"Work" is a song recorded by Barbadian singer Rihanna for her eighth studio album, Anti (2016). The song features a verse by Canadian rapper Drake. The artists co-wrote the single with PartyNextDoor, Allen Ritter, Rupert Thomas, R. Stephenson, Monte Moir, and Boi-1da; the latter is also the producer.
Upon its release, "Work" received mixed reviews from music critics. The song debuted at number nine and has so far peaked at number seven on the Billboard Hot 100, becoming Rihanna's 27th and Drake's 15th top ten entry on the chart. It has also peaked within the top ten of the charts in Australia, Canada, France, Hungary, Spain, and the United Kingdom.
"Work" was written by the artists, PartyNextDoor, Allen Ritter, Rupert "Sevn" Thomas, Monte Moir, R. Stephenson, and Boi-1da; the latter is also the producer. In the summer of 2015, Thomas, Ritter, Boi-1da and Martin Mason among others, stayed at Drake house in Los Angeles for a mid-week period. Thomas described the time spent at the home as a "beat factory, everyone was sitting there working and collaborating with each other." Thomas created a beat which was dancehall-influenced; he later played it for Boi-1da to which he positively responded, "We’re both Jamaican-Canadian. It was just something in our DNA, so it woke him up, and we started remembering all these old dancehall songs from the '90s." Boi-1da came with up idea for sampling an "old school dancehall rhythm" and after that the chords were made with Ritter and past it, "everything went organically".
"Work Bitch" (often stylized as Work B**ch!) is a song recorded by American singer Britney Spears for her eighth studio album, Britney Jean (2013). It was written by Spears, William "will.i.am" Adams, Otto "Knows" Jettman, Sebastian Ingrosso, Anthony Preston and Ruth-Anne Cunningham. The song's production was handled by Ingrosso, Jettman and Adams, while vocal production was done by Adams and Preston. "Work Bitch" made its premiere on September 15, 2013 on iHeartRadio and select Clear Channel radio stations and was released to digital retailers on September 17, 2013 by RCA Records as the lead single from the record alongside a clean version titled "Work Work".
"Work Bitch" has received generally positive reviews from contemporary music critics, who praised Spears for exploring aggressive electronic dance music style. "Work Bitch" achieved moderate international success, debuting and peaking at number twelve on the Billboard Hot 100 marking Spears' fifth highest debut sales on the chart in her career, while peaking within the top ten of the charts in 13 countries, including Canada, France, as well as reaching the top ten in the United Kingdom.
In Christian theology, good works, or simply works, are person's (exterior) actions or deeds, in contrast to inner qualities such as grace or faith.
Proverbs 21:3 says that "To do what is right and just is more acceptable to the LORD than sacrifice."
The New Testament exhibits a tension between two aspects of grace: the idea that grace is from God is sufficient to cover any sin as well as offer redemption (except the Unforgivable sin) and the idea that grace does not free humans from their responsibility to behave morally.
John the Baptist, who preached a baptism of repentance, connected repentance with bearing fruit saying, "Produce fruit in keeping with repentance" (Matthew 3:8). Jesus himself encourages people to live a life without sin after receiving grace and forgiveness from God as the incident with the adulterous woman shows (John 8:11). He mentions good works explicitly as a good testimony to other people (Matthew 5:16). In 1 Peter the same encouragement for Christians is expressed that they should keep their conduct among the Gentiles honourable so that they may see the believers' good deeds (1 Peter 2:12).
Revolution is the title of the tenth album by The Dubliners. It was their second to be produced by Phil Coulter. This was a landmark in their career. Their sound had developed and Coulter, as well as playing piano on the record, had brought in other instrumentalists as well. The album featured "Scorn Not His Simplicity", a song that Coulter had composed about his own son, who had Down's syndrome, as well as a poem penned by Luke Kelly entitled "For What Died The Sons Of Róisín?".
Revolution is a software development environment/multimedia authoring software in the tradition of HyperCard and is based on the MetaCard engine. Its primary focus is on providing a relatively accessible development tool set and scripting language that enable the creation of software programs that run across multiple platforms with little or no code modifications. The Integrated Development Environment (IDE) included with Revolution is built partly on the models created by Bill Atkinson and the original HyperCard team at Apple and subsequently followed by many other software development products, such as Microsoft's Visual Basic. Revolution includes an English language-like scripting language called Transcript, a full programming language superset of the HyperCard's scripting language, HyperTalk.
The higher-grade versions (see Versions, below), allow applications to be compiled to run on more than one platform, including Macintosh (Classic or Mac OS 9, and Mac OS X), Windows and Unix-like systems including Linux. It can also import HyperCard stacks, which require little or no modification unless they use external functions, which generally do not work in Revolution.
The Revolution was a newspaper established by women's rights activists Susan B. Anthony and Elizabeth Cady Stanton in New York City. It was published weekly between January 8, 1868 and February 17, 1872. With a combative style that matched its name, it primarily focused on women's rights, especially suffrage for women. It also covered other topics, however, such as politics, the labor movement and finance. Anthony managed the business aspects of the paper while Stanton was co-editor along with Parker Pillsbury, an abolitionist and a supporter of women's rights.
Initial funding was provided by George Francis Train, a controversial businessman who supported women's rights but alienated many activists with his views on politics and race. The funding that he arranged was enough to start the newspaper but not enough to sustain it. After twenty-nine months, mounting debts forced Anthony to transfer the paper to Laura Curtis Bullard, a wealthy women's rights activist who gave it a less radical tone. The paper published its last issue less than two years later.