105 Sentences With "clutching at" | Random Sentence Generator

"You ruined everything, you stupid bitch," Rebecca howls, clutching at her heart.

Even then, there remains a sense that Ferrari are simply clutching at straws.

He looked down at his legs to see a man clutching at them.

He repeatedly called the administration "a ragbag government" clutching at straws to stay in power.

Okay guys we know it's snowy out there and everything, but you're clutching at straws now.

Well this is probably clutching at straws, but maybe — just maybe — it's actually a giant crack.

"It's a nasty attempt, clutching at straws, to discredit something that they know is true," he said.

And wounded victims pleading for help, clutching at officers whose first priority was to find the attackers.

Her diaper changed, Ella went into diva mode, wailing and clutching at her mother's discarded fur coat.

Handing Lula a ministerial position would show "that the Rousseff government is clutching at straws," Blanco told CNBC.

She may even still be clutching at her pile of freebies Gollum-style in her house a week later.

"The concern is that they are clutching at straws as they run out at firepower," Rabobank strategist Matt Cairns said.

"Santana IV" (Santana IV/Thirty Tigers) Clutching at hits didn't suit the guitarist Carlos Santana, even when he got them.

The fans clutching at Hannah Diamond's garbs don't care whether they're grabbing French couture mink or market-stall fake fur.

Dissly was running a pass route Sunday in Seattle's win over Cleveland when he tumbled to the ground, clutching at his leg.

A curious cub clutching at the kicking end of a grown lion has been named the funniest animal photo of the year.

When you think about the racism debate in America Zhao isn't clutching at a wedge issue, he's tapping into a live wire.

"Royal Mail's hope must be that it can begin to display some material progress as opposed to strategically clutching at straws," he said.

What redeems it is Ms. Frot's subtle, deeply compassionate portrayal of a rich, lonely woman clutching at an impossible dream until reality intrudes.

She stood there facing me, clutching at her throat with nine fingers, gasping, trying to recite her poem, dripping saliva flecked with blood.

I watch the video through one time, then again, even though I don't really want to, clutching at my stomach and feeling slightly sick.

Ms Wiazensky was 19 (to his 37) when they married, but she did not just follow him around clutching at his elbow as "Redoubtable" implies.

And when we picture someone having a heart attack, we picture a middle-aged man clutching at his chest or arm, like in a Hollywood movie.

Goffin reached out with his left hand to try to brace himself against a wall but crumpled to the ground, wincing and clutching at his ankle.

As the Union Leader and Post noted, the necklaces were taken by critics to reference the phrase "clutching at pearls" — a performative but insincere display of outrage.

What with scrambling for food and clutching at survival, the squabbling 19th-century explorers in Jaclyn Backhaus's "Men on Boats" rarely have time to burst into song.

The Irishman represents an odd case, insomuch as he was presented with an opportunity, grasped it with both hands, but still came up clutching at thin air.

We see her curled up on a gym floor and clutching at spasming muscles; we see her getting lost briefly in combinations and then shaking her head with disgust.

We pick up handfuls of factoids from the chaos of data that assails us, clutching at the tiny shards of hope glitter on the surface of our media bubble.

In the middle of a speech about how the workers, united, would never let America take over their National Health Service, he suddenly collapsed on the carpet, clutching at his heart.

But, that's clutching at straws—fights which look good on paper seldom deliver as evidenced at UFC 208; and this fight doesn't necessarily look good on paper in the first place.

As a result, the government has tried to finesse the issue of highway funding by clutching at a grab bag of revenue sources, including selling oil from the Strategic Petroleum Reserve.

It's possible that we might find ourselves clutching at straws here, are there any positives that could could come out of a Trump administration as far as science funding is concerned?

Dancing is wildly expressive, and the bar staff often party alongside you, but if you want to sit down all night clutching at the armrests, no one will bat an eyelid.

"This is exactly the moment I want to turn up!" he moaned, rubbing his cherubic head, which was shaved, and clutching at a floor-length sweater-dress of his own design.

One of the first scenes in the zombie movie Train to Busan (currently on Netflix) is when a young girl, probably a student, stumbles into the high-speed train, clutching at her leg.

The sight of Durant on the floor clutching at his leg brought back all too painful memories for Woods who battled career threatening back issues until undergoing surgery just over two years ago.

"Draghi's comments were a bit more supportive of the euro than what he signaled at the ECB press conference and markets are clutching at that," said Viraj Patel, an FX strategist at ING Bank in London.

