Hardware is a British sitcom that aired on ITV from 2003 to 2004. Starring Martin Freeman, it was written and created by Simon Nye, the creator of Men Behaving Badly and directed by Ben Kellett.

The show's opening theme was A Taste of Honey by Herb Alpert's Tijuana Brass.

Cast

Plot

Hardware is set in "Hamway's Hardware Store" in London, where main character Mike (Martin Freeman) works with Steve (Ryan Cartwright) and Kenny (Peter Serafinowicz) for shop owner Rex (Ken Morley). They relax at the next-door-but-one cafe, "Nice Day Cafe", where Mike's girlfriend Anne (Susan Earl) works with Julie (Ella Kenion). The series revolves around the store staff as they engage in a daily wisecrack battle with packs of DIY obsessed clients.

Episodes

Series One (2003)

In religion, a covenant is a formal alliance or agreement made by God with a religious community or with humanity in general. It is central to the Abrahamic religions and derived from the biblical covenants, notably the Abrahamic covenant.

Etymology

Covenant is the customary word used to translate the Hebrew word berith. It is used in the Masoretic Text 264 times. The equivalent word in the Septuagint and the Greek New Testament is διαθήκη, diatheke.

Judaism

The Mosaic covenant refers to a biblical covenant between God and the biblical Israelites, including their proselytes. The establishment and stipulations of the Mosaic covenant are recorded in the first five books of the Hebrew Bible, which are traditionally attributed to Mosaic authorship and collectively called the Torah, and this covenant is sometimes also referred to as the Law of Moses or Mosaic Law or the 613 Mitzvot.

Christianity

The New Covenant is a biblical interpretation originally derived from a phrase in the Book of Jeremiah, in the Hebrew Bible. Generally, Christians believe that the New Covenant was instituted at the Last Supper as part of the Eucharist, which in the Gospel of John includes the New Commandment.

The Church of Jesus Christ of Latter-day Saints (LDS Church) encourages its members to make and keep several covenants as a part of the new and everlasting covenant of the gospel. In Latter Day Saint theology, making and keeping covenants is necessary for exaltation.

A covenant is a promise to God whereby he also promises blessings in return. Latter-day Saints believe that making covenants helps in overcoming difficulties in their lives. Latter-day Saint leaders teach that just as the God of Israel asked the children of Israel to be a covenant people, "a peculiar treasure unto me ... a kingdom of priests, and an holy nation," today God has asked for a latter-day people who will make and keep covenants with Him.

In the LDS Church, there are formal covenants and informal covenants. Formal covenants are limited in number and are always accompanied by the performance of an ordinance. Informal covenants are made without the performance of an ordinance. Typically, formal covenants are made in the presence of other Latter-day Saints, while informal covenants are made privately between a Latter-day Saint and God without the performance of an ordinance. Informal covenants are most commonly referred to simply as commandments.

Covenant is an album by American folk singer/guitarist Greg Brown, released in 2000. It was released only a few months after Over and Under.

"Rexroth's Daughter" was later covered by Joan Baez on her album Dark Chords on a Big Guitar.

After the album's official end there is a "hidden" track titled "Marriage Chant".

Reception

Music critic Jeff Burger praised the release in his Allmusic review, writing Brown "remains a national treasure, and so does his songwriting, which has gone from great to better over the years. Wisely keeping the production simple and his voice upfront on this release, he unveils some of his best songs about love, life, friendship, dreams, and the American scene." Jim Musser of No Depression called Brown "a remarkable artist whose peak powers apparently reside somewhere between the present and the next time out."

John Kenyon added Covenant (and Over and Under) to his list of the Top 10 of 2000, writing "A parochial pick, to be sure, but that doesn’t lessen its value. Brown is a buried treasure of sorts... he sings about both the loss of and search for love on songs that are the most accomplished of his career." Writing for Folk and Acoustic Music Exchange, Moshe Benarroch highly praised the first two songs, "'Cept You and Me, Babe", and "Rexwroth's Daughter", but dismissed the rest of the album, writing "with song after song we get just second-rate 60's and 70's songs. Although these are all original songs, they sound like covers of any rhythm and blues band from that period... a mediocre album that will appeal more to convinced fans than to newcomers."

