for a generation," he wrote.
So what is Labour's problem? Faced with the most propitious economic circumstances for a party of the centre-left for decades why is it so comprehensively failing to seize the moment? There are plenty of suggestions flying about. Some say it is all about Gordon Brown; the prime minister, it is said, simply does not cut it with the public and has been a liability since the election that never was in the autumn of 2007.
Some say it is a combination of a deep recession and being in power for too long; the electorate is bored with Labour and rising unemployment provides a convenient pretext for changing allegiance. Some put it down to the foreign wars, or the private finance initiative or the fact that the gap between rich and poor is wider than it was in 1997.
While all part of the story, none of these theories is entirely convincing. Labour has handled the crisis well; in the most trying of circumstances, it has got the big decisions right.
The government's failure has been its inability to use the crisis to articulate a broader critique of market fundamentalism. And the reason for that is that from 1997 to 2007 Labour was complicit in the excesses of the market. It was too weak or too bedazzled to control the City, but not so reticent when it came to plans for DNA testing and ID cards. The supine approach to finance coupled with creeping social authoritarianism explains why Cameron's attack on the big state resonates.
With anger at the banks still running high, it is still possible to seize the social democratic moment. What's lacking is an intellectual argument that challenges the orthodoxy of the past three decades. That, though, requires an admission that much of what the government has believed these past 12 years was wrong. As things stand, that looks unlikely.
Larry Elliott, The Guardian,	Monday 12 October 2009
Drug tests at work?
Posted in Brown Socialism on May 21, 2009| Leave a Comment »
Drug tests at work? They're just a shabby trick by bosses who want to save on redundancy payments | 21 May 09| The Guardian.
Liberty is facing death
Posted in Brown Socialism on February 19, 2009| Leave a Comment »
The Convention on Modern Liberty – A call to all concerned with attacks on our fundamental rights and freedoms under pressure from counter terrorism, financial breakdown and the database state.
Rimington is right. This is a recipe for creating terrorists
" (…) New Labour's sins in the war on terror are catching up with it. And it's not only officials, but politicians, up to and including Tony Blair, who could be in the legal frame as a result of British collusion with torture, "extraordinary rendition" – illegal abductions to third countries – and "ghost" prisons.
No doubt a battery of state powers and immunities will be deployed to head off such humiliation. But as this week's chilling International Commission of Jurists' report on the counter-terrorist free-for-all put it: "The framework of international law is being undermined … the US and UK have led that undermining." (…)"
Seumas Milne, The Guardian, Thursday 19 February 2009
"British jobs for British workers"
Posted in Brown Socialism on February 3, 2009| Leave a Comment »
"Brown stands by British jobs for British workers remark",
guardian.co.uk, Friday 30 January 2009
There's no escape.
The big pricks are out.
They'll fuck everything in sight.
Watch your back.
Harold Pinter, February 2003
Our flexible friends
The real theme of these strikes is not xenophobia but outrage at UK and EU rules designed to keep labour cheap and weak. (…)
Seumas Milne, guardian.co.uk, Friday 30 January 2009
Paulo Coimbra
Anti-Austerity Brown Socialism Bush Capitalism Reform Capitalist Fools Democracia&Fetiche economic intervention Ethics EU Euro Fear Health care Human Rights In Defense of Deficits invisible hand New Economics New Politics Obama ou não? Politics Reform Postmodern Irony Press Fails Progressive Governance Public Spending Radioso mundo neo-liberal Sustainability Torture Uncategorized Vigilância Estatal yes - we can
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The New York City Department of Sanitation has issued a snow alert for Monday morning.
The National Weather Service has also issued a Winter Weather Advisory from 2 a.m. to 2 p.m., with 1-3 inches expected in the city and higher amounts possible locally in higher elevations throughout the early part of the day, CBS2's Elise Finch reported.
Previous articleThe Afikoman Gift your WHOLE Family will Enjoy!
I knew I should of gone to Miami this year. Punkt this year I decided to stay in Brooklyn in my lousy basement.


text:
Pillars of development
Vocational High School
General and Technological High School
Post-Baccalaureate
The Training Center
Home/Educational vision
Educational visionWebmaster22019-10-27T13:44:03+01:00
Live & Grow together
Pedagogical, educational, et Christian aspirations are at the core of our educational vision
Principle of Inclusiveness
Welcome each individual with kindness and consideration. Be receptive. Develop respect and tolerance. Learn to appreciate our differences.
Confidence and Guidance
Feel secure and confident. Affirm one's personality. Receive pedagogical and educational support. Develop a vision for one's own future objectives.
Values and Guiding Principles
Promote autonomy and a sense of responsibility. Learn to Live Together and work effectively as part of a team. Place value in civic commitment and fellowship. Respect the convictions of each individual.
Be mindful of global issues. Anticipate developments in our societies. Seek contact with members of other cultures. Place importance on travel and language exchanges.
Pedagogical sections
Fénelon Notre-Dame primary schools: 7:30 am to 6:30 pm
6th and 7th grades of middle school : 7:45 am to 6:30 pm
8th and 9th grades of middle school - high school - Post-secondary school - Training center : 7:30 am to 7 pm
© Fénelon Notre Dame | All rights reserved | contact@fenelon-notredame.com | 05 46 41 04 20


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text:
<TITLE>Review for Jing cha gu shi IV: Jian dan ren wu (1996)</TITLE>
<LINK REL="STYLESHEET" TYPE="text/css" HREF="/ramr.css">