The Pumas, whose qualification hopes were ended by defeats at the hands of France and England, picked a young team and the newcomers took their chance to play with confidence and ambition that left the Americans clutching at shadows.

So perhaps its app reviewers have been clutching at their pearls after finding other standard emojis which depict stuff like glasses of beer, martinis and wine… 🤦‍♀️ Over on the US Play Store, meanwhile, the Fleksy app is rated "teen".

Last month, the F train completely failed, trapping passengers for an hour without air-conditioning, light, or air flow, resulting in a viral video of people desperately clutching at the doors of the subway car, begging to be let out.

That much-lusted-after special edition actually wearable Pip-Boy turned out to be a load of plastic tat I know I'm clutching at straws somewhat here, because it turns out that ten points was a bit of an stretch.

The result is a loss of the transcendent, and a creeping sense in the public square that we are actually all alone, left only with our fear of the other or clutching at cold efficiency for a sense of control.

Moore has remained defiant as allegations of sexual misconduct pile up against him, leaving lawmakers in Washington clutching at just about any chance that might sideline Moore — while also trying to protect the should-be-guaranteed seat from falling into Democratic hands.

And listen to the nineteen-thirties tango that starts up, with couples dancing beneath a street lamp; suddenly, one by one, the women are left alone, clutching at emptiness where their partners ought to be—a reference to Russian menfolk, heading off to war.

There are black and brown hands, clutching at the handles of a bike, feet and knees in motion, and faces obscured by line work, which superimposes the outline of a yet another bike, connecting each panel together, similar in function to the white edges of a typical comic book's panels.

De Robertis has a nagging paranoia that the point of her work won't be expressed clearly and will be left open to interpretation by men who might think she is exploiting her sexuality, or by feminists who might dismiss it as superficial antics, or by the general public who might see her as an attention-seeker clutching at fame.

And yes, you definitely need to do more/better, but before we get into the more/better things you need to do, a quick note for those of you out there wildly clutching at your pearls at the thought of Clorox-ing a couch: Clorox Wipes, despite their name, do not contain bleach, so using them on a couch doesn't pose a problem vis-à-vis color loss.

Playlist: "Twist the Knife (Slowly)" / "More Than Meets the Eye" / "Greed Killing" / "Ripe For the Breaking" / "My Own Worst Enemy" / "Dogma" / "Breed to Breathe" / "Reflect on Conflict" / "Drown in the Zero" / "Prelude" / "The Infiltrator" / "Cleanse Impure" / "Clutching at Barbs" Spotify | Apple Music How Napalm Death Got Their Grind Back While conventional wisdom would suggest that, after their four albums of pure experimentation, Napalm Death would return to their roots, but that's not entirely true.

Fish first presented the album on the European Clutching at Stars tour which began in the summer of 2007. In addition to focusing on the 13th Star material, the tour celebrated the 20th anniversary of Clutching at Straws (Fish's last album with Marillion), and so most of the set list was drawn from these two releases. This tour covered the spring and summer of 2008, with Fish giving a meet-and-greet for some fans before each show.

Two years later he issued, Southerly Buster (3 May 1999). In 2000 Glass and Hamilton combined for a CD, Clutching at Straws. On 19 July 2001 his next album, Australian Soul, appeared.

Fish's voice has been described as both "distinct" and a "conflation of Roger Daltrey and Peter Gabriel",David Hepworth's review of Clutching at Straws. Q magazine. July 1987. while his lyrics have been praised as "poetic prose".

The Friend is watching from the > zenith of might and majesty. If He sees you clutching at another than He, He > will abandon you to that person, and that person to you, and you will perish > each at the other’s hand.” So saying, he withdrew into his cell.

Clutching at Straws is the fourth studio album by the British neo-progressive rock band Marillion, released in 1987. It was the last album with lead singer Fish, who left the band in 1988, and is a concept album. Although Clutching at Straws did not achieve the sales of its predecessor, the number one album Misplaced Childhood, spending 15 weeks on the UK album chart (the shortest chart residency of any of Marillion's first four studio albums), it was still an immediate commercial success, becoming the second highest charting Marillion album by entering the chart at number two. It produced three UK Top 40 singles: "Incommunicado", "Sugar Mice" and "Warm Wet Circles".

Two women are playing tennis when one of them collapses, clutching at her chest. On a construction site, a crane worker dies in his seat. A fighter dies in the middle of a MMA match. A tuba instructor starts coughing up blood in the middle of a lesson and expires.

