It was once important to be sure because Britain's trade relied on everyone having the same definition for these key units of length. King Henry I in his wisdom decided that a yard should be the distance from the tip of his nose to the end of his outstretched thumb, while King Edward I decreed that 'three grains of barley, dry and round make an inch'. It was left to Elizabeth I to come up with a nationally-agreed 'standard yard', but it was not until 1824 that the first was created. This was a metal bar of precise length which was kept locked away safely in Westmister. At least until the massive fire that burnt down Parliament ten years later.

I bet you didn't see him weaselling out of answering one particular question for a full seven minutes, for example, before the chairman gave up and moved on in despair. And now the brow-beaten committee want their assailant back to answer further charges, citing what they claim is additional concrete evidence. George has been quick to, insisting that he didn't lie under oath (which is quite possible given how little of substance he actually said) and that he's obviously innocent and that the real crime is the invasion of Iraq etc etc. Never a man to shrink from the spotlight,. So, nearly six months after the General Election, I thought I'd see how George was doing elsewhere.

Picked this out as the show I most wanted to see at this year's MIAF when the program came out, cause it looked like it might be a real (artistic) experience - advertised as a contemporary opera, organised around Darwin and Origin of Species, music by the Knife, touting comparisons to 'Einstein on the Beach' (seeing a good live performance of which remains one of my mostly fondly cherished cultural hopes). For all that, it looked like inertia was going to get the better of me until I found myself at a loose end on the last night of its (brief) run - last Saturday - and bought a ticket a few hours beforehand.

Amnesiac - Radiohead 74. Automatic For The People - R.E.M. Ziggy Stardust - David Bowie 79. Heaven Or Las Vegas - Cocteau Twins 80. Transformer - Lou Reed 82.

Turnpike Troubadours. Turnpike Troubadours. Balcony GA [21+ Only] Small Cameras OK, No Audio. Saint Louis, MO 63112 314.726.6161 pageantinfo@thepageant.com. The band's seventh disc, Tales From Turnpike House, is one of its finest. Turnpike is Saint Etienne's strongest record in years. Guide to places to visit in Saint-etienne. Things to know about 38 Saint-etienne sightseeing attractions, tourist places addresses, travelers reviews & activities. Download Saint Etienne MP3 Songs and Albums. Here you can find saint etienne turnpike shared files. Download Saint turbobit 01.

I guess there'll always be a market for charismatic polemic, but this is almost more showbiz than politics. It's like having Jeffrey Archer as one's MP, only with a better tan. World Domination: So far George's plans only to wrest control of in the local elections next May, but that's world domination for those of us who live here. For the first time, democracy scares the life out of me. : Tuesday, October 25, 2005 Sunday, December 25, 2005 H5N1 Chistmas Hi Mum. Sorry, but for the first time in my life I'm not able to be with you this Christmas. At least it's not my fault, it's that damned.

'Are you going to let us off!' Yelled the angry citizens of Islington, not used to having their personal freedom curtailed, but Joan was unable to comply. It wasn't until we reached, a fretful quarter of an hour later, that the bus half-emptied and the long walk back to the shops began.

'Stars Above Us' Cracknell, Stanley, Wiggs, Xenomania 3:25 12. 'Relocate' Essex, Stanley, Wiggs 3:09 13. 'The Birdman of EC1' Stanley, Wiggs 2:48 14. 'Teenage Winter' 5:45 15. 'Goodnight' 2:31 Personnel [ ] Saint Etienne • • • Additional personnel • – additional vocals • – help • – help • and Anthony Rivers – vocal arrangements and all male harmony vocals B-sides [ ] from 'Side Streets' • 'The Leyton Art Inferno' • 'Got A Job' • 'You Can Judge A Book By It's Cover' • 'Murder in E Minor' from 'A Good Thing' • 'I'm Falling' • 'Missing Persons Bureau' • 'Book Norton' • 'Quiet Essex' Charts [ ] Chart (2005–06) Peak position 174 72 US 10 References [ ].

Sometimes rewatching a film that has undergone this kind of personal reassessment since its first (or more recent) watching leads to disappointment, but if anything Closer was even better than I'd come to remember. I still can't quite put my finger on why I like the film so much, but obviously something about it resonates. Another very solid outing by Plant, somewhat in the same vein as his fantastic collaboration with Alison Krauss of a couple years back,. On Band of Joy, he has a dream pair of collaborators in Buddy Miller on guitar (and production) and the glorious Patty Griffin singing backup, and a great roster of songs to do over (nearly all covers, and mostly obscure ones), and it all works very nicely. The album starts brightly, with the folksy country-rock of 'Angel Dance' (Los Lobos) followed by a Gram and Emmylou-esque Richard Thompson number, 'House of Cards' (one of my favourites), the only original Plant-Miller composition on the record (a loose, melodic bluegrass number, 'Central Two O Nine') and then a wonderfully ethereal Low cover ('Silver Rider'), which, all murmured lyrics and exhalations and spiralling, layered guitars, sounds like nothing so much as Death in Vegas covering Galaxie 500.