Jing cha gu shi IV: Jian dan ren wu (1996)

reviewed by
Walter Frith

                        JACKIE CHAN'S FIRST STRIKE

               A film review by Walter Frith

                Copyright 1997 Walter Frith

Martial arts expert turned movie star Jackie Chan has had a number of
international hits before testing the production markets over here in North
America.  'Rumble in the Bronx' and 'Supercop' came out in 1996 and while the
former was an over rated and over hyped disappointment, the latter was decent
entertainment.  Now in 1997 we are subjected to a movie which has to have
Jackie Chan's name in the title.  This movie has considerably less action
than the previous two films mentioned and the humour is both childish and
silly.  Chan is working for the CIA in this movie and a trail of suspicious
circumstances take him around the world and the movie's main setting is
Australia.  He is trying to crack a case involving the Russian mafia which
could lead to stolen nuclear devices being used as a first strike on the
west.  It's difficult to criticze these types of movies because you have to
accept them in many ways for what they are.  There is a terrific scene
involving a chase downhill on skis but many of the action scenes are toned
down and this leaves the audience begging for more.  It has an abrupt ending
where you say "Huh, that's it?"  This is not like reviewing a movie based on
a classic novel or upstanding play or a movie with serious actors.  This
movie is clearly for die hard Jackie Chan fans only and the rest of us will
say, "Well, I can take it or leave it."  That's all I can say about this
movie which doesn't dignify having much more said about it.

OUT OF 5> * * 1/2

The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).

The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.

Please direct comments/criticisms of the review to relevant newsgroups.

Broken URLs inthe reviews are the responsibility of the author.

The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.

Related links: index of all rec.arts.movies.reviews reviews


The most famous face of the Bulgarian prime-time entertainment - Slavi Trifonov - slowly but surely is paving his way to the Bulgarian political scene. After announcing when he would be interviewing the candidates for his political project, Trifonov remained silent and regularly uploaded footage of the interviews.
However, an update to his social media profile gives out new information, directly from Bulgaria's favorite TV host. Trifonov begins his newest Facebook post by explaining how he likes to be precise and does not like small talk. He announced that he would be meeting with all of the candidates he had approved after the interviews. The candidates will now have to give particular suggestions as to how they see the future of Bulgaria. Trifonov explains that he's been contacted by numerous other Bulgarians - from within the country and abroad - and is going to meet with them as well. He believes that meeting with many skilled people willing to help is the right way to fight and ultimately defeat the status quo and ensure a modern future for Bulgaria.


At this upcoming Annual General Meeting (AGM) in the WDF held in Budapest, Hungary 25th September 2018, one vacant position as WDF Secretary General will be up for election.
The WDF are pleased to announce that Carsten Jeppesen has been appointed to the position of WDF Secretary General. Contact information for the WDF Secretary will be available on the website as soon as practicable.
Cuesoul / Shooter 1 is now included to Approved by WDF page WDF approved Cuesoul Shooter 1. This dartboard will be available in April 2018 via Cuesoul.com, Amazon and some other e-commerce platform.
The WDF has received four applications for the position of Secretary General. We will be reviewing the applications over the next three weeks with a decision being announced at that time.
Target Corona Vision lighting system is the second endorsement of its kind for a Target Darts lighting system, following the approval of Target's Vision 360.


Cine-Matrix was a dynamic group of Perth women with the goal of having a presence in the film industry.
Its objectives were to act as an information and resource centre for women involved or interested in film and television and to facilitate and organise teaching film and TV skills to women—with a priority on utilising women's skills.
Cine-Matrix also acted as a lobby group for furthering women in the industry, promoted screening and dialogue on film, supported women scriptwriters and helped women obtain funds for film and television projects.
Cine-Matrix was formed in the mid-1980s.
Collection of material relating to Cine-Matrix. Held at State Library of WA, detailed listing available (call number PR14339).
Women's Collective, Sibyl. Perth, WA. Issues from 1974–1983 available from State Library of WA (call number 301.412 SIB).


Bringing top level Operational Expertise to companies of all sizes in the Restaurant industry.
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Your success is our primary goal. We form a partnership with your team to build success in both professional and personal interactions. We leverage the hospitality & service assets you already have in place and discover new opportunities that are waiting to be identified and exploited for the benefit of all stakeholders.
No matter your level of play, the important thing is you're in the game.
Front of House, Heart of House or Back Office, you are in it to win, and we are there with you.
"The Hospitality Game" at times can feel more like "The Hunger Games". It takes passion and a love for service to survive, but passion without focus often creates chaos. We help you find the focus that brings order from chaos.
Everyone needs a fresh perspective, a new set of eyes and ears if you will.
To be a great operator requires attention to the daily, unseen actions that either build or detract from progress and profit.
Identifying these actions, or the lack of action, and developing a strategy to replace them with thoughtful systems provide your team the tools for success.


text:
Q: Can UIPasteBoard be accessed from Safari? I'd like to copy something from a native application into the paste board. And then read the copied value from the native browser. Is there a way to do this?

A: Do you mean read it from the pasteboard without having the user actually paste it? If so, then  the answer is a definite no -- reading the pasteboard without user input would be a security no-no (suppose you'd just copied your credit card # or SS# in another app?).

redpajama_set_name: RedPajamaStackExchange


First, is there any way to reset the reported percentage for availability history? In essence what I want to do is reset everything for all of my nodes back to 100% uptime. I assume you can't change these values but we will not start officially start uptime monitoring for another few weeks so we would like to start with a clean slate.
Also, we would like to find a way to unmanage all nodes on the network during a specific time period every few weeks so we don't have availability reports affected by these maintenance periods. Is there a way to automatically schedule periods where everything is unmanaged?