In 2015, while including Clutching at Straws in the "50 Greatest Prog Rock Albums of All Time", Rolling Stone stated that "Marillion's fourth album balanced melody and melodrama" and commented on the "atmospheric production and guitarist Steve Rothery's spacious, relatively restrained guitar (which split the difference between Genesis' Steve Hackett and U2's the Edge)".

The cover was designed by regular Marillion contributor Mark Wilkinson, who went on to work for Fish. The front part contains photorealistic airbrushed renderings of the band members. The back cover features characters found on the covers of the previous albums, i.e. "The Jester" (Script for a Jester's Tear), "The Boy" (Misplaced Childhood), and "Torch" (Clutching at Straws).

"Bareback equitation" Fergus/Petroleum 4-H Horse Program. Accessed July 14, 2008 Riding with the toes down can lead to clutching at the horse with the lower legs or digging into the horse's sides with the heels, both often interpreted by the horse as a leg cue to go faster.Blocksdorf, Katherine. "Learn How to Ride Bareback: Ride Your Horse Without a Saddle", About.

The cover was designed by the band's regular artist Mark Wilkinson. Unlike the covers of the album Clutching at Straws and the first single from it, "Incommunicado", which had been collages based on photographs, this one again featured Wilkinson's signature airbrush style. It shows sugar mice around a cocktail glass, melting from spilled liquid, with a male face in the background.

He is the guardian of these holy relics yet has succumbed to temptation and lost the Spear. He declares himself unworthy of his office. He cries out for forgiveness ("") but hears only the promise that he will one day be redeemed by the pure fool. On hearing Amfortas' cry, the youth appears to suffer with him, clutching at his heart.

Not all the B-sides of the singles that had been released at that point were included. Missing are "Chelsea Monday" from "Heart of Lothian" (1985), as well as "White Russian" and "Incommunicado" from "Warm Wet Circles" (1987), as these were live versions of album tracks. The B-side of "Incommunicado" (1987), "Going Under" is also not included, despite having a different mix (it contains an extra piece of lead guitar) than the one contained on the original Clutching at Straws CD. The version of "Going Under" from the B-side of "Incommunicado" did eventually appear on the bonus disc of the 1999 remastered edition of Clutching at Straws. "Cinderella Search" also differs between the CD and vinyl releases – the CD edition contains the short 7" version, while the vinyl edition contains the full-length 12" single version.

Constantine, dying from the slit wrists and suffering from advanced lung cancer, is slowly drawn into a heavenly realm of golden light, Lucifer clutching at his body. Furious at his revenge being denied yet again, Lucifer revives and heals Constantine by reaching into his chest and pulling the cancer out, thereby giving Constantine the chance to prove his soul belongs in Hell after all.

Sameera (Janhvi Kapoor), a young nurse, arrives to take care of an ailing bedridden old lady, Mrs. Malik (Surekha Sikri) in a desolate house. The former is needy, clutching at a reluctant lover Guddu (Vijay Varma); the latter, a stunner in her time. The son is supposed to be taking care of the old mother for the duration between the change of nurses, but he is not around. Mrs.

A gigantic, bat-winged humanoid with detached eyes, wearing a green robe. This horrible deity sees all time and space as it slowly rotates in the centre of its clearing within the Jungle of Kled, in Earth's Dreamlands. Beneath its billowing cloak are a multitude of nightgaunts, suckling and clutching at its breasts. Having a close connection to the Great Old One Bugg-Shash,Scott D. Aniolowski's Malleus Monstrorum, p. 131.

A number of the lyrical concepts on the album (most particularly, the Voice in the Crowd motif) can be heard in Marillion demo sessions released on the 1999 remaster of Clutching at Straws. These sessions were part of the writing process for Marillion's fifth studio album with Fish, which never came to fruition. Many of the musical ideas developed on those demos can be heard on Seasons End, the first Marillion album with Steve Hogarth.

Script for a Jester's Tear (1983), Fugazi (1984), Misplaced Childhood (1985), and Clutching at Straws (1987). The non-album debut single "Market Square Heroes" is also included. The cover uses the original 1987 concert poster designed by Fish-era Marillion (and later Fish solo) graphic artist Mark Wilkinson. It shows the central character from the cover of the then-current single "Incommunicado" above a drawing of the characteristic marquee above the venue's stage.

They do not have wings or eyes, their mouths are mere holes, and their antennae are simply spherical blobs. The ends of their legs have been modified into suction cups for clutching at females long enough to fertilize them. Their bodies are smaller than a single-celled Paramecium. Four males, lined up end-to-end, would just about encompass the width of a period at the end of a typical printed sentence.