Are both remarkable records, both flat-out great, and, it turns out, High Violet deserves to be spoken of in the same breath as those predecessors - it has the same hypnotic quality, the same surging musicality, the same silvery velvet deepness. The songs on High Violet are basically bulletproof, carefully constructed and lit from within, and decorated with subtle details. I tend to romanticise origins - well, I tend to romanticise everything - but I'm reasonably sure that the first time I came across OP8, years ago, it was through seeing the music video for late one night on rage, dazed and exhausted and generally in the state when everything seems to come through blurry and in waves; I half-suspect romanticisation (or perhaps 'idealisation' would be more accurate) because those would, in retrospect, have been close to the ideal circumstances in which to be introduced to this unusual, rather quixotic collective's music. Slush isn't all like 'Sand', which is to say that it isn't all dusty, evocative campfire duets, but it does, across all of the diverse terrain that it covers, share with that opening track a certain sense of reaching the listener as if crackling with distance, through some old transistor radio, Howe Gelb and Joey Burns' experimental americana sketches and Lisa Germano's warm, fractured almost-pop tunes alike; it's an unusual record, slow-burning and low-key, but scattered with subtle pleasures. You know you're seeing Shakespeare done well when the play itself really comes through and envelopes you - when the greatness of the source material is most clearly legible - and that's certainly true of this very strong 'Richard III'. Turns out that I knew the play pretty well, though I can't remember the last time I read it (years ago, at any rate), and this production does it justice, Ewen Leslie's vivid turn as the titular villain and the handsome sets particularly striking. One issue - and frequent stumbling block - with staging Shakespeare is the extent and manner to which the play is contemporised, but here it works well, with a consistent thread running through costumes, sets and the more intangible aspects of style, the play's bloody action located in a non-specific but more or less contemporary setting, dressed in images of militarism and political power and thereby dramatising the murderous impulses that underlie their exercise and expression, which in a sense is what the play itself is all about.

The rest of it's as diverse as that opening four-song run, though not as consistently strong, covering country ballads ('The Only Sound That Matters'), psychedelic-edged groovers ('Monkey'), bright good-times tunes ('Harm's Swift Way' - oddly reminiscent of the Arcade Fire's 'City With No Children In It') and experimental rave-ups ('Even This Shall Pass Away'). It's all very tasteful, but in a good way - a definite graceful ageing, and a real success.

How to upgrade mac os x lion 10.7.5. MP3s in 320kbps format for all three discs were provided via a download link on 2012-05-21 for those that pre-ordered this set. Tracklist errors: on the front, track 5 is listed as 'Answer Song' and track 6 as 'Tonight', which is the wrong way around; also on front, track 4 is given as 'The Last Days Of Disco', but on the reverse it's given as 'Last Days Of Disco'.

On reaching the front of the bus was so packed with bodies that old ladies with walking sticks stood trapped at the front of the bus, unable to reach those willing to give up their seats behind. We hadn't quite reached the official standing capacity of 100 (very squashed) people, but I suspect the pushchair invasion had made this an unattainable total. So full was our 38 that Joan drove straight past those waiting patiently at, silently thankful that nobody had wanted to get off. And this was a Saturday morning. Imagine the hell to come tomorrow morning during the vehicles' first rush hour. We pulled up at the traffic lights outside Holborn station, our bus taking up the same amount of road space as the two old Routemasters I had seen on this very spot on Friday evening.

Maybe I'll just have to make do with the last of the Advent chocolates for lunch. Then, if the electricity holds out, I'll listen to the King's Christmas Broadcast - see if he can wring an ounce of hope out of the whole dreadful situation.

Anyway, I went along with this film easily, but probably wouldn't watch it again; it was something like Rachel Getting Married crossed with Closer, but more oblique and without the punch of either. Pleasingly profane and frequently grotesque, Dario Fo's 'Elizabeth' comes to life in a typically Kantor staging, where what matters is as much the style and theatricality of the play as its reimagining of the private and interior late life of the virgin queen. This really is very good - a stirring historical adventure in which all of the elements work, from the vivid action sequences which punctuate it to the sweeping love story that runs through its middle, set against a spectacular natural backdrop and relayed with just enough historical context to satisfy without slowing the pace of events down.