It's a sunny fall day in a parking lot at the head of a town nature trail. The community service project, that students proposed and planned is underway. The students are building a bridge. Well, they are supposed to be, anyway. This morning, they are bickering. One boy is ordering others around. You can see the resentment rising off the others. (You can hear it in some of the language that rises, too.) The number days allotted to this project is dwindling fast. The town parks and rec director expects that there's going to be a bridge installed. The requirement for credit is that there's going to be a bridge installed. These are seniors in high school. Their first quarter grades will go into their college applications. There's got to be a bridge installed.
As the deadline looms, you cannot forget that parents, already unsure of the wisdom of allowing their child to attend an alternative program, see you as THE Teacher, the Responsible One. By the end of the year, they will see things differently. But not yet, not this early in the year. What if that bridge doesn't get installed? You begin to wake up at night in a small panic.
This was one of my early experiences with project-based learning. It was valuable, for sure, but a tough process to go through. Here are some things I wish I'd known.
Expect drama. Not intentional drama, but whenever you do something differently, people-- students and teachers-- can become unsettled. Students get mad for a variety of reasons: they have to think, they have to think for themselves, they have to interact meaningfully with others, they have to do meaningful work that adds to the whole effort. They can also get really excited, in a Mt. Vesuvias sort of way. This is not always popular with other teachers.
Prepare for angst-- your own. True project-based learning means letting go of typical ways of planning for classes, interacting with students, grading. This also means devising new practices. This is easier said than done, because new practices emerge from transformed beliefs, usually about the purposes of school, your subject, the role of the teacher, etc.
It's OK for students to fail. Really. One motto at our school used to be Failure is just feedback. The real question was, what worked, what didn't, and what will you do differently next time? And/or, what will you do now to make it right? It's exciting when kids start to see how their choices and attitudes come home to roost in the quality of their learning, their work, their relationships with classmates. Writing as a tool for reflection makes a great standard practice.
Help kids learn how to learn-- the metacognitive aspect of learning is an essential part of project-based learning. Reflection is an essential part of that.
Rules for discussion. Mine are, one person talks at a time. Why? Because everyone has something to bring to the table therefore everyone deserves to be heard. (The corollary of this is, the project needs everyone to succeed, so everyone has to find ways to bring their best stuff to the table.) I start with a raise hands policy, but it doesn't take long for students to propose other ways of doing things. Fine, but there has to be a check-in about how that method is helping the class achieve its goals.
Completing work: handed in via a box on my desk or online by a specific time, or, according to what a project team decides. Why? If I collect it, that makes me responsible for it. In the real world, if you're late for a plane or train, that's not the pilot's responsibility-- that plane takes off, that train still leaves the station.
Be very clear about your expectations from the start, everything from behavior and ways of treating each other to the quality of work.
Ask yourself, over and over, who owns the learning? How does your project structure support that?
So, what will you do? You could step in and facilitate a discussion. You could sit back and wait for the situation to come to a head in its own time. You could suggest a couple of specific steps they might want to consider and hope that gives them something to focus on. Would you let them miss the deadline? If they miss it, what will you ask the kids to do-- will they be the ones to meet with the parks & rec manager? To speak frankly with parents about what happened?
I think I tried to "steer" them toward effective action. That may have gotten the project completed, but I now think that all it taught them was that they really couldn't be responsible for their learning. I had not yet learned #3.
Today, I'd probably call a meeting and present them with what I observe, my concerns, and ask i f I could help in any way. I would tell them some ways I could help and then I would let them decide. I would also be very clear that it would be up to them to talk with parks & rec manager, parents, anyone else involved, about what happened. And, I would probably write Incomplete on the report cards until the bridge was done-- because, no matter what, it would need to be finished, on their own time if necessary.
Project-based learning has the potential to be a game-changer, if we make changes in our expectations, approaches, beliefs, etc. I fear that otherwise it's just a different way of doing the same old thing.