Realizing she is from the 18th century, the 20th century Collins family bombard her with questions, but Phyllis soon collapses in pain, clutching at her throat. At the exact moment of Victoria's "execution" she once again changes places with Phyllis, who dies in her place. Due to Victoria's very near-death experience, and as justice and revenge, a very angry Barnabas personally saw to it that Reverend Trask was sealed away in a very strong brick jail cell forever.

Sugar Mice is a song by the British neo-progressive rock band Marillion. It was the second single from their fourth studio album Clutching at Straws. Released on 13 July 1987, it peaked at number 22 in the UK Singles Chart, becoming the band's eighth top-thirty hit in a row. Outside the UK, it was released in France, Republic of Ireland, Netherlands, Portugal, West Germany and (on Capitol Records) in the United States and Canada.

Knowing the optimum time to invest was key. Indeed, success could be largely a matter of chance. The Thornton Heath and District Building Society opened in 1881 enthusiastically bought farmland near the Pond to lease to speculators, but with no immediate scope for development, they found themselves literally clutching at straws, and bankrupt just a year later. In 1887, a Parliamentary select committee in 1887 examined how plots in the suburbs were being cut up for letting purposes.

Incommunicado is a song by the British neo-progressive rock band Marillion. It was the lead single from their fourth studio album Clutching at Straws.AllMusic Released on 11 May 1987, it reached number six in the UK Singles Chart, becoming the band's third top-ten hit and their last until 2004's "You're Gone". It also became a Top 40 hit in Germany, the Netherlands and Switzerland, as well as on the US Mainstream Rock chart.

Taylor played in various bands during high school and studied dance and expressive mime in Edinburgh. She moved to London to pursue a career in music and worked at Shepperton Studios as backing vocalist. A serious car crash causing multiple injuries forced her to pursue a career in studio engineering career. Her first album was named Racing the Clouds Home in homage to Marillion, the words coming from the song White Russian on their album Clutching at Straws.

Warm Wet Circles is a song by the British neo-progressive rock band Marillion. It was the third single from their fourth studio album Clutching at Straws, released on 26 October 1987. "Warm Wet Circles" peaked at number 22 in the UK Singles Chart, becoming the band's 9th top-thirty hit in a row, and remained on the chart for four weeks. The music video featured footage of the band's concert at Lorelei in West Germany on 18 July 1987.

The album's cover art is a cartoon illustration created by artist Carl Owens. It depicts Gaye as a muscle-bound superhero flying high in the sky and catching a cracked antenna from the WHIT radio station. A voluptuous, scantily-clad black woman is also shown clutching at his neck and waist for safety. Author and Gaye biographer David Ritz calls the cover "the perfect artistic expression of Marvin's mystique at that point of his career – Gaye as an established sex symbol".

For Bill Wyman's self-titled third album from 1982, Kimsey served as co-producer (with Wyman) and engineer (with Stuart Epps). He also mastered the album with Ted Jensen, mixed it, sang backing vocals and co-wrote the song "Jump Up" with Wyman. Kimsey is credited as having contributed backing vocals to Incommunicado from Marillion's 1987 album Clutching at Straws. Chris Kimsey is credited for mixing the performances of Elton John, Paul McCartney and Cliff Richard & The Shadows on the Knebworth double album in 1990.

At first Jack is rude and dismissive, clutching at denials and misremembered snippets of having worn a condom. But Anna's insistence on a paternity test soon sets him on the right path to accept and meet his son. Jack begins to spend time with Phoenix but is reluctant to tell Camilla about everything that has been going on, unsure how to juggle both sides of his life at once. Meanwhile, Camilla's meticulous ovulation tracking soon means that Jack is about to be father for a second time.

Schreck appears for the first time, and his appearance and behavior impress and disturb them. The film's producer, Albin Grau, suspects that Schreck is not a German theater actor, and is confused when Murnau tells him that he originally found Schreck in the castle. Soon after the completion of the scene, Wolfgang is found collapsed in the tunnel into which Schreck had receded. Upon returning to the inn, the landlady appears frightened by his pale, weak appearance and mutters "nosferatu" while clutching at a rosary.

In the same newspaper Mark Walton-Cook discusses Mavis's style, stating: "I keep picturing Corrie's Mavis Riley twittering and clutching at the high neck of a securely fastened polyester blouse with a tasteful cameo brooch". Mavis was frequently used to provide comic relief; she has been dubbed one of Coronation Street's comedy stars, well known for her catchphrase, "ooh, I don't really know". Susan Purdie writes that Mavis's storylines and persona often "hover between pathos and comedy". The critic David Meade agrees, noting that Mavis was "a permanent mourner-in-waiting".

