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Piers Morgan marked his 61st birthday on Monday, March 30, capping off another year filled with infamous talk show moments.

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Provided to YouTube by Indigo Musikproduktion + Vertrieb GmbH We Don't Need The Army · Slime Slime 1 ℗ 1981 / 2007 Slime Tonträger Released on: 2007-12-07 Composer: Michael Mayer-Poes Lyricist: Michael Mayer-Poes Music Publisher: Copyright Control Auto-generated by YouTube.

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La partnership pluriennale tra Sky e Disney prende il via anche in Italia. Dal 1 aprile, infatti. Scopri di più

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This story about somebody calling the cops on a black man because he was picking up trash on the patio of the apartment building where he lives is all too common.  (Luckily the Boulder cops tend to be relatively docile, so the commission of the crime of being visible to the public while black didn’t […]

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Stanno arrivando a Parigi (diretta tv Canale 5 e Sky Sport) con ogni mezzo, migliaia di Reds sono già sbarcati nella capitale francese. Scopri di più

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La 31a giornata su DAZN della Serie BKT 2022/23. Perché durante tutti questi mesi di pausa abbiamo sentito parlare di Serie A TIM piuttosto. Scopri di più

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Siamo ancora una volta riuniti insieme in questa Santa domenica per festeggiare con voi la Pasqua 2019. Scopri di più

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As affluent white families drive demand for francophone programs and immigrant diasporas urge schools to teach in other languages, officials and parents are struggling to redefine what equitable education looks like

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8 femmes ont été hospitalisées en France ces derniers mois à cause d'injections de Botox mal réalisées. Elles ont attrapé le botulisme, une maladie neurologique grave. L’agence du médicament s’inquiète.

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<p>This inscription speaks to the experiences of English-speaking West Indians during their voluntary migration to Panama, which took place not long after the granting of emancipation to those who were enslaved and lived in these colonies. The constituent elements of this nomination reside in several countries including: Barbados, Jamaica, Panama, St. Lucia, the United Kingdom and the United States of America and are as different as the circumstances and events which produced them.</p><p>When the French commenced the construction of the Canal in 1880 an immediate need was access to a large pool of labourers. This requirement and the desire of many West Indians to improve their lot encouraged many individuals from several British Caribbean territories to migrate to Panama. The migration of West Indians continued into the period when the United States assumed responsibility to construct the Canal. Once the Canal was opened to shipping in 1914, West Indian migration to Panamá ceased.</p><p>More than 50,000 Anglo-West-Indian labourers, migrated to the Isthmus of Panama some of whom were followed by their wives. For these thousands of West Indians voluntary separation from home and family represented an unimaginable promise of economic improvement. The sheer number of persons who immigrated to Panamá forced the colonial authorities to regulate how many people were allowed to go to Panamá to help build the Canal. Chief among these reasons was the vested interests of the plantocracy to have an assured labour pool to work their land holdings. At the same time, the colonial governments of the region were keen to have the appearance of being benevolent through the establishment of a legislative framework in which the rights of their "chattels" were protected. Among the steps taken by the colonial authorities in this regard was the creation of registers such as Reports and Police Reports which documented and recorded the movement of people migrating from the region and out of the legal and political control of the colonial authorities.</p><p>The mass migration of British West Indians from the purview of authorities of the British Empire and their relocation to Panamá is presented and intimately recorded in these documents. Highlighted are the daily lives, nature of the working conditions and other aspects of the lives of West Indians who went to help build the Canal.&nbsp;</p><p>Bank Deposit Ledgers include information on thousands of depositors who deposited "Panamá Money" into the Savings Bank. Essentially, Deposit Ledgers represent documentation on a new found economic freedom that can be directly attributed to the West Indian/Panama experience. Canal Zone stamps were issued to facilitate communication between Canal labourers and their relatives. Philatelic and photographic documents provide evidence of the burgeoning communication exchanges between those who were in Panama and their families and friends at home.</p><p>Additionally, the images archived in various media within the nomination are invaluable records of the excavation and construction of the Canal. These images also narrate the lived experiences of those who contributed to the construction of the Canal, which has made and continues to make a significant impact on international shipping. The engineering required to construct the Canal causes it to be considered one of the greatest technological feats of the world.</p><p>Inscribed on the Memory of the World International Register and on the Regional Register for Latin America and the Caribbean in 2011, the nomination was presented by The Barbados Department of Archives; The Barbados Museum and Historical Society; The Jamaica Archives and Records Department; Museo del Canal Interoceánico de Panamá (Republic of Panamá); National Archives (Saint Lucia); National Archives and Registration, Archives II and The George A. Smathers Library, University&nbsp;<br>of Florida (United States of America); Mrs. Primrose Mallet (Somerset, United Kingdom).</p>

