Datasets:
Recag
/
C4_9

Dataset card Data Studio Files
xet
Community
text
stringlengths
11
66.5k
TOP PERFORMERS: Zach LaVine leads the Bulls with 23.1 points and averages 4.5 rebounds and 4.3 assists. Lauri Markkanen has scored 21.9 points and totalled 12.6 rebounds while shooting 44.4 per cent over the last 10 games for Chicago.
Mike Conley leads the Grizzlies scoring 20.1 points and grabbing 3.4 rebounds. Justin Holiday has averaged 2.3 assists and scored 11 points over the last 10 games for Memphis.
LAST 10 GAMES: Grizzlies: 4-6, averaging 98.8 points, 42.9 rebounds, 23.5 assists, 7.9 steals and 4.6 blocks per game while shooting 43.8 per cent from the field. Their opponents have averaged 101.1 points on 43.4 per cent shooting.
Bulls: 2-8, averaging 111.2 points, 43.8 rebounds, 23.1 assists, 6.7 steals and five blocks per game while shooting 47.4 per cent from the field. Their opponents have averaged 114.4 points on 47.4 per cent shooting.
Grizzlies Injuries: Dillon Brooks: out for season (toe), Kyle Anderson: out (right shoulder soreness).
President Donald Trump’s budget request for fiscal 2018 would raise the General Services Administration’s discretionary spending authority to $500 million, the Washington Business Journal reported Thursday.
Daniel J. Sernovitz writes the figure represents a $200 million increase from GSA’s current budget authority and is up from the Obama administration’s $361 million budget proposal.
The White House’s FY 2018 budget request fails to include details on the amount of funds GSA is authorized to use under the Federal Buildings Fund as well as information on the FBI headquarters construction project and the Department of Homeland Security’s consolidation program at St. Elizabeth’s west campus in Washington, Sernovitz noted.
The proposed increase in GSA’s discretionary spending authority comes a week after the agency postponed the announcement of its selected site for the new FBI HQ, citing the need for congressional appropriations.
The Institute of Archaeology and Ethnography will begin excavations in the archaeological complex in the Shahtakhti village in the Kangarli region of the Nakhchivan Autonomous Republic on July 4.
The ancient Shakhtahti village clovers five hectares of the complex, while 10 hectares include a cemetery, Senior Research Fellow and Shahtakhti archaeological expedition head Gahraman Aghayev told Trend.
He said so far the ancient Shahtakhti village was believed that it is 4,000 year-old, but there are assumptions that the settlement is 8,000 year-old.
"This monument is the only place of intensive human habitation from the Eneolithic period in the Middle East and Caucasus, that is, from copper-stone age. People are still living in this ancient village.
While the new digs we can go to the earlier stratums, related to the Neolithic. Thus, the history of this village can be dated to the more ancient periods," Aghayev said.
The latest single from indie band Hurray for the Riff Raff, fronted by Bronx-born boricua musician Alynda Lee Segarra, is titled “Pa’lante,” which translates to “forward.” It’s a concept that speaks not only to Puerto Ricans but colonized people of all backgrounds—the perseverance inherent in those identities, the fight for autonomy and a progressive future. The music video for “Pa’lante,” released Monday, reflects that struggle and strength—The Florida Project’s Mela Murder portrays a new mother of two young children attempting to navigate life on the island after Hurricane Maria, disrupted with images of PR’s destruction and archival footage of the Young Lords, a human rights organization founded in the late ’60s that sought self-determination for Puerto Rico and all Latinx people and their countries.
The video, much like Puerto Rico, is beautiful, bright, and hopeful—even in the face of immense, generational pain and suffering. Watch it above.
In the heated political environment of the Israeli-occupied West Bank, few issues are exempt from controversy. Take the case of Jerusalem District Electric Company, or JDEC, the Palestinian company supplying electrical power to 100,000 mostly Arab residents in and around East Jerusalem.
For 60 years JDEC, the largest Palestinian enterprise on the West Bank, has operated with relative autonomy under back-to-back concessions granted by Britain and Jordan.
Since 1967, when Israel seized control of the West Bank, the company has served as a symbol for many Palestinians of the kind of independent enterprise needed to make viable the dream of eventual Palestinian autonomy or statehood.
But a combination of factors, including alleged poor Palestinian management, Israeli operating restrictions, and apparent Jordanian indifference, have brought the East Jerusalem-based company to the brink of financial ruin.
With its current concession due to expire at the end of this year, JDEC's days as an independent Arab concern now seem numbered.