Some RF MPs left the party to sit with ZANU–PF or as independents, feeling that constantly confronting Mugabe was ill-advised and unnecessary. Smith remained convinced that nobody would stand up for white Zimbabweans if they did not stick together and defend their interests in parliament. Smith Hempstone later wrote that the former Prime Minister had resolved to "go down ... with all rhetorical guns blazing". This was in spite of increasingly unstable health; in June 1982 he collapsed in the House of Assembly, clutching at his side and shaking.

"Video Games" is four minutes and 42 seconds long (4:42). Set in time signature of common time with a tempo of 123 beats per minute, Del Rey's vocal range spans from E3 to A4. Lindsey Johnstone of The Scotsman described the song as an "ode to being ignored and the exquisite pain of clutching at an illusion of happiness". Alexis Petridis of The Guardian praised how Del Rey's vocal performance, against ballooning orchestration and pizzicato strings, overlapped the subdued theme of an aloof, beer-drinking boyfriend figure.

The episodes "A Friend in Need" and "Clutching At Straws" were transmitted in their usual 9.00pm Tuesday slots on the 23rd & 30th of October 1984, in the Thames TV (London) region only, as technicians had walked-out, leaving management to run the service. ACTT members in the other ITV companies supported their London- based colleagues by refusing to transmit Thames output across the network, so these episodes were shown in all other ITV regions in February 1985, a few weeks after the last episode "The Sweet Smell of Failure" had been broadcast.

All music was written by Rothery and Stobart ("additional vocal melodies"), while the lyrics were written by regular Marillion collaborator John Helmer. Most songs were written right then, however, a handful had a longer history: "Nightwater" was considered for Seasons End (1989), when Steve Hogarth rejected Helmer's lyrics as "too gothic"; the chorus of "Midnight Snow" and "Evergreen" were written during the Holidays in Eden (1991) and Clutching at Straws (1987) sessions, respectively. The resulting album was called Carnival of Souls, after the horror film of the same title.

Mack Sennett continued to use the Keystone Cops intermittently through the 1920s, but their popularity had waned by the time that sound films arrived. In 1935, director Ralph Staub staged a revival of the Sennett gang for his Warner Brothers short subject Keystone Hotel, featuring a re-creation of the Kops clutching at their hats, leaping in the air in surprise, running energetically in any direction, and taking extreme pratfalls. The Staub version of the Keystone Cops became a template for later re-creations. 20th Century Fox's 1939 film Hollywood Cavalcade had Buster Keaton in a Keystone chase scene.

Foolish criticism is unclear about what the motive or purpose of the criticism is, or about what the consequence or effect of the criticism is. Usually it connotes lack of self-insight or a good understanding of the motives or issue involved. The foolish critic often mistakes what his target should be, and therefore, his criticism is really "at the wrong address", it is in some sense misplaced, disingenuous or misjudged ("clutching at straws", "tilting at windmills", "Red herring"). Foolish criticism is not necessarily arbitrary or willy-nilly, but it is "foolish", because it does the critic (or his intended target) no good.

The Thieving Magpie (La Gazza Ladra) is a double live album by the British neo-progressive rock band Marillion. It was named after the introductory piece of classical music the band used before coming on stage during the Clutching at Straws tour 1987–1988, the overture to Rossini's opera La gazza ladra, which translates as "The Thieving Magpie". The album was released shortly after singer Fish's departure from the band (and before Steve Hogarth's arrival) and was intended to document the "Fish years". It complements the band's first live album Real to Reel insofar as there are no overlaps.

Live from Loreley is a live album by the British neo-progressive rock band Marillion, recorded at a concert at the Freilichtbühne Loreley (Open-Air Stage) Loreley, St. Goarshausen, Germany on 18 July 1987. The recording, made during the first leg of the 1987 Clutching at Straws tour, documents the band at the peak of their commercial success in the 1980s when they had original frontman Fish on vocals. The show was attended by an audience of 20,000; support acts were Magnum, The Cult (cancelled), and It Bites. It comprises songs from the four studio albums they released up to that point, i.e.

Stratton-Smith died of pancreatic cancer on 19 March 1987 aged 53. A memorial service was held for him at St Martin-in-the-Fields, London. Marillion's album Clutching at Straws (released shortly after his death in 1987) was dedicated to him in the sleeve credits. The song "Time to Burn" by Peter Hammill (1988) is "something of a goodbye to Tony Stratton- Smith",Peter Hammill about the album In A Foreign Town and 3, the 1988 band of Keith Emerson, Carl Palmer and Robert Berry, dedicates the closing track, "On My Way Home", of their only album To the Power of Three (1988), to Stratton- Smith.