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Provided to YouTube by Universal Music Group Angel Down · Lady Gaga Joanne ℗ 2016 Interscope Records Released on: 2016-10-21 Producer: Mark Ronson Producer, Composer Lyricist: Lady Gaga Producer: BloodPop Composer Lyricist: RedOne Auto-generated by YouTube.

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Provided to YouTube by Universal Music Group Money Talks · Roomful Of Blues Dressed Up To Get Messed Up ℗ 1984 Rounder Records. Released on: 1984-01-01 Vocals, Recording Producer, Producer, Associated Performer, Composer Lyricist, Tenor Saxophone: Greg Piccolo Executive Producer, Producer: Roomful Of Blues Studio Personnel, Production Coordinator: Bob Bell Mixer, Studio Personnel: Gregg Lunsford Associated Performer: Porky Cohen Associated Performer: Ronnie Earl Additional Vocals, Associated Performer: Bob Enos Associated Performer, Bass Guitar: Preston Hubbard Associated Performer, Baritone Saxophone: Doug James Tenor Saxophone, Associated Performer, Alto Saxophone: Rich Lataille Additional Vocals, Associated Performer, Drums: John Rossi Associated Performer: Al Copley Associated Performer: Rory Macleod Auto-generated by YouTube.

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Writing coaching and editing services (developmental, copyediting, and proofreading) provided by an experienced fiction editor.

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Provided to YouTube by Okeh/550 Music I Don't Know (Album Version) · Keb' Mo' Slow Down ℗ 1998 Sony Music Entertainment Inc. Released on: 1998-08-17 Producer, Vocal, Associated Performer, Guitar: Keb' Mo' Drums: Laval Belle Keyboards: John Barnes Bass: Reggie McBride Lyricist, Composer: K. Moore Lyricist, Composer: G. Graper Producer: John Lewis Parker A& R Director: Michael Caplan Mixing Engineer, Engineer: Ross Hogarth Assistant Engineer: David Bryant Assistant Engineer: Posie Muliadi Assistant Engineer: Kenny Ybarra Assistant Engineer: John Sorenberg Mastering Engineer: Joe Gastwirt Auto-generated by YouTube.

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The Dutch national anti-fraud hotline

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Provided to YouTube by IIP-DDS The Chapel Lead Is Missing (Original) · Barron Knights The Very Best Of The Barron Knights (Original) ℗ Copyright Control Released on: 2009-01-01 Artist: Barron Knights Auto-generated by YouTube.

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???? Welcome to the only official Highland Trusted Trader scheme. In association with The Highland Council and in partnership with Highland Trading Standards, fully supported by Police Scotland.

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Archdrude on top keyboard bothering form

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Buy on iTunes: Taken from Franco / Le TP OK Jazz « Francophonic » Extrait de Franco / Le TP OK Jazz « Francophonic » Production: Editions Populaires

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The former first lady talks candidly about her marriage, the pandemic, coping with low-grade depression, President Joe Biden and her new hobby; kitchen table conversation on the importance of friendship and human connection.