Israeli officials, who insist the question of what to do with JDEC is essentially economic, say the company can continue selling its electricity to its Arab customers, but only if it does so under direct Israeli control.
Palestinians, many of whom acknowledge that this arrangement may be the best deal attainable given the company's financial plight, worry that JDEC's demise will increase the West Bank's dependence on Israel while tightening Israel's political control over East Jerusalem. East Jerusalem, which is part of the West Bank, was annexed by Israel in 1967.
``To concede Israel's authority to terminate the concession is seen by Arabs as conceding Israel's annexation of East Jerusalem and bringing it under Israeli law,'' says an Arab official of a private West Bank relief agency.
Under the terms of a compromise package ratified last week by the Israeli parliament, JDEC will be allowed to operate for 12 more years under a special permit.
The deal also removes from JDEC's customer base Jewish settlements, Israeli military installations, and Jewish neighborhoods in East Jerusalem now served by the company.
If JDEC officials fail to agree to the plan, warns an Israeli Energy Ministry source, rights to sell electricity in East Jerusalem will be given to another - presumably Israeli - company.
Even its staunchest defenders concede that many of JDEC's financial wounds have been self-inflicted. Inflated salaries and overstaffing have contributed to its huge operating deficit.
But JDEC acting chairman, Hanna Nasser, says the debt cannot be liquidated by austerity measures alone.
Company officials point out that in 1967 Israel barred JDEC from installing five modern generators needed to replace outmoded equipment and keep up with growing demand.
When permission was finally given in 1985, Israel then refused to allow the company to bring the new equipment on line, citing increased air pollution that supposedly would result.
As a result, JDEC has been forced to buy more electricity from the state-owned Israel Electric Corporation (IEC) at what JDEC insists, and IEC denies, have been inflated prices.
Israel also has set JDEC's profit margins too low to cover operating costs, JDEC spokesmen say.
Last year Jordan promised to help defray the company's $11 million - now $27 million - debt to IEC, but only if JDEC's concession were extended by Israel.
``Israel says you have to pay first to keep the concession. Jordan says you have to get the concession first, then we'll pay. We're caught between both governments,'' says Mr. Nasser, who is also deputy mayor of Bethlehem.
Jordan's reluctance to bail out the JDEC is widely attributed, in part, to the company's strong union which is dominated by supporters of the Palestine Liberation Organization. Jordan's has been vying with the PLO to gain West Bank Palestinian loyalties.
Only two or three years ago, a Western diplomat says, a move to change JDEC's status would have ``caused an explosion'' on the West Bank.
But its worsening financial condition has produced a kind of resignation, tinged with deep disappointment, in the Palestinian community.
Rare, HARD TO FIND Office Space for Lease in NW quadrant in Park 100/College Park area. Perfect for professional services firm. Nice lobby area for guests. Full Service Lease with flexible lease terms available. Perfect setting for low-overhead and high visibility. On-site Property Manager to attend to any needs. Building signage available.
This is a colorful version of the classic card game. Test your skill against three animated characters; in case you've never played before or you need pointers, you'll find a thorough tutorial. DreamQuest also offers Championship Spades, Euchre, Gin, and Cribbage.
Jon Stewart (photo) enters his last week of hosting The Daily Show with the final show to air tonight on Comedy Central.
Since Jan. 11, 1999, Jon has been host of the Emmy and Peabody Award-winning The Daily Show. He will be leaving the show after 16 years and over 2,600 episodes. The Daily Show with Jon Stewart concludes with an extended episode on Comedy Central in Asia.
Jon, Steve Bodow, Jen Flanz, Tim Greenberg, Jill Katz and Adam Lowitt are the executive producers of the show with Hillary Kun as co-executive producer. Pam DePace, Justin Melkmann and Stuart Miller are supervising producers. Head writer is Elliott Kalan and director is Chuck O’Neil.
Comedy Central, the world’s biggest comedy network, has been making audiences laugh since it first launched in the US in 1991. Renowned for featuring a stable of exclusive and tailor-made local and international comedy, the brand has become the ultimate destination for all kinds of humor, from traditional to satire to sketches to popular sitcoms.
A public ribbon-cutting ceremony at 12:30 p.m. Friday, Oct. 27, will include refreshments and visits by Pendleton executives and Boise City Council President Elaine Clegg.
On Saturday, Oct. 28, Kimberly wool growers John and Jullie Noh, whose family has supplied wool fleece to the company for more than 50 years, will visit from 1 to 4 p.m. Slackline, a Boise bluegrass and American band, will perform from 2 to 5 p.m. Food and beverages will be served.