Thirteen of the 26 tracks across both albums have been re-recorded (including all the Marillion tracks) or remixed; the rest remain in their original versions. The re-recorded Marillion tracks are "Punch & Judy", "Incubus" (from Fugazi, 1984), "Kayleigh", "Lavender" (from Misplaced Childhood, 1985), "Incommunicado" and "Sugar Mice" (Clutching at Straws, 1987). Another track ("Institution Waltz") is a new version of a Marillion song they demoed but never properly recorded. The re-recorded solo tracks are "State of Mind" (1990, from Vigil in a Wilderness of Mirrors), "Credo", "Lucky", "Favourite Stranger", "Just Good Friends" (now a duet with Sam Brown) (1991, from Internal Exile), and "Somebody Special" (1994, from Suits).

The first band he saw live was Yes at Usher Hall, Edinburgh, in 1974. As well as his love for music, he was also a voracious reader, and his literary inspirations included Jack Kerouac, Truman Capote, Robert Burns and Dylan Thomas (all of whom would later be depicted on the sleeve of Marillion's Clutching at Straws). Fish worked as a petrol pump attendant, gardener, and from 1977 until 1980 worked in forestry at the Bowhill Estate in Selkirk. While living in Fochabers, Moray he adopted the nickname of Fish, which originated from a landlord who lamented the amount of time he spent in the bath.

The B-side, the short, slow and introspective "Going Under", would also appear as a bonus track on the CD version of Clutching at Straws, in a slightly different version. Both tracks were written and arranged by Marillion and produced by Chris Kimsey. The line "currently residing in the where-are-they-now file" is a reference to a scene in the film This Is Spinal Tap. A CD replica of the single was also part of a collectors box-set released in July 2000 which contained Marillion's first twelve singles and was re-issued as a 3-CD set in 2009 (see The Singles '82–'88).

Mattek- Sands won the French Open women's doubles title, again with Šafářová, by beating Ashleigh Barty and Casey Dellacqua from Australia in straight sets. Playing Sorana Cîrstea in the second round of the Wimbledon singles, Mattek- Sands was running to the net at the beginning of the third set when she collapsed in agony, clutching at her right knee. She shouted out a large number of swear words for which she later apologized. She was treated on the court before being rushed to a local hospital with an "acute knee injury" which was later revealed to be a dislocated kneecap and ruptured patellar ligament, for which surgery was required.

The fourth studio album, Clutching at Straws, shed some of its predecessor's pop stylings and retreated into a darker exploration of excess, alcoholism, and life on the road, representing the strains of constant touring that would result in the departure of Fish to pursue a solo career. It did continue the group's commercial success, however; lead single "Incommunicado" charted at No. 6 in the UK charts gaining the band an appearance on Top of the Pops, and the album entered the UK album chart at No. 2, Marillion's second highest placing. "Sugar Mice" and "Warm Wet Circles" also became hit singles, both reaching No. 22\. Fish has also stated in interviews since that he believes this was the best album he made with the band.

The band announced in September 2015 that they were working on a new album, provisionally titled M18 and later confirmed as Fuck Everyone and Run (F E A R). As with several of their previous releases, the recording of the album was to be funded by fan pre-orders, this time through direct-to-fan website PledgeMusic. The album was released on 23 September 2016 debuting at number 4 in the official UK charts of 30 September 2016, their highest placing since Clutching at Straws nearly three decades earlier. In November 2016, they announced their first ever show at the Royal Albert Hall in London, in October 2017. The gig sold out in just 4 minutes and was filmed for DVD release.

It was now mid-1955, Studebaker had fully merged with Packard, and Loewy and his team of designers were gone—both moves described by Pietsch as "desperate clutching at straws by a dying company." New titles were passed out and Pietsch was named "Manager Studebaker President Exterior Studio," and a year later (1956), "Assistant Head Truck Exterior Studio," in charge of two designers and a clay modeler, assigning and supervising their work in the absence of the studio head, and acting as a liaison between the styling and engineering departments. But despite reorganization and new faces, Studebaker- Packard remained in deep trouble. In 1958, the situation was so dire that Pietsch and a number of his fellow designers were laid off.