text:
Creep (Radiohead song)
"Creep"
Single by Radiohead
from the album Pablo Honey
Chipping Norton Recording Studios in Oxfordshire, England
grunge[1]
Mike Hazlewood
Sean Slade
Paul Q. Kolderie
Radiohead singles chronology
(1992) "Anyone Can Play Guitar"
"Creep" is a song by the English alternative rock band Radiohead, released as their debut single in 1992. It appeared on their first album, Pablo Honey (1993). "Creep" was not initially a chart success, but became a worldwide hit after being rereleased in 1993. Radiohead took elements from the 1972 song "The Air That I Breathe"; following legal action, Albert Hammond and Mike Hazlewood are credited as cowriters. The members of Radiohead grew weary of "Creep" in later years, and refused to perform it for a period. It is included in Radiohead: The Best Of.
1 Writing and recording
2 Composition and lyrics
3 Release and reception
6 Copyright infringement
8 Personnel
9.1 Weekly charts
10 Certifications
Writing and recording
According to Radiohead bassist Colin Greenwood, singer Thom Yorke wrote "Creep" while studying at Exeter University in the late 1980s.[2] Guitarist Jonny Greenwood said the song was inspired by a girl that Yorke had followed around and who unexpectedly attended a Radiohead performance.[3]
In 1992, during rehearsals for their first album, Pablo Honey, with producers Sean Slade and Paul Q. Kolderie, Radiohead spontaneously performed "Creep". Yorke jokingly described the song as the band's "Scott Walker song", which Slade and Kolderie mistook to mean the song was a cover.[4] After some failed attempts to record other songs, Slade and Kolderie suggested Radiohead play "Creep" again. They recorded it in a single take; after the performance everyone in the room burst into applause. After the band assured Kolderie that "Creep" was an original song, he called EMI to tell them to consider it as Radiohead's first single.[5] While the recording had minimal overdubs and the band had not intended to release it, the producers were impressed.[2][6]
The middle eight originally featured a guitar solo from Greenwood. When guitarist Ed O'Brien pointed out that the chord progression was the same as "The Air That I Breathe", a 1972 song by the Hollies, Yorke wrote a new middle eight, using that song's vocal melody. According to Greenwood, "It was funny to us in a way, sort of feeding something like that into [it]. It's a bit of change."[7]
The version issued for radio play replaces the line "so fucking special" with "so very special". Radiohead worried that issuing a censored version would be selling out, but decided it was acceptable since their idols Sonic Youth had done the same thing; nonetheless, Jonny Greenwood noted the British press "weren't impressed".[3] During the recording session for the censored lyrics, Kolderie convinced Yorke to rewrite the first verse, telling him he thought Yorke could do better.[8]
Composition and lyrics
Ostinato from Radiohead's "Creep" features modal mixture, common tones between adjacent triads (B between G & B, C and G between C & Cm, see: Macro analysis), and an emphasis on subdominant harmony (IV = C in G major).[9] Play (help·info)
The G–B–C–Cm chord progression is repeated throughout the song, only alternating between arpeggiated chords in the verses and last chorus and loud power chords during the first two choruses. In G major, these may be interpreted as "I–V7/vi–IV–iv".[9] According to Guy Capuzzo, the ostinato musically portrays "the song's obsessive lyrics, which depict the 'self-lacerating rage of an unsuccessful crush'." For example, the "highest pitches of the ostinato form a prominent chromatic line that 'creeps' up, then down, involving scale degrees 5 ^ {\displaystyle {\hat {5}}} – ♯ 5 ^ {\displaystyle {\hat {5}}} – 6 ^ {\displaystyle {\hat {6}}} – ♭ 6 ^ {\displaystyle {\hat {6}}} ....[while] ascend[ing], the lyrics strain towards optimism...descend[ing], the subject sinks back into the throes of self-pity ... The guitarist's fretting hand mirrors this contour".[10]
When the song shifts from the verse to the chorus, Jonny Greenwood plays three blasts of guitar noise ("dead notes" played by releasing fret-hand pressure and picking the strings). Greenwood said he did this because he did not like how quiet the song was; he explained: "So I hit the guitar hard—really hard".[3] O'Brien said: "That's the sound of Jonny trying to fuck the song up. He really didn't like it the first time we played it, so he tried spoiling it. And it made the song."[11] During the song's outro, Jonny Greenwood plays a piano figure. Kolderie forgot to add the piano part during the final mix until the end of the song, but the band approved of the result.[12]
According to Yorke, "Creep" tells the tale of an inebriated man who tries to get the attention of a woman to whom he is attracted by following her around. In the end, he lacks the self-confidence to face her and feels he subconsciously is her. When asked about "Creep" in 1993, Yorke said: "I have a real problem being a man in the '90s... Any man with any sensitivity or conscience toward the opposite sex would have a problem. To actually assert yourself in a masculine way without looking like you're in a hard-rock band is a very difficult thing to do... It comes back to the music we write, which is not effeminate, but it's not brutal in its arrogance. It is one of the things I'm always trying: To assert a sexual persona and on the other hand trying desperately to negate it."[13] Jonny Greenwood said the song was in fact a happy song about "recognizing what you are".[3] According to Guardian critic Alexis Petridis, "Creep" has an "almost complete lack of resemblance to the music [Radiohead] went on to make".[14]
Release and reception
EMI released "Creep" as a single in September 1992,[15] when it reached number 78 on the UK Singles Chart, selling 6,000 copies.[16] Radio 1 found the song "too depressing" and refrained from playing it.[17] Radiohead moved to a second single, "Anyone Can Play Guitar", to promote Pablo Honey, and released a non-album single, "Pop Is Dead".
Towards the end of 1992, DJ Yoav Kutner played "Creep" often on Israeli radio, having been introduced to the song by an EMI representative, and it became a national hit. Radiohead quickly set up tour dates in the country to capitalise on the success.[18][19] "Creep" had similar success in New Zealand, Spain, and Scandinavian countries.[20] Around the same time, the San Francisco, California radio station KITS added the song to its playlist, and soon other radio stations along the American West Coast followed suit. A censored version of the song was released to radio stations, and, by the second half of 1993, the song had become a hit nationwide, charting at number 34 on the Billboard Hot 100.[2] It remains Radiohead's highest-charting single in the Billboard Hot 100. By the time Radiohead went to the United States, they were surprised by the success of the song. Yorke told Melody Maker in 1993 that many journalists misunderstood the song, asking him if it was a joke.[17]