Pendleton has been family-owned since 1863. It still operates woolen mills in Pendleton, Oregon, and Washougal, Washington. It recently rolled out a limited run of Star Wars blankets in advance of “Star Wars Episode VIII: The Last Jedi” on Dec. 15.
The mall store is open from 10 a.m. to 9 p.m. Monday through Saturday and from 11 a.m. to 7 p.m. Sunday.
This chapter contains information on some of the handtools used by an aviation mechanic. It outlines the basic knowledge required in using the most common handtools and measuring instruments used in aircraft repair work. This information, however, cannot replace sound judgment on the part of the individual. There are many times when ingenuity and resourcefulness can supplement the basic rules. A sound knowledge is required of these basic rules and of the situations in which they apply. The use of tools may vary, but good practices for safety, care, and storage of tools remain the same.
Springsteen's third album propelled him into the mainstream with its tales of front porches, engines and suburban escape, alongside a clamour of sound: piano, saxophone and guitar. Springsteen once said he wanted his music to sound like Roy Orbison singing Bob Dylan, produced by Spector.
When drum'n'bass became mainstream in the 90s, with groups such as Everything But the Girl picking up on its beats, 21-year-old Tom Jenkinson (aka Squarepusher) took it as far out as possible. His jazz-rock bass jostled with convoluted breakbeats to dazzling effect. To use the parlance of the time, it's completely mental.
A near-perfect jazz album, in which Polish trumpet maestro Stanko, abetted by a dazzling young trio, says something new and beautiful with the styles and syntax of an earlier time. Each detail sounds fresh and joyous, while Stanko's inspired and emotional themes and solos fly high above.
Before becoming a disco queen, Candi Staton set the standard for southern soul, and this long-overdue collection reveals why. I'm Just a Prisoner is a lesson in tormented passion, while Staton's rough-hued voice and attitude turn Tammy Wynette's Stand By Your Man from a passive whimper into a wounded cry.
Forget if you were born into an era where such things mattered that Quo were the epitome of uncool, and just listen to the songs. A heart that does not beat a little faster during the introduction to Down Down or the chorus of Caroline is one out of time with rock'n'roll's pulse.
Steel Pulse were the punk rockers' British reggae act of choice, and Handsworth Revolution was the soundtrack to punky-reggae parties and Rock Against Racism rallies. With its conscious lyrics and militant rhythms, the Birmingham band's debut captured the era's dread mood only it did so with dub power rather than power chords.
It's easy to dismiss Steeleye Span because of their singalong hits, but this early album was a subtle folk-rock classic. The line-up featured Ashley Hutchings on bass and Peter Knight on fiddle. Martin Carthy played rousing electric guitar, while helping Maddy Prior and Tim Hart provide the harmony singing.
Their reputation as snide, professorial jazz-pop aesthetes is such that one hesitates to declare that any Steely Dan record possesses soul. But if the heart beating through Pretzel Logic's lugubrious harmonies and warm grooves is a con, it's so beautifully rendered as makes no difference.
It was as though the idea of the frontwoman of a dodgy ska-punk band deciding to become a full-fledged pop star was so weird that all involved simply threw every idea at it: dumb cheerleader chants over thunderous booms; musings on fame over europop synths; a couple of gorgeous New Order-esque ballads. This was the establishment of a fabulous new pop star.
Sounding like a rap Happy Mondays, this third Stereo MC's record was crammed with hulking, dancefloor-friendly electro/hip-hop. As strikingly fresh as it was thrillingly funky, the album made such an impact that the duo were unlikely winners of both the best British album and best British group awards at the 1994 Brits.
Let's be honest: how many albums of space-age, Marxist, easy-listening future-pop does anyone need? The anglo-French band's aesthetic reached its apogee on album number five, where they thickened the brew with elements of jazz, hip-hop and techno, helped out by post-rock nabob John McEntire. One compilation title encapsulates Stereolab's charms: Serene Velocity.
Come and Get It failed to establish Rachel Stevens, previously known as the fit one in S Club 7, as a viable solo star, but it's a smart, nuanced pop album, nodding to the past while looking to the future. Stevens herself is integral to the project but sadly, the blank loveliness so essential to her songs' appeal did not endear her to the British public. It was their loss.
Stevens found notoriety for his 50 States project, but this intimate, less billowing album is a jewel. Many of its 12 songs draw their inspiration from the Bible from the title track's reference to the book of Revelation, to the delicately worked account of Christ's atonement in To Be Alone With You.