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Provided to YouTube by Universal Music Group Fire Squad · J. Cole 2014 Forest Hills Drive ℗ 2014 Cole World/Interscope Records Released on: 2014-12-09 Producer: J. Cole Additionalproducer: Anderson "Vinylz" Hernandez Mixing Engineer, Recording Engineer: Juro "Mez" Davis Recording Second Engineer: Jack Mason Executive Producer, Composer Lyricist: Jermaine Cole Executive Producer: Dreamville Executive Producer: Mark Pitts Executive Producer: Roc Nation Mastering Engineer: Brian Gardner Composer Lyricist: Brion Unger Composer Lyricist: Mark Farner Composer Lyricist: Manzel Bush Auto-generated by YouTube.

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With innocent victims caught in the crossfire in Los Angeles' intensifying war on crime, both cop John Spartan (Sylvester Stallone) and violent thug Simon Phoenix (Wesley Snipes) are sentenced to a state of frozen incarceration known as "CryoPrison." When Spartan is finally thawed 36 years later, it's 2032, and Los Angeles is now a pacifist utopia called San Angeles. But with Phoenix again on the loose, Spartan must team up with future cop Lenina (Sandra Bullock) to apprehend the killer.

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I just found this video from one of my old video cassette tapes… As is the want of video cassette tapes, the quality of the thirty year + video is OK but no great shakes. The song; ‘Expecting Joe’ was originally part of a thirteen-track cassette tape released on Bi – Joopiter in 1987. I cannot find this official video footage on YouTube or elsewhere, so now after over thirty years, the video is revisited… All one minute forty five seconds of it. The McTells, too low-fi to be properly embraced by the C-86 generation, tightly clutching N.M.E.’s…But good enough if you liked decently constructed pop songs wacked out in that peculiar to the English, Swell Maps type sound. This band from Hertford, the McTells, had been in existence since around 1985; consisting of various members of Rig Veda And The Twins (Paul) and Hectors House (Stuart and Bill) two bands that predate The McTells by several years. Mark Flunder; who had been a member of The Television Personalities in 1983, as well as being in The Marine Girls ‘inner circle’, had just released the 14 Iced Bears 7″ single on his new record label ‘Frank’. Mark who wanting to bolster his catalogue for his new record label contacted The McTells to ask if the band was happy for releasing some material. He found out that The McTells had just lost Andy the original drummer, but instead of cancelling the idea of releasing anything by the band, Mark decided to set up a couple of drums himself and join the band for the session to record in the studio. Somehow Mark forgot to vacate the band’s drum stall after the session and was a member throughout the life time of the band. The record he eventually released was a flexi disc ‘Virginia MC’ and ‘’Sometimes’, also featured was the track ‘Creep’ by Rig Veeda And The Twins. That was 1986. A year later Paul (the vocalist of McTells) released the ‘Expecting Joe’ cassette tape on his own Bi-Joopiter. The McTells were great, loved them! Words below from Everett True (The Legend), himself a long-time supporter of the McTells, and the low-fi scene. Founded by Paul Rixon and Gillian Elam in 1983, Bi-Joopiter existed originally as a cassette-only recording label, though later they embraced vinyl. ‘The whole idea of a cassette label drew upon the DIY ethic of punk, but more so.’ explains Paul. ‘Rather than the notion that you can make your own record, it was more; you can do your own tape at home, with no need to involve record companies, pressing plants and distributors, at all.’ Initially, Bi Joopiter’s output consisted of Paul’s own band, The McTells, as well as recordings of friends who were involved in music. And it was through those early releases that the pair realised that there were a whole lot of other people out there putting out cassette-only releases. ‘People would send us stuff to include in our catalogues and we’d put out compilation tapes of the material people sent in which we liked,’ says Gillian. ‘The economics were that you would produce 500 cassettes, but you couldn’t sell 500 in your own territory, but if you sent 400 abroad, they could sell them there and in exchange you could sell their ones.’ adds Paul. Meanwhile, Bi-Joopiter’s catalogues evolved into little zines, often featuring Dadaist slogans and featuring colour screen prints by Gillian. ‘At the time we really liked the idea of mail art and the notion of sending out packages which looked really nice and getting stuff in return. A lot of people who got involved with Bi-Joopiter via our compilation tapes were expressing themselves with creative ways of packaging, which in themselves were an anti-commercial statement, simply because you couldn’t display most of them in a record shops. But despite the Dadaist slogans that sometimes appeared in their catalogues, Paul maintains that Bi-Joopiter wasn’t overtly political. Instead he explains, ‘it was very much an anti-copyright ethos. It was the idea that you can copy this and give to other people.’ Eventually, Bi-Joopiter moved from cassettes to vinyl, ‘but still with the same ethos of swapping ideas and supporting others.’ says Gillian. But as Paul concludes, ‘Everything has a natural lifespan and so did Bi-Joopiter, particularly the cassette thing, because after a while people stopped making them in the same number.’