Requiem is a one-act ballet created by Kenneth MacMillan in 1976 for the Stuttgart Ballet. The music is Gabriel Fauré's Requiem (1890). The designer was Yolanda Sonnabend, who had first collaborated with him on 1963's Symphony.

In MacMillan's words, "This danced Requiem is dedicated to the memory of my friend and colleague John Cranko, Director of the Stuttgart Ballet 1961–1973." The first performance was given at Stuttgart on 28 November 1976. MacMillan recreated the piece for the Royal Ballet, London, at the Royal Opera House, Covent Garden on 3 March 1983.

MacMillan's decision to set a ballet to Fauré's Requiem met with opposition from the board of the Royal Ballet. Catholic members of the board felt that sacred music should not be used for ballet. MacMillan wrote to the Archbishop of Canterbury to seek his opinion. Although the response was favourable to MacMillan the board remained unpersuaded. MacMillan then contacted the artistic director of the Stuttgart Ballet who had previously expressed an interest in commissioning a ballet from him. They reacted with enthusiasm. The piece was a portrait of the ballet company coming to terms with the death of Cranko, their much-loved artistic director.

"Requiem" is the seventh episode in the fifth season, and the 101st overall episode, of the American crime drama television series NCIS. It first aired on CBS in the United States on November 6, 2007. The episode was written by Shane Brennan and directed by Tony Wharmby.

In the episode, Leroy Jethro Gibbs is visited by Maddie Tyler, the childhood best friend of his deceased daughter, for help in stopping a Marine who she believes stalking her. When Tyler is kidnapped, Gibbs becomes more personally involved in the case. It is later revealed the stalker is using Tyler's home to get their hands on four million dollars in stolen Iraqi aid money.

"Requiem" was originally intended to be the 100th episode of the series, until the producers switched the order with "Chimera" because they believed it would be suitable to air near Halloween. The episode was seen by 18.15 million viewers, which was the second largest audience at the time.

Plot

The episode begins with Special Agent Anthony DiNozzo (Michael Weatherly) shooting two armed suspects at a dock before diving into the water to save his superior Leroy Jethro Gibbs (Mark Harmon) and a young woman (Cameron Goodman) from a submerged car. DiNozzo then attempts to resuscitate them.

Requiem is a jazz trio album by the Branford Marsalis Quartet, featuring Branford Marsalis, Eric Revis, Jeff "Tain" Watts, and Kenny Kirkland. The recording, Kirkland's last before his death in November 1998, was dedicated to his memory. Recorded August 17–20 and December 9–10, 1998 in the Tarrytown Music Hall in Tarrytown, New York, the album reached Number 8 on the Billboard Top Jazz Albums chart.

After several years of recordings in trio and other formats, the Requiem recording reunited Marsalis and Watts with Kirkland, who had been his collaborator on many earlier outings. After the August recording sessions, the quartet took the material on the road, with the goal of returning to the studio after the material had been honed on stage. Following Kirkland's death the remaining players recorded as a trio, capturing the song "Elysium."

In his AllMusic review, Richard Ginell says the album "an uncompromising, well-played disc of acoustic jazz that leans a bit toward adventure at times… in what turned out to be the swan song for one of the neo-bop era's finest lineups." Josef Woodard, in Entertainment Weekly called the album an "inspiring set that showcases Marsalis' expressive fluidity and lends a rueful, finalizing punctuation mark to Kirkland's brilliant and too-brief career." Writing for AllAboutJazz.com, Ian Nicolson noted that the album captures "the sound of a hot, creative musician flourishing in a hot, creative environment, captured largely live on analogue 24-track." James Shell's review for JazzReview.com called the work "unquestionably Branford's best to date," noting "its reliance on the Keith Jarrett quartet of the mid-seventies as a model."