Radiohead initially did not want to reissue "Creep" in the UK, but relented; bassist Colin Greenwood said that "after doing so well in America, there was this tremendous pressure from radio people, the press, the record company, even our fans, to put it out".[21] The 1993 reissue reached number seven on the UK Singles Chart.[22] The release was bolstered by a September 1993 Top of the Pops performance, which drew criticism from the music press and artists including Oasis guitarist Noel Gallagher.[3][23] In the US, "Creep" was aided by its appearance in a 1994 episode of the MTV animated series Beavis and Butt-Head; Capitol, Radiohead's US label, used the endorsement in a marketing campaign with the slogan "Beavis and Butt-Head Say [Radiohead] Don't Suck".[24]
Following the release of Pablo Honey, Radiohead spent two years touring in support of Belly and PJ Harvey. They performed "Creep" at every show, and came to resent it. O'Brien recalled: "We seemed to be living out the same four and a half minutes of our lives over and over again. It was incredibly stultifying."[24] Yorke said the band felt they were being judged on a single song and had to move on.[24] In 2015, drummer Philip Selway said that the success of "Creep" had given Radiohead more freedom with their record company, but that they had had "other ideas" they wanted to explore.[25] The 1994 song "My Iron Lung" was written in response to the reaction to "Creep"; the song contains the lines: "This is our new song / just like the last one / a total waste of time".[24]
During the tour for Radiohead's third album, OK Computer (1997), Yorke became hostile when "Creep" was mentioned in interviews and refused requests to play it, telling a Montréal audience: "Fuck off, we're tired of it."[26] He dismissed fans demanding to hear it as "anally retarded".[26] After the tour, Radiohead did not perform "Creep" until the encore of their 2001 hometown concert at South Park, Oxford, after an equipment failure halted a performance of another song.[27]
Radiohead performed "Creep" as the opening song of their headline performance at the 2009 Reading Festival.[28] They did not perform it again until 2016, when they played it several times on tour for their ninth album, A Moon Shaped Pool. After a fan spent the majority of a concert shouting for it, the band decided to play it to "see what the reaction is, just to see how it feels".[29] They also performed the song during the encore of their headline performance at the Glastonbury Festival that year; according to Guardian critic Alexis Petridis, "Given Radiohead's famously fractious relationship with their first big hit ... the performance of Creep [was] greeted with something approaching astonished delight."[14] In 2017, O'Brien said: "It's nice to play for the right reasons. People like it and want to hear it. We do err towards not playing it because you don't want it to feel like show business."[30] In the same interview, Yorke said: "It can be cool sometimes, but other times I want to stop halfway through and be like, 'Nah, this isn't happening'."[30]
In December 2007, VH1 ranked "Creep" the 31st greatest song of the 1990s.[31] In June 2008, "Creep" re-entered the UK Singles Chart at number 37 after its inclusion on Radiohead: The Best Of.[32] As of April 2019, it was the UK's most streamed song released in 1992, with 10.1 million streams.[33]
"Creep" has been covered by artists including Frank Bennett,[34] Haley Reinhart and Postmodern Jukebox,[35] the Pretenders,[36] Kelly Clarkson[36] and Tears for Fears on their Rule The World Tour.[37] In April 2008, American musician Prince covered "Creep" at the Coachella Valley Music and Arts Festival. A bootleg recording was shared online, but removed at Prince's request; after being informed of the situation in an interview, Yorke said: "Well, tell him to unblock it. It's our song."[38][39] A cover by the Scala & Kolacny Brothers choir accompanied the trailer for the 2010 film The Social Network.[40]
The chord progression and melody in "Creep" is similar to that of the 1972 song "The Air That I Breathe", written by Albert Hammond and Mike Hazlewood.[41] According to Hammond, Rondor Music, the publisher of "The Air That I Breathe", sued Radiohead for copyright infringement, and Hammond and Hazlewood received cowriting credits and a percentage of the royalties. He said Radiohead were "honest" about re-using the composition, and so the songwriters agreed to take only "a little piece" of the royalties.[42]
In January 2018, American singer Lana Del Rey said on Twitter that Radiohead were taking legal action against her for allegedly plagiarising "Creep" on her 2017 track "Get Free", and had asked for 100% of publishing royalties instead of Del Rey's offer of 40%. She denied that "Creep" had inspired "Get Free".[43] Radiohead's publisher Warner/Chappell Music confirmed it was seeking songwriting credit for "all writers" of "Creep", but denied that a lawsuit had been brought or that Radiohead had demanded 100% of royalties.[44] In March, Del Rey told an audience that "my lawsuit's over, I guess I can sing that song any time I want".[45] The writing credits for "Get Free" were not updated on the database of the American Society of Composers, Authors, and Publishers, suggesting they were not changed.[45]
Original UK release
"Creep" – 3:55
"Lurgee" – 3:07
"Inside My Head" – 3:12
"Million Dollar Question" – 3:18
(Cassette – Promo)
"Faithless, the Wonder Boy" – 4:10
UK re-release (CD)
"Creep" (album version) – 3:58
"Yes I Am" – 4:25
"Blow Out" (remix) – 4:00
"Inside My Head" (live) – 3:07
UK re-release (12" vinyl)
"Creep" (acoustic) – 4:19
"You" (live) – 3:39
"Vegetable" (live) – 3:07
"Killer Cars" (live) – 2:17
Dutch release (CD)
"Creep" (live) – 4:19
Note: All tracks recorded live at the Metro in Chicago by JBTV on June 30, 1993, except A1 recorded live for KROQ Radio on July 13, 1993.
Digital re-release
"Creep" 3:56
"Inside My Head" 3:12
"Million Dollar Question" 3:18
"Yes I Am" 4:26
"Blow Out (Remix)" 4:19
The original versions of "Lurgee", "Blow Out", "You" and "Vegetable" are taken from the album Pablo Honey.
Thom Yorke – lead vocals
Colin Greenwood – bass guitar
Jonny Greenwood – lead guitar, piano
Ed O'Brien – rhythm guitar
Philip Selway – drums
Chart (1992–2016)
Australia (ARIA)[46]
Austria (Ö3 Austria Top 40)[47]
Belgium (Ultratop 50 Flanders)[48]
Belgium (Ultratop 50 Wallonia)[49]
Canada Top Singles (RPM)[50]
Denmark (Tracklisten)[51]
France (SNEP)[52]
Germany (Official German Charts)[53]
Ireland (IRMA)[54]
Netherlands (Dutch Top 40)[55]
Netherlands (Single Top 100)[56]
New Zealand (Recorded Music NZ)[57]
Norway (VG-lista)[58]
Sweden (Sverigetopplistan)[59]
Switzerland (Schweizer Hitparade)[60]
UK Singles (Official Charts Company)[61]
US Billboard Hot 100[62]
US Alternative Songs (Billboard)[63]
US Mainstream Rock (Billboard)[64]
US Mainstream Top 40 (Billboard)[65]
Year-end charts
Certified units/sales
Gold 35,000^
Canada (Music Canada)[71]
2× Platinum 160,000
Denmark (IFPI Denmark)[72]
Gold 45,000*
Italy (FIMI)[73]
United Kingdom (BPI)[74]
Platinum 600,000
*sales figures based on certification alone
^shipments figures based on certification alone
sales+streaming figures based on certification alone
^ Reising (2005), p.210
^ a b c Marzorati, Gerald. "The Post Rock Band". The New York Times. 1 October 2000. Retrieved on 28 July 2008.
^ a b c d e Kempf, Christi. "The Radiohead Vision Creeps Onto Airwaves". Chicago Sun-Times. 7 June 1993.
^ Randall, p. 83
^ Randall, p. 83-84
^ Sprague, David. "Contagious Creep". Billboard. 15 May 1993.
^ "Creeping into the Limelight". Fender Frontline. Fall 1993.