"It was clear that having made wild baseless allegations, the PM was clutching at straws to try and validate his claims," Chaudhry said. "There is absolutely no connection between the loan and a letter that I wrote to PM’s steering committee Charles Walker as chairman on sugar industry reforms that Qarase released to the media as his 'proof' that I had received a commission from the loan," he added. Nor did it substantiate, he said, Qarase's claims that he had sought a commission from the Indian companies. Also on 9 December, FLP Senator and former Attorney-General Anand Singh announced his decision to sue the Indian government and the Head of the Indian Technical Mission, J.J. Bhagat, for compensation for providing the ideas, which he says were adopted without acknowledgement by the Fijian and Indian governments.

The faster-than-light travel was also explained in Isaac Asimov's Foundation series and became a familiar term thereafter particularly since the concept was also used by the Star Wars films as well as other fictional intergalactic narratives. Hyperspace commonly designates one class of technology, where infinite speeds are possible; a ship may jump to hyper space or star drive "clutching at the very fabric of time itself" thus making travel that would normally take thousands of years possible in no time at all. One example of narrative descriptions for hyperspace was John E. Stith's conceptualization in the novel Redshift Rendezvouz (1990). The author described that a spacecraft operating in a hyperspace moves at exactly 1,024 times the speed of light relative to normal space time, with the speed of light lower than 300,000 kilometers per second.

Gillingham captain Barry Fuller displays the trophy during the team's celebratory parade Post-match analysis showed that referee Oliver had erroneously awarded the corner kick from which Gillingham's goal had been scored, as the ball had in fact come off Barcham and therefore a goal kick should instead have been awarded to Shrewsbury. Paul Simpson referred to this in his post-match comments, but said that "if we look at things like that we will be clutching at straws". Mark Stimson highlighted the financial benefits of his team's promotion, noting that large crowds would be expected for matches in League One against Leeds United, Norwich City and Southampton. After the match, Gillingham captain Barry Fuller received the winners' trophy from the presentation party, which consisted of Lord Mawhinney, the chairman of The Football League, and Mark Osikoya, Head of Marketing Assets for the League's sponsors, Coca-Cola.

Drums were handled by Mark Brzezicki (of Big Country), John Keeble (of Spandau Ballet, "State of Mind" only), bass by John Giblin, additional percussion by Luís Jardim, backing vocals by Tessa Niles, who had already appeared on Clutching at Straws, Marillion's last album with Fish (1987), and Carol Kenyon. Apart from these, there are performances on individual songs by The Kick Horns (brass instruments on "Big Wedge"), Davy Spillane (pipes and tin whistle on "Vigil"), Phil Cunningham (tin whistle, bodhran, accordion on "The Company", "Internal Exile"), Aly Bain (violin on "The Company", "Internal Exile") and Gavyn Wright (credited as Gavin Wright, violin on "The Company", orchestral arrangement on "A Gentleman's Excuse Me", which was recorded with a 23-piece orchestra at Abbey Road Studios). The band with which Fish toured the album in 1989/1990 consisted of Mickey Simmonds (keyboards), Frank Usher & Robin Boult (guitars), Mark Brzezicki (drums) and Steve Brzezicki (bass, Mark's brother).

Due to lengthy legal battles, informal contact between Fish and the other four band members apparently did not resume until 1999. Fish would later disclose in the liner notes to the 2-CD reissue of Clutching at Straws that he and his former bandmates had met up and discussed the demise of the band and renewed their friendship, and had come to the consensus that an excessive touring schedule and too much pressure from the band's management led to the rift. Although reportedly now on good personal terms, both camps had always made it very clear that the oft-speculated-upon reunion would never happen. However, when Fish headlined the 'Hobble on the Cobbles' free concert in Aylesbury's Market Square on 26 August 2007, the attraction of playing their debut single in its spiritual home proved strong enough to overcome any lingering bad feeling between the former band members, and Kelly, Mosley, Rothery, and Trewavas replaced Fish's backing band for an emotional encore of "Market Square Heroes".

After Fish left the group (taking his lyrics with him), Hogarth set to work crafting new lyrics to existing songs with lyricist and author John Helmer. The demo sessions of the songs from Seasons End with Fish vocals and lyrics can be found on the bonus disc of the remastered version of Clutching at Straws, while the lyrics found their way into various Fish solo albums such as his first solo album, Vigil in a Wilderness of Mirrors, some snippets on his second, Internal Exile and even a line or two found its way to his third album, Suits. Hogarth's second album with the band, Holidays in Eden, was the first he wrote in partnership with them and includes the song "Dry Land", which Hogarth had written and recorded in his earlier duo, How We Live. As quoted from Steve Hogarth, "Holidays in Eden was to become Marillion's "pop"est album ever, and was greeted with delight by many, and dismay by some of the hardcore fans".