This was the album that transformed Stewart from a cult star to an international icon, and rightly so. Maggie May was the big single but every track on this effervescent record burned with wit, passion and Stewart's trademark laddish joie de vivre. And side two is as perfect a 20 minutes as rock has to offer.
Much of punk was pose, but Belfast-formed SLF's incendiary debut was fuelled by the genuine anger and confusion Irish youths felt during the Troubles. It's full of powerful imaginary of the period, from suspect devices to love affairs conducted over barbed wire. Tracks such as Alternative Ulster still blow many of their mainland equivalents away.
From I Wanna Be Adored's statement of intent to I Am the Resurrection's wig-out finale, the Stone Roses' debut offers 49 of the finest minutes of British rock. With their loose-limbed grooves, surefire 60s pop melodies and coolest-gang-in-town swagger, the Roses became the heroes of a generation.
So messed up With their debut album in just three words the Stooges turned teenage frustration into an art form. Raw and groundbreaking, what began as an exercise in capturing the group's live show ended up spawning I Wanna Be Your Dog. Forty years on, it remains the dirtbag's national anthem.
Tired of pretending to be punks, the Stranglers sought fresh inspiration and found it in hard drugs. The Raven's intricate instrumental passages are dominated by chilly synthesizer textures, while the band's trademark sardonic humour is counterpointed by vocal tenderness and uninhibited intellect. Pretty melodies, songs of geopolitical and narcotic paranoia it all adds up to an eccentric masterpiece.
UK garage was renowned for many things, but the brilliance of its MCs was not among them. Hence the shock of hearing Mike Skinner for the first time, with his unique Brum-accented style, his surfeit of dry wit and his startlingly keen eye for the foibles of British youth culture.
Probably the most important rock album of the past 10 years: it prised the zeitgeist away from nu-metal, restored the pre-eminence of rattling neo-new-wave, and was the chief catalysing influence on Arctic Monkeys. Moreover, it sounds great, evoking the boho New York milieu which these days is hanging on in Manhattan by its fingertips.
The commercial apogee of symphonic soul in the UK. Thom Bell, the black Bacharach, refined the techniques he had used with the Delfonics to create hit after flugelhorn-enhanced hit, from Betcha By Golly Wow to You Make Me Feel Brand New, sung with the exquisite anguish of a castrato by Russell Thompkins Jr.
For some, punk was a new set of rules to rigidly adhere to; for others, it was the sound of a door opening. Subway Sect were in the latter category, artily dedicated to getting rid of rock. This fascinating compilation charts their brave, doomed attempts, from Velvet Underground-ish noise barrage to orchestrated crooning.
Guitarist Bernard Butler was on his way out, vocalist Brett Anderson was floating into the chemical stratosphere, and Blur and Oasis were about to eclipse them. Still, Dog Man Star was an admirable attempt to soundtrack 90s England using reverb-caked Sturm und Drang rather than nudge-nudge irony. Borderline ludicrous, but in a very good way.
The inexorable progress of Sugababes is best represented through singles, and Overloaded brings them together. From the quirky, sullen pop of Overload, through the mash-up early adoption of Freak Like Me, to the glitzy pop of Push the Button, it's all here, delivered without a hint of a smile.
Like the Velvet Underground before them, the influence of Suicide far outstrips their record sales. Informed largely by 50s rock'n'roll (but ditching the guitars for a synth and a drum machine), their debut went on to inspire entire genres (electro, industrial, goth) while providing a template for every shade-wearing, fuzzy rock'n'roller since.
This compilation contains mainly the single versions, not the full-length 12-inch cuts, of the revolutionary electronic disco Summer recorded with Giorgio Moroder. It also includes some of her post-Moroder material. But it's hard to fault a collection featuring such awesome proto-electro as I Feel Love and Chic-rivalling disco rhapsody Heaven Knows.
Drone, doom, dark ambient call it what you want, but Sunn O))) are its masters, and this is arguably the most fully realised of their six albums. Sunn O))) enlisted black-metal luminaries Wrest and Malefic to add an infernal edge to the album, going as far as locking the latter in a coffin while recording his vocal tracks. Dark, indeed.
A debut full of poppy, crazy exuberance, Fuzzy Logic was a spark of colourful light in the plodding early days of Britpop. It was bursting with bright, west-coast-influenced melodies; wonky guitars, druggy lyrics and woozy ballads about gathering moss and hometowns tempered the liveliness gorgeously.
Supergrass's debut staked out a substantial acreage of Britpop territory for the Oxford trio, who were so young that they wished, on Caught By the Fuzz, that their older brother was there to rescue them from a druggy misadventure. Packed with tunes and boy-next-door mischief, I Should Coco was one of the little gems of its day.