^ a b Capuzzo, Guy. "Neo-Riemannian Theory and the Analysis of Pop-Rock Music", p.186–87, Music Theory Spectrum, Vol. 26, No. 2, pp. 177–199. Autumn 2004. Capuzzo uses "+" to indicate major and "-" to indicate minor (C+, C-).
^ Capuzzo ibid. Also quotes Ross 2001, 118.
^ CD Inlay Archive. 1993 Archived 29 June 2012 at Archive.today
^ Sullivan, Jim. "Creep stumbles onto fame". The Boston Globe. 8 October 1993.
^ a b Petridis, Alexis. "Radiohead at Glastonbury 2017 review". theguardian.com. Retrieved 26 June 2017.
^ a b Jennings, Dave. "Creepshow". Melody Maker. 25 September 1993.
^ "Never Forget Radiohead's Relationship With Israel Goes Way Back". Slate. Retrieved 24 July 2017.
^ "Is this the reason Radiohead is playing Israel?". New York Post. Retrieved 24 July 2017.
^ Randall, p. 117
^ Live Forever: The Rise and Fall of Brit Pop. 2003. Bonus interviews.
^ a b c d Runtagh, Jordan; Runtagh, Jordan (22 February 2018). "Radiohead's 'Pablo Honey': 10 Things You Didn't Know". Rolling Stone. Retrieved 23 May 2019.
^ "Q&A: Radiohead's Philip Selway Remembers The Bends". Stereogum. 9 March 2015. Retrieved 26 May 2019.
^ a b "Radiohead: "We were spitting and fighting and crying…" – Page 8 of 16 – Uncut". Uncut. 18 March 2016. Retrieved 3 June 2017.
^ "Rapturous return for masters of misery". BBC News. 8 July 2001. Retrieved 30 April 2010.
^ Reporter, News (31 August 2009). "Radiohead open with 'Creep' at Reading Festival 2009". NME. Retrieved 17 July 2019.
^ Michelle Geslani, Thom Yorke surprised at album's success
^ a b Greene, Andy (8 June 2017). "19 Things We Learned Hanging Out With Radiohead". Rolling Stone. Retrieved 8 June 2017.
^ 100 Greatest Songs of the '90s Archived 14 February 2012 at the Wayback Machine
^ The Official UK Charts Company: Top 100 Singles Chart. 15 June 2008
^ Savage, Mark (11 April 2019). "The UK's most-streamed songs may surprise you". Retrieved 13 April 2019.
^ "ABC Broadcasting: "Hottest 100, History, 1996"". Archived from the original on 11 February 2013. Retrieved 18 June 2017.
^ "Haley Reinhart's 'Creep' cover with Postmodern Jukebox is worth a listen". Los Angeles Times. Retrieved 17 April 2015.
^ a b "The Pretenders, London, 1995 – In Their Right Place: Ranking 10 Radiohead 'Creep' Covers (Plus One Bonus Clip!) | SPIN". spin.com. Retrieved 4 November 2014.
^ "Tears For Fears Rule The World Set List".
^ "Radiohead News – Yahoo! Music". Music.yahoo.com. 30 May 2008. Archived from the original on 3 June 2008. Retrieved 14 February 2011.
^ Andrea DenHoed (23 April 2012). "A Rehabilitated "Creep"". The New Yorker.
^ Radio, Southern California Public (26 August 2010). "Cover of Radiohead's 'Creep' from 'The Social Network' trailer". Southern California Public Radio. Retrieved 15 September 2018.
^ Locker, Melissa. "11 Suspiciously Sound-Alike Songs". Time. ISSN 0040-781X. Retrieved 25 June 2017.
^ Reporters, Telegraph (8 January 2018). "Lana Del Rey sued by Radiohead for allegedly copying Creep". The Telegraph. ISSN 0307-1235. Retrieved 17 July 2019.
^ Kim, Michelle. "Lana Del Rey Says Radiohead Suing Her for Copying "Creep"". Pitchfork. Retrieved 8 January 2018.
^ "Radiohead Publisher Issues Statement Refuting Lana Del Rey Lawsuit". Rolling Stone. Retrieved 10 January 2018.
^ a b Savage, Mark (26 March 2018). "Lana Del Rey and Radiohead 'settle dispute'". Retrieved 11 January 2020.
^ "Australian-charts.com – Radiohead – Creep". ARIA Top 50 Singles. Retrieved 16 February 2013.
^ "Austriancharts.at – Radiohead – Creep" (in German). Ö3 Austria Top 40. Retrieved 16 February 2013.
^ "Ultratop.be – Radiohead – Creep" (in Dutch). Ultratop 50. Retrieved 16 February 2013.
^ "Ultratop.be – Radiohead – Creep" (in French). Ultratop 50. Retrieved 16 February 2013.
^ "Top RPM Singles: Issue 2235." RPM. Library and Archives Canada. Retrieved 12 September 2019.
^ "Danishcharts.com – Radiohead ��� Creep". Tracklisten. Retrieved 16 February 2013.
^ "Lescharts.com – Radiohead – Creep" (in French). Les classement single. Retrieved 16 February 2013.
^ "Offiziellecharts.de – Radiohead – Creep". GfK Entertainment Charts. Retrieved 16 February 2013.
^ "The Irish Charts – Search Results – Creep". Irish Singles Chart. Retrieved 12 September 2019.
^ "Nederlandse Top 40 – week 25, 1993" (in Dutch). Dutch Top 40 Retrieved 16 February 2013.
^ "Dutchcharts.nl – Radiohead – Creep" (in Dutch). Single Top 100. Retrieved 16 February 2013.
^ "Charts.nz – Radiohead – Creep". Top 40 Singles. Retrieved 16 February 2013.
^ "Norwegiancharts.com – Radiohead – Creep". VG-lista. Retrieved 16 February 2013.
^ "Swedishcharts.com – Radiohead – Creep". Singles Top 100. Retrieved 16 February 2013.
^ "Swisscharts.com – Radiohead – Creep". Swiss Singles Chart. Retrieved 16 February 2013.
^ "Official Singles Chart Top 100". Official Charts Company. Retrieved 16 February 2013.
^ "Radiohead Chart History (Hot 100)". Billboard. Retrieved 16 February 2013.
^ "Radiohead Chart History (Alternative Songs)". Billboard. Retrieved 16 February 2013.
^ "Radiohead Chart History (Mainstream Rock)". Billboard. Retrieved 16 February 2013.
^ "Radiohead Chart History (Pop Songs)". Billboard. Retrieved 16 February 2013.
^ Ryan, Gavin (2011). Australia's Music Charts 1988–2010. Mt. Martha, VIC, Australia: Moonlight Publishing.
^ "Jaaroverzichten – Single 1993" (in Dutch). MegaCharts. Retrieved 12 September 2019.
^ "Rapports annuels 1996" (in French). Ultratop. Retrieved 12 September 2019.
^ "Classement Singles – année 1996" (in French). Archived from the original on 13 September 2012. Retrieved 12 September 2019.
^ "The ARIA Australian Top 100 Singles 1994". Australian Record Industry Association Ltd. Archived from the original on 25 October 2015. Retrieved 27 October 2015.
^ "Canadian single certifications – Radiohead – Creep". Music Canada. Retrieved 1 September 2019.
^ "Danish single certifications – Radiohead – Creep". IFPI Denmark. Retrieved 5 February 2019. Scroll through the page-list below until year 2019 to obtain certification.
^ "Italian single certifications – Radiohead – Creep" (in Italian). Federazione Industria Musicale Italiana. Retrieved 24 September 2018. Select "2018" in the "Anno" drop-down menu. Select "Creep" in the "Filtra" field. Select "Singoli online" under "Sezione".
^ "British single certifications – Radiohead – Creep". British Phonographic Industry. Retrieved 13 April 2018. Select singles in the Format field. Select Platinum in the Certification field. Type Creep in the "Search BPI Awards" field and then press Enter.
Clover, Joshua (2009). 1989: Bob Dylan Didn't Have This to Sing About. University of California Press. ISBN 052094464X.
Forbes, Brandon W. and George A. Reisch (2009). Radiohead and Philosophy: Fitter Happier More Deductive. Open Court Publishing. ISBN 0812696646.
Jones, Carys Wyn (2005). "The Aura of Authenticity: Perceptions of Honesty, Sincerity, and Truth in 'Creep' and 'Kid A'". In Joseph Tate (ed.). The Music and Art of Radiohead. Ashgate. ISBN 0754639797.
Randall, Mac. Exit Music: The Radiohead Story. Delta, 2000. ISBN 0-385-33393-5
Reising, Russell (2005). Speak To Me: The Legacy Of Pink Floyd's Dark Side Of The Moon. Ashgate Publishing, Ltd. ISBN 0754640191.
Reynolds, Tom (2008). Touch Me, I'm Sick: The 52 Creepiest Love Songs You've Ever Heard. Chicago Review Press. pp. 47–51. ISBN 9781556527531.
"Creep" single tracklists
"Creep" Official music video on YouTube
Lyrics of this song at MetroLyrics