And all the while, Luisa watches, the resilience of her love being consumed by anxiety for him and a gathering dismay for their lives together (My Husband Makes Movies / Only With You). Guido's fugitive imagination, clutching at women like straws, eventually plunges through the floor of the present and into his own past where he encounters his mother, bathing a nine-year-old boy—the young Guido himself (Nine). The vision leads him to re-encounter a glorious moment on a beach with Saraghina, the prostitute and outcast to whom he went as a curious child, creeping out of his Catholic boarding school St. Sebastian, to ask her to tell him about love. Her answer, be yourself (Ti Voglio Bene / Be Italian), and the dance she taught him on the sand echoes down to the forty-year-old Guido as a talisman and a terrible reminder of the consequences of that night—punishment by the nuns and rejection by his appalled mother (The Bells of St. Sebastian).

In 1987, David Hepworth wrote in 'Q', "Musically, Clutching at Straws doesn't depart far from the educated arrangements of previous albums. However somebody has been applying a stop watch to the individual songs and to the solos within them; thus we have eleven distinct songs, each with its own melodic virtues and most with quite acceptable hook lines barked out by Fish... There are tracks here that could have snuck into Sting's live act quite easily." AllMusic described the album as "perhaps Marillion's most unheralded masterpiece" which "showcases some of the band's most satisfying compositions, including the magnificent 'Warm Wet Circles' and 'That Time of the Night (The Short Straw)' ... Tour opener 'Slainte Mhath' is simple and elegant, building to its dramatic crescendo only to be upstaged by 'Sugar Mice' – quite simply, one of Marillion's best commercial singles ever". "The Last Straw" was also praised as a "stunning closer" to the album.

Murphy made his competitive debut for his county aged 17 in July 2007 and won the All Stars Young Footballer of the Year in 2009. At 21 years old, Murphy received the Donegal captaincy from newly appointed manager Jim McGuinness, who had worked with Murphy the previous season at under-21 level. In doing so he became one of the youngest captains in the team's history. Four successful seasons followed, with Murphy winning two All Stars, three Ulster Senior Football Championships (including two consecutively) and the Sam Maguire Cup, only the second player in the county's history to raise that trophy as team captain. He received the 2012 All-Ireland Senior Football Championship Final man of the match award and his catch from a Karl Lacey pass, turn leaving his marker Kevin Keane clutching at air and rocket strike past David Clarke into the roof of the Mayo net in the opening minutes of that game to set the score at 1-0 to 0-0 earned him the Championship Matters Goal of the Championship.

The Pierrot bequeathed to the twentieth century had acquired a rich and wide range of personae. He was the naïve butt of practical jokes and amorous scheming (Gautier); the prankish but innocent waif (Banville, Verlaine, Willette); the narcissistic dreamer clutching at the moon, which could symbolize many things, from spiritual perfection to death (Giraud, Laforgue, Willette, Dowson); the frail, neurasthenic, often doom-ridden soul (Richepin, Beardsley); the clumsy, though ardent, lover, who wins Columbine's heart,This is the case in many works by minor writers of the fin-de-siècle—e.g., Léo Rouanet, The Belly and Heart of Pierrot (1888), summarized in Storey, Pierrots on the stage, pp. 299–300. or murders her in frustration (Margueritte); the cynical and misogynistic dandy, sometimes dressed in black (Huysmans/Hennique, Laforgue); the Christ-like victim of the martyrdom that is Art (Giraud, Willette, Ensor); the androgynous and unholy creature of corruption (Richepin, Wedekind); the madcap master of chaos (the Hanlon-Lees); the purveyor of hearty and wholesome fun (the English pier Pierrots)—and various combinations of these.

Masefield 1916, p. 6 Masefield said that Synge's view of life originated in his poor health. In particular, Masefield said "His relish of the savagery made me feel that he was a dying man clutching at life, and clutching most wildly at violent life, as the sick man does".Masefield 1916, p. 22 Yeats summarised his view of Synge in one of the stanzas of his poem "In Memory of Major Robert Gregory": :And that enquiring man John Synge comes next, :That dying chose the living world for text :And never could have rested in the tomb :But that, long travelling, he had come :Towards nightfall upon certain set apart :In a most desolate stony place, :Towards nightfall upon a race :Passionate and simple like his heart. Synge was a political radical, immersed in the socialist literature of William Morris, and in his own words "wanted to change things root and branch." Much to the consternation of his mother, he went to Paris in 1896 to become more involved in radical politics, and his interest in the topic lasted until his dying days when he sought to engage his nurses on the topic of feminism.