Surman is the British Jan Garbarek, known for his imaginative fusing of post-Coltrane sax jazz and English classical, folk and choral music. This fine compilation features his lyrical sax-and-synths solo music, but also some forceful contributions to ECM sessions by bassist Miroslav Vitous, pianist Paul Bley and guitarist John Abercrombie.
Svensson's trademark sound with his trio EST is a blend of melodic, somewhat Pat Metheny-like themes, classical music, rock vamps and fluent jazz soloing in often unjazzy contexts. This inspired early set ingeniously rekindles familiar Thelonious Monk tunes by imposing unexpected grooves, sparing use of strings and EST's tight empathy.
Bettye Swann was so self-effacing that, when she became disillusioned by music-industry machinations in the 1970s, she simply faded from view. That modesty is much in evidence on this compilation of plaintive soul. Swann's soft, compassionate voice nestles among boldly coloured, horn-driven arrangements, subdued yet compellingly beautiful.
These glam contemporaries of TRex and Slade were always best as a singles band. This storming collection gathers 20 of their 1970s hits and rare misses. Titles such as Teenage Rampage and Hellraiser say it all:big-chorused hair-metal that inspires bands to don make-up and scream the house down to this day.
The prototype lo-fi band, Birmingham's Swell Maps combined furious punk noise-outs such as HS Art with ambient instrumentals and other experimental interludes such as Gunboats. This album, a No 1 in the new independent chart, marked out the band, including brothers Epic Soundtracks and Nikki Sudden, as trail-blazing post-punkers: technically limited but endlessly inventive.
On the morning of September 11 2001, America's No 1 album was a berserk rampage through whiplash heavy metal, Balkan folk, tremulous melodrama, savagely surreal humour and barbed lyrics about police violence and the Armenian massacre. The sound of angry young men trying every idea at once before it's too late.
(Newser) – Starting Monday, residents of Montreal will no longer be allowed to own pit bulls "or pit bull-type dogs," the CBC reports. The controversial ban was put in place Tuesday by the city council, three months after a 55-year-old Montreal woman was killed by a neighbor's dog that entered her backyard (possibly through a hole in the fence, the Montreal Gazette reported at the time). The dog, which was shot and killed by police after it attacked one of the officers who responded to the scene, was originally reported to be a pit bull; however, authorities are still awaiting official DNA test results to determine the dog's breed, and the Humane Society claimed in July that the dog was registered as a boxer.
"We will never live in a world without dog bites or risks, nor will we ever live in a world without irresponsible people. We can, though, live in a world where dogs are judged as individuals and by their actions rather than their appearance, and owners are held accountable for the actions of their dogs"
The dog in the picture doesn't even look like pit bull type dog.
And I'm not even a fan, didn't vote for Obama, not a democrat..but here, he made sense..or should we instead believe "dogbite. org" and not actual facts? In August 2013, President Barack Obama voiced his support to ban breed-specific legislation and posted the following statement: "In 2000, the Centers for Disease Control and Prevention looked at 20 years of data about dog bites and human fatalities in the United States. They found that fatal attacks represent a very small proportion of dog bite injuries to people and that it's virtually impossible to calculate bite rates for specific breeds." It has also been proven in places that did ban pit bull type dogs that it did NOT lower the number of dog bites...hmmm...maybe pit bulls were sneaking in and biting people and setting up the chihuahua to look guilty?
It'll be Mahle, DeSclafani and Harvey coming out of the Break. After that? That's to be announced.
ST. LOUIS — Tyler Mahle, Anthony DeSclafani and Matt Harvey.
That’s what the Reds rotation will be coming out of the All-Star Break.
Luis Castillo and Sal Romano will be in — order to be determined.
Homer Bailey will be in eventually, as well.
Bailey is rehabbing his right knee with Triple-A Louisville. He started Friday night and went six innings, allowing four runs on seven hits. He walked three and struck out 10.
Bailey will make one more start for Louisville. He’s 1-2 with a 5.78 ERA in five starts and one relief appearance.
Riggleman says they’ll figure it out when Bailey is ready.
There’s a possibility that the Reds could trade Matt Harvey and open a slot for Bailey. The trade deadline July 31. The soonest Bailey would start for the Reds is July 24.
Harvey has not concerned himself with the rumor mill.
"I'm not talking about any of that stuff," Harvey said. "It's not my decision. It's out of my control. The only thing I can do is go out and help this team win.
"I love these guys. They've been awesome ever since I came over here. I really enjoyed that."