Second for the second year in-a-row at the Nations Cup.
Three horses from the same yard are confirmed to have the virus.
An unregistered firearm, cocaine and four Taser-like devices were seized by police in a dawn raid.
Cuoco is cookoo about her new husband Cook.
It's not as bad as it was years ago but residents in Dublin still see problems with unlicensed horses.
Dame Rose collapsed and died after finishing fourth in the mares' novices hurdle.
Polly Pockets was nursed back to health at My Lovely Horse Rescue after her she witnessed her mother's violent death when she was three months old.
The event has been around for centuries and is very popular among locals and tourists alike.
A report into the pay and conditions of workers was published yesterday.
QUIZ: Can you tell the real Cheltenham horse from the one we just made up?
Between Brexit and potential overproduction, the Irish racehorse sector is set for turbulence.
In two separate incidents, a number of horses were left with wounds after they were attacked with what is believed to be an axe.
The horses were seized last month as part of an initiative known as Operation Storm.
An animal rescue charity said the animal was "left to die" by a canal in Ballyfermot.
The crowds weren't deterred by the miserable conditions.
The Green Milepost and other gems.
"It has been a wonderful feat," Coolmore's Australian racing manager James Bester said.


We are a family from Sussex in England, a small outfit with a big heart (a golden one at that). We have close family on the other side of the world, in sunny Australia, where their forward thinking approach to health and self-care has inspired this unique product. Led by the wisdom of a British bio-chemist based in Australia with an organic certified lab, along with our Aussie cousins, we are able to blend the golden spice with the science of nature, helping each ingredient deliver its full potential of benefits for you and your body. We strive to ensure our products are as kind to your body and well being as possible.
The Aussies as a nation have embraced the golden spice and its incredible benefits, and we want to help bring that knowledge and passion to the UK.
The company is 100% family owned.