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Presented for educational purposes. I do not hold the copyright for this song. From the album Faith Hope Love, by King's X. Copyright 1990 Megaforce/King's X.

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Provided to YouTube by Universal Music Group Bomb First (My Second Reply) · Makaveli The Don Killuminati: The 7 Day Theory ℗ 1996 Amaru Entertainment, Inc., under exclusive license to Interscope Records Released on: 1996-11-05 Producer: Darryl "Big D" Harper Studio Personnel, Engineer: Tommy D Daugherty Asst. Recording Engineer, Studio Personnel: Lance Pierre Composer Lyricist: Makaveli Composer Lyricist: E.D.I Composer Lyricist: Young Noble Auto-generated by YouTube.

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Copilot key will eventually be required in new PC keyboards, though not yet.

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2001 Halloween special "Night of the Living Doo" -- originally aired in segments during Cartoon Network's 24 Hours of Doo marathon, then in it's full form. Animation by Natterjack (whose watermark is in the bottom right corner). Features Grey DeLisle in one of her earliest appearances as Daphne, Scott Innes as Shaggy & Scooby (including replacing Casey Kasem's holler in the theme song), BJ Ward as Velma and Frank Welker as Fred (though oddly credited as Freddy) and Jabberjaw. Also features Gary Coleman, David Cross, Big Bad Voodoo Daddy and Mark Hamill as themselves, with Mark Hamill also voicing Shifty. NOTE: There are copyright claims on this video and, while I don't think it will effect the content, please be aware that it's possible that has occurred.

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#thesopranos This channel is not monetized, has never been monetizee and it will never be monetized. All copyrights belong to Home Box Office, Inc. Thank you!

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A multi-channel video created specifically for the screens of Times Square, She Never Dances Alone (2019) is Jeffrey Gibson’s celebration of the Indigenous matriarchy, centering on the jingle dress dance, a powwow dance that originated with the Ojibewea tribe and is traditionally performed by women to call upon ancestors for strength, healing, and protection. As Sarah Ortegon, an acclaimed jingle dress dancer and Miss Native American USA 2013–14, performs in handmade dresses adorned with jingles or rows of ziibaaska’iganan (metal cones), the swaying colors, textures, and patterns pop against a black background and fold into kaleidoscopic abstractions. Ortegon’s image multiplies within each screen and across the plazas, creating the impression that many women have come together to dance over Times Square. The video ends with a close-up of Ortegon’s face after she has stopped dancing, calming her breath as she stares intently ahead — and at the people watching from below. She Never Dances Alone appeared on the screens of Times Square as the Midnight Moment from March through July 2020, playing each night from 11:57pm to midnight. Courtesy of Jeffrey Gibson. Originally presented by Times Square Arts with The Brooklyn Museum, The Armory Show, Roberts Projects, and Kavi Gupta Gallery. Jingle Dress Dancer: Sarah Ortegon Music: “Sisters” excerpt courtesy of A Tribe Called Red Editor: Sancia Nash Color: William Singer.