As a teenager, you have more freedom to make decisions on your own. While it may seem like it�s no big deal, the decisions you make today will impact your future. Choices like what friends you hang out with, what classes you take, whether or not you do your homework, and whether or not you use tobacco, drugs, or alcohol really do matter.
Visit the U Matter website for more information.
Want to know the truth about tobacco, alcohol, and drug use in Columbia schools? In 2008, participating ninth and eleventh graders in Columbia public schools took a survey to determine approximately how many students were using drugs and alcohol.
69% of students have never smoked a cigarette; 15% have tried a cigarette only once.
Only 4% of students say they smoke regularly.
89% of students have never used chewing tobacco; 6% have tried chewing tobacco only once.
Only 1% of students say they use chewing tobacco regularly.
34% of students have never drunk alcohol; 16% have tried alcohol only once.
80% of students don�t think that drinking alcohol makes you look cool.
72% of students have never smoked marijuana; 6% of students have tried marijuana only once.
90% of students don�t think smoking marijuana makes you look cool.
92% percent of students have never used inhalants.
95% of students have never used ecstasy or other club drugs.
"I don't have time for drugs."
"No, it's not my style."
"My coach says smoking will hurt my game."
"Sorry, I'm on a drug-free diet."
"No thanks, I'm into reality."
"Thanks, but I have an exam tomorrow and I've been looking forward to it all week."
"No, I have a very busy schedule."
"Just keep it, don't bill me!"
"I don't want your life."
"No, I already eat too much junk food."
"Thanks, but some nice men in white coats told me I'm crazy enough without drugs."
"I'm on my way to the mall."
"You can't improve perfection, but thanks anyway."
"I'm a fruitarian, so technically that hash has been murdered..."
"Not today. Not tomorrow. How about never?"
"No, but if you have any chocolate..."
"I'd rather eat my mother's mystery casserole."
"Gee thanks, but I'm high on life."
"No, my imagination is good enough already."
"Thanks, but I'm not sure if you're ready to meet my evil twin."
"No, and that's my final answer!"


Welcome to 360Votes's free Reverse IP Domain Checker!
For websites, these IP addresses can be static or dynamic.For websites that have not purchased a static IP address, whenever an internet user seeks access to the website, an internet service provider assigns a dynamic IP address to the website. This happens often in the case of website owners who make use of shared hosting services, wherein a single IP is used for a bunch of websites that are owned by different webmasters.
Our free Reverse IP Domain Checker obtains and displays a list of all the websites that make use of the same IP address as your website and tests them for any malicious content. If a website that poses a security threat shares the same IP address as your website, it may affect the ranking and performance of your website even if it is clean. Once you have a list of all the websites that make use of your IP address, you can check them to identify any spam or illegal websites and report them.
How to Use: Enter or copy and paste the complete URL of your website into the empty field given below. Click on the "Submit" button to get your Domain IP and a list of the reverse domain names that are making use of the same IP address as your website.


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